Moscow Theatres for Young People shows how the totalitarian ideology of the Soviet period shaped the practices of Soviet theatre for youth, as exemplified by the two oldest theatres for children and youth in Moscow: the Central Children's Theatre/RAMT and the Moscow Tiuz. Weaving together politics, economics, pedagogy, and aesthetics the author paints a vivid picture of the theatrical developments in Soviet/Russian theatre for young people from its inception in 1917 up to the new millennium, revealing the complex intersections between theatre and its socio-historical conditions.

Winner of the 2013 AATE Distinguished Book Award
There is a complex relationship between performance, youth, and the shifting material circumstances under which theatre for children and youth - birth through twenties - is generated and perceived. Offering multiple, intersecting narratives, this book explores different aspect of theatre for young audiences (TYA) using examples from theatrical events in different geographical regions. The discussion of the history, theory, and practice of TYA indicates the wide variety of hitherto under-researched topics in the growing field of professional theatre for young people.

This unique edition is the result of the second International Theatre for Young Audiences Research Network (ITYARN) conference that was held in Malmoe, Sweden, in May 2011 as part of the XVIIth ASSITEJ World Congress and Festival. In fifteen essays that are illustrative of the wide variety as well as of the many opportunities for research in TYA, this book covers six continents, includes quantitative, qualitative, ethnographic/action, and historiographical methods, and highlights critical theory, philosophical discourse, play analysis, and other approaches. The essays deal with a broad range of issues, including representation, cultural contexts, questions of identity, race-, class-, and gender theory, notions of child and childhood, aesthetics, and the influence of media and dominant ideologies. ITYARN aims to further research in the field of theatre for young audiences to contextualize and theorize the lively artistic products for children and youth globally. It is the research network of ASSITEJ, the International Association of Theatre for Children and Youth, which co-produced this publication.

Drama and Education provides a practical, comprehensive guide to drama as a tool for teaching and learning. It is among the first practical drama and performance textbooks that address brain-based, neuroscientific research, making the argument that creativity is necessary in our lives, that embodied learning is natural and essential, and that contextual learning helps us find our place in society in relationship to other peoples and cultures. As well as a historical and theoretical overview of the field, it provides rationale and techniques for several specific methodologies: linear drama, process-oriented drama, drama for social justice, and performance art. Each approach is supplemented with sample lesson plans, activities, ideas for differentiation, and extensive bibliographies. The topics are discussed from five key angles: * Historical and theoretical foundations * Curricular applications * Practical toolkits for a range of classrooms and learning environments * Different strategies for lesson plans * Extension options for longer workshops. Alongside these core methods, the integration of other innovative forms-from performance art to Theatre of the Oppressed-into drama-based learning is explored, as well as the pragmatic concerns such as assessment, planning, and advocacy for arts learning and arts education partnerships. Drama and Education is the comprehensive textbook for teachers and students on Applied Theatre and Theatre and Education courses.

Drama and Education provides a practical, comprehensive guide to drama as a tool for teaching and learning. It is among the first practical drama and performance textbooks that address brain-based, neuroscientific research, making the argument that creativity is necessary in our lives, that embodied learning is natural and essential, and that contextual learning helps us find our place in society in relationship to other peoples and cultures. As well as a historical and theoretical overview of the field, it provides rationale and techniques for several specific methodologies: linear drama, process-oriented drama, drama for social justice, and performance art. Each approach is supplemented with sample lesson plans, activities, ideas for differentiation, and extensive bibliographies. The topics are discussed from five key angles: * Historical and theoretical foundations * Curricular applications * Practical toolkits for a range of classrooms and learning environments * Different strategies for lesson plans * Extension options for longer workshops. Alongside these core methods, the integration of other innovative forms-from performance art to Theatre of the Oppressed-into drama-based learning is explored, as well as the pragmatic concerns such as assessment, planning, and advocacy for arts learning and arts education partnerships. Drama and Education is the comprehensive textbook for teachers and students on Applied Theatre and Theatre and Education courses.

There is a complex relationship between performance, youth, and the shifting material circumstances (social, cultural, economic, ideological, and political) under which theatre for children and youth is generated and perceived. This book explores different aspect of theatre for young audiences using examples from theatrical events globally.

This book shows how the totalitarian ideology of the Soviet period shaped the practices of Soviet theatre for youth. It weaves together politics, pedagogy and aesthetics to reveal the complex intersections between theatre and its socio-historical conditions. It paints a picture of the theatrical developments from 1917 through to the new millennium.