By Monica Prendergast, Juliana Saxton
Applied Theatre is the 1st assortment to aid practitioners and scholars in constructing serious frameworks for his or her personal community-based theatrical initiatives. The editors draw on thirty case reports in utilized theatre from fifteen countries—covering a variety of disciplines, from theatre stories to schooling, medication, and law—and gather crucial readings to supply a accomplished survey of the sector. Infused with a historic and theoretical evaluation of useful theatre, Applied Theatre deals transparent developmental methods and versions for useful application.
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Additional resources for Applied Theatre: International Case Studies and Challenges for Practice
Suggested Activities 1. How would you describe applied theatre to someone who has not read this introduction or experienced applied theatre in other ways? Working with a partner or a group of three, take turns role-playing this conversation. 2. Re-read the thumbnail descriptions of applied theatre practices (pp. 1–6). Which of these types of applied theatre most draws your interest? What is it that attracts you to this particular form? 1 How do we make applied theatre? Facilitation As in so much of applied theatre, there are a number of terms for those who work in theatre with communities—teaching artist, director, co-creator, artistic assistant, Joker (Boal’s term) and so on—but “facilitator” seems to be the most common and, in terms of its original meaning (“to make easy”), the most appropriate.
As it develops[,] the delegation meet[s] and interact[s] with the roles: sensations registered during their first “tour” are shared in the hotel room; perceptions are developed. As each part of the whole is probed and becomes revealed to them, they develop a sense of the quality of Borovia. The portals begin to offer a way of seeing. Borovia is gradually discerned as a sum and unity of opposites: The Tailor: A man who is highly skilled, and proud to make the jacket for the Prince. He came to Borovia many, many years ago.
2. Aesthetics: These are the qualities of an artistic work that we can identify and value. For example, how does a performance engage our multiple senses (hearing, sight, touch, smell and taste), exhibit moments of beauty, harmony, metaphor/symbol, recognition and surprise and use the elements of theatre (focus, tension, sight/sound, dark/light, movement/stillness [Wagner, 1976, p. 148–158])? In what ways do the contexts of any given applied theatre project directly affect the aesthetic/artistic choices made by participants and the values generated from the work by audiences?