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Six years after its initial publication, Applied Theatre returns
with a second edition. As the first book to assist practitioners
and students to develop critical frameworks for implementing their
own theatrical projects, it served as a vital addition to this area
of growing interest, winning the Distinguished Book of the Year
award from the American Alliance for Theatre and Education. Editors
Monica Prendergast and Juliana Saxton have updated the book to
reflect shifts in practice over the last few years in the world of
applied theatre. Drawing on their backgrounds in drama education
and pedagogy, the co-editors offer introductory chapters and dozens
of case studies on applied theatre projects around the globe. This
new edition of Applied Theatre will encourage students and
practitioners to acquire a deeper understanding of the field and
its best practices.
Why are educators and their profession the focus of so much film
and theatre? Diane Conrad and Monica Prendergast bring together
scholars and practitioners in education, examining dramatic
portrayals of teachers and teaching to answer this very question.
Films such as Freedom Writers, Bad Teacher and School of Rock, to
name a few, intentionally or inadvertently comment on education and
influence the opinions and, ultimately, the experiences of anyone
who has taught or been taught. The chapters gathered in this
collection critique the Hollywood 'good teacher' repertoire, delve
into satiric parodies and alternative representations and explore
issues through analyses of independent and popular films and plays
from around the world. By examining teacher-student relationships,
institutional cultures, societal influences and much more, Teachers
and Teaching on Stage and on Screen addresses these media's varied
fascinations with the educator like no collection before it.
This study by Monica Prendergast offers a curriculum theory for
audience in performance presented in a series of essays and poems
on this key yet neglected educational topic. In a contemporary
world that has been described as the "society of the spectacle" and
the "performative society," it becomes a significant task for
educators to find ways to assist students in becoming more active
and critical spectators. This unique book is presented in seven
chapters that survey how audience has been taken up (or ignored)
across many disciplines, including aesthetic philosophy,
performance theory, cultural studies, and arts education. Drawing
on key findings discovered in this extensive literature review, the
author goes on to present a number of chapters that theorize how
spectatorship may become a central concern of curriculum through
committed and teacher-facilitated attendance of live performance.
These performance experiences-which may be community-based or
professional-then serve as catalysts for creative postperformance
interactions with artists and further classroom explorations.
Throughout the text, the author makes use of an emergent arts-based
methodology called poetic inquiry. The poems she creates offer
readers other perspectives on the investigation and act as a
reminder that cultural performance, like poetry, is an aesthetic
event that calls us to attention, to wide-awakeness in the world.
Teaching Spectatorship is a groundbreaking study that makes a
critical contribution to the fields of performance studies,
curriculum theory, and drama/theatre education.
Applied Theatre: Ethics explores what it means for applied theatre
practice to be conducted in an ethical way and examines how this
affects the work done with communities and participants. It
considers how practitioners can balance aesthetics and ethics when
creating performance, particularly with relatively inexperienced
and often vulnerable groups of people who are being asked to both
tell and stage their stories. The two sections bring together
theoretical and practical ways for theatre-makers to examine the
ethics of their applied theatre projects. Part One offers an
overview of critical debates and the editors' reflections on their
own practice. It introduces readers to ethics in applied theatre,
informed by the thinking of philosophers, scholarly literature and
the editors' own experience, including Indigenous perspectives on
ethics and theatre. For applied theatre practitioners, it provides
recommendations for community-based ethical approaches working with
principles of voice, agency, care, service, collaboration,
presence, relationality and reciprocity. Part Two presents a range
of international case studies that explore how the theories and
issues are worked out in a variety of diverse practices. It
considers ethics from varying critical perspectives and contexts,
including projects in Greece, Nigeria, Sri Lanka, Bangladesh, the
United States, the United Kingdom, the Philippines and Canada.
Covering work with participants of many ages, the case studies
include the work of a professional dance theatre company working
with people in substance abuse recovery in the UK, interactive
drama used in an educational context in Nigeria, and the
complexities around an applied theatre project on race in the US.
Applied Theatre: Ethics explores what it means for applied theatre
practice to be conducted in an ethical way and examines how this
affects the work done with communities and participants. It
considers how practitioners can balance aesthetics and ethics when
creating performance, particularly with relatively inexperienced
and often vulnerable groups of people who are being asked to both
tell and stage their stories. The two sections bring together
theoretical and practical ways for theatre-makers to examine the
ethics of their applied theatre projects. Part One offers an
overview of critical debates and the editors' reflections on their
own practice. It introduces readers to ethics in applied theatre,
informed by the thinking of philosophers, scholarly literature and
the editors' own experience, including Indigenous perspectives on
ethics and theatre. For applied theatre practitioners, it provides
recommendations for community-based ethical approaches working with
principles of voice, agency, care, service, collaboration,
presence, relationality and reciprocity. Part Two presents a range
of international case studies that explore how the theories and
issues are worked out in a variety of diverse practices. It
considers ethics from varying critical perspectives and contexts,
including projects in Greece, Nigeria, Sri Lanka, Bangladesh, the
United States, the United Kingdom, the Philippines and Canada.
Covering work with participants of many ages, the case studies
include the work of a professional dance theatre company working
with people in substance abuse recovery in the UK, interactive
drama used in an educational context in Nigeria, and the
complexities around an applied theatre project on race in the US.
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