The Routledge Companion to Applied Performance
Volume One – Mainland Europe, North and Latin America, Southern Africa, and Australia and New Zealand
The Routledge Companion to Applied Performance provides an in-depth, far-reaching and provocative consideration of how scholars and artists negotiate the theoretical, historical and practical politics of applied performance, both in the academy and beyond.
These volumes offer insights from within and beyond the sphere of English-speaking scholarship, curated by regional experts in applied performance. The reader will gain an understanding of some of the dominant preoccupations of performance in specified regions, enhanced by contextual framing. From the dis(h)arming of the human body through dance in Colombia to clowning with dementia in Australia, via challenges to violent nationalism in the Balkans, transgender performance in Pakistan and resistance rap in Kashmir, the essays, interviews and scripts are eloquent testimony to the courage and hope of people who believe in the power of art to renew the human spirit.
Students, academics, practitioners, policy-makers, cultural anthropologists and activists will benefit from the opportunities to forge new networks and develop in-depth comparative research offered by this bold, global project.
Table of Contents
Introduction to Volume One
Part I: Australia and New Zealand
Introduction to Part I: ‘Considering the ethics of representation in applied theatre’.
Helen Cahill & Peter O’Connor
Chapter 1: ‘Identifying and understanding the notion of quality within an applied theatre project designed to playfully engage people living with dementia’.
Julie Dunn & Michael Balfour
Chapter 2: ‘Repairing the evil: Staging Puppet Antigone (2017) at Auckland Prison’.
Chapter 3: ‘Taurima Vibes: Economies of manaakitanga and care in Aotearoa New Zealand’.
Molly Mullen & Bōrni Te Rongopai Tukiwaho
Chapter 4: ‘Small acts at the margins: Making theatre work at cross-cultural intersections’.
Chapter 5: ‘The art of listening in prison: Creating audio drama with incarcerated women’.
Part II: The Balkans
Introduction to Part II and III: ‘Memory, identity, and the (ab)use of representation’.
Kirsten Sadeghi-Yekta & Darko Lukić
Chapter 6: ‘Performing otherness: the representation of invisible communities in post-conflict and post-communist societies: Croatian example’.
Chapter 7: ‘The bridge to hope: Applied theatre in post-war Bosnia and Herzegovina’.
Chapter 8: ‘Theatre against violence, action in classrooms’.
Ines Škuflić Horvat, Maja Sviben, & Nina Horvat
Chapter 9: Interview with Vladimir Krušić: Theatre and drama in education.
Chapter 10: ‘In search of polyphonic concepts of participatory theatre and art for social change: Almost half a century of engagement’.
Chapter 11: ‘Giving voice to the voiceless: Raising awareness and spurring debate on the Homeland War (1991–1995) in Croatian theatre’.
Part III: North America
Chapter 12: ‘Examining the ethics of research-based theatre through Contact! Unload’.
George Belliveau, Susan Cox, Jennica Nichols, Graham W. Lea & Christopher Cook
Chapter 13: ‘We are here: Glyphing a re-creation story through waterways, bloodlines constellations’.
Chapter 14: Applied performance practices of therapeutic clowns: A curated conversation with Helen Donnelly.
Julia Gray, Jenny Setchell, & Helen Donnelly
Chapter 15: ‘Playback Theater conductor as ritual guide: The artful and sensitive job of extracting personal stories’.
Chapter 16: ‘Theatre to address social justice issues with gatekeepers in Canada’.
Lauren Jerke & Warwick Dobson
Chapter 17: ‘Tensions of engagement: Oscillating between distance and implication’.
Chapter 18: ‘Questioning social justice: A dialogue on performance, activism and being in-between’.
Asif Majid & Elena Velasco
Chapter 19: ‘Timely homecomings’.
Chapter 20: ‘The arrivals legacy process: Reviving Ancestral stories of recovery and return’.
Chapter 21: ‘Applying Hamilton’
Part IV: Latin America
Introduction to Part IV: Applied performance in Latin America.
Paloma Carpio & Rodrigo Benza
Chapter 22: ‘The body, women, and performance art in Latin America’.
Chapter 23: ‘Dance as a tool for the construction of peace and identity’.
Ana Carolina Ávila
Chapter 24: ‘We play as we mean to resist: Theatre games as political participation’.
Chapter 25: ‘Communal living culture: From the many to the few, from the few to the many’.
Iván Nogales & Paloma Carpio
Chapter 26: ‘Latent conflict orlLatency in conflict: The liminal space between art actions and the Chilean civic-military dictatorship’.
Andrés Grumann Sölter & Francisco Gonzáles Castro
Chapter 27: ‘The community and its gaze: Argentine community theater’.
Chapter 28: ‘Three community experiences and a resignation’
Rafael Murillo Selva
Part V: Southern Africa
Introduction to Part V: Applied performance in Southern Africa
Chapter 29: ‘Romio ndi Julieti (Romeo and Juliet): Chichewa language production of a serious drama’.
Chapter 30: ‘Rituals (2010) as a counter narrative of healing and reconciliation in Zimbabwe’.
Kelvin Chikonzo & Ruth Makumbirofa
Chapter 31: ‘Dear Mr Government’.
Jessica Lejowa, Bongile Lecoge-Zulu and Cherae Halley
Chapter 32: ‘Applied performance as a space to address issues affecting girls and young women in Zimbabwe: A case study of Rachel 19’.
Cletus Moyo & Nkululeko Sibanda
Chapter 33: ‘Applied arts in business contexts: Selling out to the oppressor or doing transformational work?’
Petro Janse van Vuuren
Part VI: Western Europe
Introduction to Part VI: ‘Care for the Open: intercultural challenges and transcultural potential of applied performances in Western Europe’.
Chapter 34: ‘Realistic art and the creation of artistic truth’.
Chapter 35: ‘Artistic creation and participation in Portugal and Brazil: The urgencies of today’.
Chapter 36: ‘Core of Nordic applied theatre: Challenges in a subarctic area’.
Riike Gürgens Gjaerum
Chapter 37: ‘Youth transformation in search of freedom’.
Chapter 38: ‘Legami in spazi aperti (Bonds in Open Spaces)’.
Giulia Innocenti Malini
Chapter 39: ‘Exploring dramaturgy in participatory refugee theatre as a dialogical art practice: Dialogical tensions in a temporary relational playground’.
Sofie de Smet, Lucia De Haene, Cécile Rousseau, & Christel Stalpaert
Chapter 40: ‘The right artistic solution is just the beginning’.
Tim Prentki is Emeritus Professor of Theatre for Development at the University of Winchester. He is the co-editor of the Routledge Applied Theatre Reader (2008), author of Applied Theatre: Development (2015) and The Fool in European Theatre: Stages of Folly (2011), and co-editor with Ananda Breed of Performance and Civic Engagement (2018).
Ananda Breed is Professor in Theatre at the University of Lincoln. She is the author of Performing the Nation: Genocide, Justice, Reconciliation (2014), co-editor with Tim Prentki of Performance and Civic Engagement (2018) and Principal Investigator of the Arts and Humanities Research Council (AHRC) Global Challenges Research Fund (GCRF) project Mobile Arts for Peace (MAP): Informing the National Curriculum and Youth Policy for Peacebuilding in Kyrgyzstan, Rwanda, Indonesia and Nepal (2020-2024).