At a time when universities demand immediate and quantifiable impacts of scholarship, the voices of research participants become secondary to impact factors and the volume of research produced. Moreover, what counts as research within the academy constrains practices and methods that may more authentically articulate the phenomena being studied. When external forces limit methodological practices, research innovation slows and homogenizes. This book aims to address the methodological, interpretive, ethical/procedural challenges and tensions within theatre-based research with a goal of elevating our field's research practice and inquiry. Each chapter embraces various methodologies, positionalities and examples of mediation by inviting two or more leading researchers to interrogated each other's work and, in so doing, highlighted current debates and practices in theatre-based research. Topics include: ethics, method, audience, purpose, mediation, form, aesthetics, voice, data generation, and research participants. Each chapter frames a critical dialogue between researchers that take multiple forms (dialogic interlude, research conversation, dramatic narrative, duologue, poetic exchange, etc.).

This collection of essays from many of the world's preeminent drama education practitioners captures the challenges and struggles of teaching with honesty, humour, openness and integrity. Collectively the authors possess some two hundred years of shared experience in the field, and each essay investigates the mistakes of best-intentions, the lack of awareness, and the omissions that pock all of our careers. The authors ask, and answer quite honestly, a series of difficult and reflexive questions: What obscured our understanding of our students' needs in a particular moment? What drove our professional expectations? And how has our practice changed as a result of those experiences? Modelled on reflective practice, this book will be an essential, everyday guide to the challenges of drama education.

In 1941, three brothers witnessed their parents and two other siblings being led away to their eventual murders. It was a grim scene that would, of course, be repeated endlessly throughout the war. Instead of running or giving in to despair, these brothers -- Tuvia, Zus, and Asael Bielski -- fought back, waging a guerrilla war of wits against the Nazis.

By using their intimate knowledge of the dense forests surrounding the Belarusan towns of Novogrudek and Lida, the Bielskis evaded the Nazis and established a hidden base camp, then set about convincing other Jews to join their ranks. As more and more Jews arrived each day, a robust community began to emerge, a "Jerusalem in the woods."

After two and a half years in the woods, in July 1944, the Bielskis learned that the Germans, overrun by the Red Army, were retreating back toward Berlin. More than one thousand Bielski Jews emerged -- alive -- on that final, triumphant exit from the woods.

At a time when universities demand immediate and quantifiable impacts of scholarship, the voices of research participants become secondary to impact factors and the volume of research produced. Moreover, what counts as research within the academy constrains practices and methods that may more authentically articulate the phenomena being studied. When external forces limit methodological practices, research innovation slows and homogenizes. This book aims to address the methodological, interpretive, ethical/procedural challenges and tensions within theatre-based research with a goal of elevating our field's research practice and inquiry. Each chapter embraces various methodologies, positionalities and examples of mediation by inviting two or more leading researchers to interrogated each other's work and, in so doing, highlighted current debates and practices in theatre-based research. Topics include: ethics, method, audience, purpose, mediation, form, aesthetics, voice, data generation, and research participants. Each chapter frames a critical dialogue between researchers that take multiple forms (dialogic interlude, research conversation, dramatic narrative, duologue, poetic exchange, etc.).

At the height of the Irish Famine, now considered the greatest social disaster to strike nineteenth-century Europe, Anglo-Irish landlord Major Denis Mahon was assassinated as he drove his carriage through his property in County Roscommon. Mahon had already removed 3,000 of his 12,000 starving tenants by offering some passage to America aboard disease-ridden "coffin ships," giving others a pound or two to leave peaceably, and sending the sheriff to evict the rest. His murder sparked a sensation and drove many of the world's most powerful leaders, from the queen of England to the pope, to debate its meaning. Now, for the first time, award-winning journalist Peter Duffy tells the story of this assassination and its connection to the cataclysm that would forever change Ireland and America.