In the theatre world, ‘off book’ signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script – the ‘book’ – on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, ‘off book’ captures the tension between ephemeral, live performance and durable, author-ized literature: in one sense, the book – the written play – is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an ‘on book’ performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it.    Devised performance might be described as ‘theatre without the book.’ Yet devisors also often use books – books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done ‘by the book,’ devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments. The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, Devising Pedagogy: Teaching Transferable Tools, examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, Devising Friction: Ensembles, Individuals, and the Institution, shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, Devising (by) Degrees, Practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in Devising Bridges: University-Community Engagement explore how devising connects higher education institutions with the public they are intended to serve — particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities. A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.

In the theatre world, ‘off book’ signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script – the ‘book’ – on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, ‘off book’ captures the tension between ephemeral, live performance and durable, author-ized literature: in one sense, the book – the written play – is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an ‘on book’ performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it.    Devised performance might be described as ‘theatre without the book.’ Yet devisors also often use books – books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done ‘by the book,’ devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments. The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, Devising Pedagogy: Teaching Transferable Tools, examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, Devising Friction: Ensembles, Individuals, and the Institution, shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, Devising (by) Degrees, Practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in Devising Bridges: University-Community Engagement explore how devising connects higher education institutions with the public they are intended to serve — particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities. A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.

This book is an original study of the youth organizations in London, Toronto, and Vancouver that offer creative and arts programs mainly to youth from diverse and socially marginalized backgrounds. It describes a sector that is often not recognized, organizations that don't like being institutionalized, forms of education that exist outside the mainstream, types of aesthetic expression that often go unrecognized, and unusual learning and cultural opportunities for socially marginalized young people. Rooted in the history of community arts movements from the 1970s, Youthsites, or the non-formal youth arts learning sector, is now part of cities around the world. Technological change, shifts in educational discourses, changes in policy rhetorics, including a turn away from traditional public institutions and a decline in funding of formal public schooling have all impacted the growth of youth arts organizations. Yet there are to date no systematic studies of the history, structure, and development of this sector. Youthsites: Histories of Creativity, Care, and Learning in the City fills this gap and is the first book to develop an internationally comparative, evidence-based, structural analysis of the development of the youth arts sector. Based on an original 4-year study examining the history, priorities, and tensions within this sector between 1995 and 2015, Youthsites explores the organizations and people who are helping young people to become creators, citizens, or just themselves in times of austerity, crisis, and change. This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.