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Applied Theatre: A Pedagogy of Utopia [Mīkstie vāki]

(The Royal Central School of Speech and Drama, University of London, UK)
  • Formāts: Paperback / softback, 272 pages, height x width x depth: 214x138x16 mm, weight: 340 g
  • Izdošanas datums: 06-Oct-2022
  • Izdevniecība: Methuen Drama
  • ISBN-10: 1350232815
  • ISBN-13: 9781350232815
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Applied Theatre: A Pedagogy of UtopiaPalielināt
  • Formāts: Paperback / softback, 272 pages, height x width x depth: 214x138x16 mm, weight: 340 g
  • Izdošanas datums: 06-Oct-2022
  • Izdevniecība: Methuen Drama
  • ISBN-10: 1350232815
  • ISBN-13: 9781350232815
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781350232815.html
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Shortlisted for the 2022 TaPRA David Bradby Monograph Prize

Applied Theatre: A Pedagogy of Utopia offers a critical consideration of long-term applied and participatory theatre projects. In doing so, it provides a timely analysis of concepts that inform applied theatre and outlines a new way of thinking about making theatre with differing groups of participants.

The book problematizes key concepts including safe spaces, voice, ethical practice and resistance. Selina Busby analyses applied theatre projects in India, the USA and the UK, in youth theatres, homeless shelters, prisons and with those living in informal housing settlements to consider her key question: what might a pedagogy of utopia look like? Drawing on 20 years of practice in a range of contexts, this book focuses on long-term interventions that raise troubling questions about applied theatre, cultural colonialism and power, while arguing that community or participatory theatre conversely has the potential to generate a resilient sense of optimism, or what Busby terms, a 'nebulous utopia'.

Recenzijas

I have recommended Selina Busbys Applied Theatre: A Pedagogy of Utopia to both colleagues and students and have found inspiration in its pages myself. In her words, the book focuses on 'the positive contribution that making theatre can have when thinking about and acting for social justice, in opening up possibilities or "the field of the possible," in enhancing aspirational thinking and resisting what is, in order to create what is not yet, but which can be imagined' (pp. 204-205). The power of hope is the most potent force when facing inequity and injustice; theatre can give voice and agency and creative expression to those who may lack these in their lives. Busbys global survey of her practice is required reading for anyone who wants to be inspired, or re-inspired, with the reality that theatre can and does make tangible differences in peoples lives. * Monica Prendergast, University of Victoria, Canada * [ R]eaders are engrossed in the authors eloquent theoretical argument blended with her engaging storytelling of each different applied theatre project. Not only inspiring but also a critically necessary read for applied theatre students in our current time of trouble. * Wan-Jung Wang, Professor of Applied Theatre, National University of Tainan, Taiwan *

Papildus informācija

Short-listed for The TaPRA David Bradby Monograph Prize 2022 (UK).This volume explores applied and social performance with marginalized communities, considering whether these practices contain the promise of hope, or engender a sense of disappointment
Foreword x
Helen Nicholson
Acknowledgements xiv
Permissions xvii
Introduction 1(22)
A pedagogy of Utopia
1(1)
Denning social justice
2(7)
The politics of dignity
9(7)
Axiology of practice
16(2)
What comes next?
18(5)
1 Costa Rica: Utilizing a global vision to safeguard the local village
23(22)
The context: The community at Yorkin
25(4)
Axiological impasses
29(6)
The globalization of a village
35(10)
2 Partnerships, integrated community investment and nebulous Utopia
45(28)
Dharavi: A `sub-city'
54(5)
Pluralism or neo-colonialism?
59(2)
Can the subaltern make theatre?
61(3)
Embedded integrated investment
64(4)
Cultural invasion or concrete utopianism?
68(2)
Finding a nebulous Utopia
70(3)
3 Aspirational thinking: Social justice and critical pedagogy
73(43)
Neoliberalism and social exclusion
75(5)
The bridge to cultural capital
80(3)
Cruel optimism and aspirational thinking
83(9)
Bridges crossed with critical pedagogy
92(1)
Resistance or compliance in prison theatre?
93(3)
The (broken) criminal justice system
96(3)
The Children's Theatre Project
99(3)
Radical containment -- or just plain violence?
102(4)
Is making children's theatre in prisons a pedagogy of Utopia?
106(3)
An `unfinished' work in progress
109(5)
Resistance or compliance?
114(2)
4 Articulation and amplification
116(25)
The politics of articulation
117(6)
Walk a mile in my shoes: Irondale Theater
123(6)
Becoming fully human and Edward Bond
129(6)
An accordion shop, a riot and change
135(6)
5 Finding a thirdspace
141(32)
The spatial turn and safety
142(7)
Heterotopia and the Halfway House Project
149(3)
Not safe space or brave space, but a thirdspace
152(3)
Thirdspace as intercultural meeting point
155(3)
Youth theatre as thirdspace: Company Three
158(3)
Brainstorm
161(4)
The Company Three methodology
165(8)
6 Geographies of resistance
173(26)
The disruption of presence: NT's Connections
174(4)
Disrupting cultural spaces
178(6)
Seeking spatial justice and jumping scale
184(4)
Privatopia: The neoliberal dream?
188(2)
Resisting spatial injustice in an urban village
190(9)
Conclusion
199(18)
Concluding -- but not final thoughts: The voices of Dharavi
199(2)
Breaking barriers, breaking bread
201(3)
A word, or several, from Dharavi
204(13)
Notes 217(4)
References 221(18)
Index 239
Selina Busby is Principal Lecturer in Applied & Community Performance at the Royal Central School of Speech and Drama, University of London, UK. She is a theatre practitioner who makes performances with a wide range of community groups across the globe.