The Routledge Companion to Applied Performance:Volume One – Mainland Europe, North and Latin America

Australia and New ZealandWestern EuropeNorth AmericaThe BalkansLatin AmericaSouthern AfricaReferencesI. Australia and New ZealandINTRODUCTION TO PART I: Considering the ethics of representation in applied theatreIntroductionStory ownership: considering the conflicting rights of the individual and the collectivePositioning and power relations: considering the ethics of inclusion and ownershipAccuracy or artistry: representing the affective nature of experienceThe politics of editing: which parts of the story (not) to tell?Colonisation, collaboration and captivities: exploring ethics of engagement within prison theatreTrauma and transformative experience: considering ethics of representation in recovery theatreImpact, effect and affect: considering the possibility of unintended negative consequencesEconomies of care: creating enabling spaces for cultural safety and system changeTherapeutic theatre: relational encounters with strangers in careDrawing some conclusionsReferencesIDENTIFYING AND UNDERSTANDING THE NOTION OF QUALITY WITHIN AN APPLIED THEATRE PROJECT DESIGNED TO PLAYFULLY ENGAGE PEOPLE LIVING WITH DEMENTIAInforming literaturePractice approachResearch approachThe settingThe vignettesConclusionNoteReferencesREPAIRING THE EVIL: Staging Puppet Antigone (2017) at Auckland PrisonIntroduction: the colonial legacy, the prison community and puppetsTangihangat respect for the deadTiresias: a blind tohungaWhaikdrero and the art of oratoryBunraku puppets, manaaki, and an ethics of careRepairing the evilAcknowledgementsNotesReferencesTAURIMA VIBES: Economies of manaakitanga and care in Aotearoa New ZealandTwo perspectivesTikanga Maori and wellbeing as a kaupapa for performance practice (Boni)Rethinking the economies of applied performance (Molly)The contextTaurima Vibes: Kaupapa, whanau, mahiEconomies of care and manaakiThe Puawai FestivalFinal commentsAcknowledgementsNotesReferencesSMALL ACTS AT THE MARGINS: Making theatre work at cross-cultural intersectionsIntroductionDay oneThe sparkMeeting MoogahlinFinding the playHistory, country and contextOn country with Uncle MaxRehearsalInside the third space (Bhabha, 1990)ConclusionReferencesTHE ART OF LISTENING IN PRISON: Creating audio drama with incarcerated womenPreludeBackgroundThe “Floating Brothel” and Australia’s colonial legacy of female incarcerationParticipatory audio drama, intimacy, and acoustic agencyListening across time, distance, and differenceEthical tensions: Compromising acoustic agencyConclusionAuthor’s noteNotesReferencesII. The BalkansINTRODUCTION TO PART II AND III: Memory, identity and the (ab)use of representationPERFORMING THE OTHERNESS: Representation of the invisible communities in post-conflict and post-communist societies: Croatian exampleTHE BRIDGE TO HOPE: Applied theatre in post-war Bosnia and HerzegovinaTHEATRE AGAINST VIOLENCE, ACTION IN CLASSROOMSEntitled to a MistakeBottom(s up)LieTurn On Your Computer, Turn On Your BrainADINTERVIEW WITH VLADIMIR KRUSIC: Theatre and drama in educationIN SEARCH OF POLYPHONIC CONCEPTS OF PARTICIPATORY THEATRE AND ART FOR SOCIAL CHANGE: Almost half a century of engagementTheatre of participation: a polyphonic conceptSkozoristeSkozoriste PlaysThe Children’s Hamlet Workshop for Adults“Living Together”“Art for Social Change: Play Against Violence”“DICE - Drama Improves Lisbon Key Competences in Education”New Creative Choices - Building an Open System of Educational Theatre and Drama for Enhancing Roma InclusionApplied theatre platformBitef PolyphonyInstead of a conclusionGIVING VOICE TO THE VOICELESS: Raising awareness and spurring debate on the Homeland War (1991-1995) in Croatian theatreIntroductionThe war in Croatian theatre and playwriting (1990-2004)A step forward in Croatian war playwriting: dealing with the uncomfortable past (2005-2018)Mate Matisics posthumous trilogyGeneration 91-95Trilogy on Croatian FascismThe Fall and later playsConclusionNotesReferencesIII. North AmericaEXAMINING THE ETHICS OF RESEARCH-BASED THEATRE THROUGH CONTACT!UNLOADIntroductionContactlUnloadConceptualizing and researchingDevelopingProducingPerformingWitnessingEvaluatingConclusionNoteReferencesWE ARE HERE: Glyphing a re-creation story through waterways, bloodlines and constellationsYou are here: remembering the bitter EarthYou are here: re-emplacement as survivance-interventionYou are here: remembrance, acknowledgement and re-orientationWe are here: the personal cosmography as contemporary “futurity practice”NotesReferencesAPPLIED PERFORMANCE PRACTICES OF THERAPEUTIC CLOWNS: A curated conversation with Helen DonnellyPLAYBACK THEATRE CONDUCTOR AS RITUAL GUIDE: The artful and sensitive job of extracting personal storiesA cold warm-upTo be heardLost at seaFreedomConclusionReferencesTHEATRE TO ADDRESS SOCIAL JUSTICE ISSUES WITH GATEKEEPERS IN CANADAReform and revolution: approaches to addressing social justiceApplied theatre to address social justice issuesApplied performanceNotesReferencesTENSIONS OF ENGAGEMENT: Oscillating between distance and implicationIntroductionGrappling with the margins of societyObstaclesProtocols of engagement“Return to the Nile”ConclusionNoteReferencesQUESTIONING SOCIAL JUSTICE: A dialogue on performance, activism, and being in-betweenTIMELY HOMECOMINGSImprovised entry pointsInterval passagewaysConcrete arrivalsUnsettling resettlementReferencesTHE ARRIVALS LEGACY PROCESS: Reviving Ancestral stories of recovery and returnIntroductionThe processThe village journeyDecolonizing strategiesThe body’s wisdomWhere are we now?NoteReferencesAPPLYING HAMILTONIV. Latin AmericaINTRODUCTION TO PART IV: Applied performance in Latin AmericaPolitico-historical contextCommunity theater/theater in communityPerformance, memory, and politicsCommunal living cultureNotesReferencesTHE BODY, WOMEN, AND PERFORMANCE ART IN LATIN AMERICAIntroductionWomen and violenceStereotypes and socially imposed rolesEveryday lifeArt and the mediaRitualConclusionNotesReferencesDANCE AS A TOOL FOR THE CONSTRUCTION OF PEACE AND IDENTITYPolitical contextConclusionsAuthor’s noteNotesReferencesWE PLAY AS WE MEAN TO RESIST: Theatre games as political participationThe potentials and problems of playJoy as resistance? At the crossroads between affect and effectThe invisibles: to resist from withinConclusionReferencesCOMMUNAL LIVING CULTURE: From the many to the few, from the few to the manyIntroductionCommunal living cultureThe journey thus farThe journey aheadLatin American-European bridgeCommunity passportPluriversityCertificationEmbassies of community cultureSummaryNotesReferenceю LATENT CONFLICT OR LATENCY IN CONFLICT: The liminal space between art actions and the Chilean civic-military dictatorshipLatency in conflict and the liminal space of‘applied performance’Contextual emergency: the civic-military dictatorship in ChileConflict in latency: art actions, the CADA, Janet Toro, and Mujeres por la VidaNO+ by the CADA and its public diasporaWounded body, public pain, and the Mapocho River: Janet ToroSOMOS + and No me olvides: social agitation and latent conflict in Mujeres por la vidaNotesReferencesTHE COMMUNITY AND ITS GAZE: Argentine community theaterThe gazeThe historyThe proponentsThe epic, the aestheticsInclusion, celebrationRelations with the stateCommunity theater and social transformationThe movementBibliographyTHREE COMMUNITY EXPERIENCES AND A RESIGNATIONDingki-Dingki in the Time of AIDS (2003)Three cultures: sexuality as a theme (surprise and the stage: on tour in places where no one knows what ‘theater’ is)Note on the programTree That Tells Stories, or, the Mining Illusion (2000)3The spirit of a treeAbout the workThe Dance of Souls (1996)Introduction I: A ceremony on the stage, the strength of the Garifuna womanIntroduction II: Conflicts between religiosities, The Dogii: a stigmatized ceremonyLetter of resignationNotesV. Southern AfricaINTRODUCTION TO PART V: Applied performance in Southern AfricaROMIO NDI JULIETI (ROMEO AND JULIET): Chichewa language production of a serious dramaHistorical, political, and cultural contextRomio ndi JulietiWorkshopsRehearsals and productionNoteBibliographyRITUALS (2010) AS A COUNTER NARRATIVE OF HEALING AND RECONCILIATION IN ZIMBABWEIntroductionTheoretical frameworkBackground and production dataEndogenous healing and justice as subversiveVictim-sensitive truth and reconciliation versus imprisonmentForgiveness without truthConclusionReferencesDEAR MR GOVERNMENTSection ASection BReferencesAPPLIED PERFORMANCE AS A SPACE TO ADDRESS ISSUES AFFECTING GIRLS AND YOUNG WOMEN IN ZIMBABWE: A case study of Rachel 19Applied theatre practice in Africa and ZimbabweThe Victory Siyanqoba Trust and Rachel 19Conceptual framework: the Laundry CaféProblems personified and gendered approaches to socio-political issues in the communityBreaking boundaries and taboos through Rachel 19 and the Laundry CaféThe use of metaphor as a way of dealing with problemsRachel 19 as a rehearsal for actionConclusionReferencesAPPLIED ARTS IN BUSINESS CONTEXTS: Selling out to the oppressor or doing transformational work?Introduction: The need for applied performance in the workplaceThe ethical gapPhase 1: Initial identification of valuesPhase 2: Interrogating meaningThe values conversationSystemic awarenessHutnans as resourcesIntellectual ownershipIntrinsic valueConclusion: Counter measuresNotesReferencesVI. Western EuropeINTRODUCTION TO PART VI: Care for the Open: intercultural challenges and transcultural potential of applied performances in Western EuropeApplied performance with refugeesBetween art and real life: political strategies of applied performanceConclusionNoteReferencesREALISTIC ART AND THE CREATION OF ARTISTIC TRUTHMemory and condensation: Hate Radio (2011)Fate and unity: Empire (2016)Truth and justice: The Congo Tribunal (2015/2017 film)ReferencesARTISTIC CREATION AND PARTICIPATION IN PORTUGAL AND BRAZIL: The urgencies of todayIntroductionCommunity arts practicesCommunity arts practices in Portugal and BrazilThe case of PeleThe case of Mexe: The International Art and Community FestivalThe case of BonobandoConclusionsNotesReferencesCORE OF NORDIC APPLIED THEATRE: Challenges in a subarctic areaWhat is the Nordic context?MarginalityConceptual clarification in a Nordic contextIn light of art didacticsApplied theatre and disabilityLocation-specific roomsSpatialityChallenges aheadNotesReferencesYOUTH TRANSFORMATION IN SEARCH OF FREEDOMIn place of an introduction: a fairy tale about growing up to be responsibleResponsibility for wordsWatchful of each otherI am innocentThe incredible power of failure (learning through experience)Growing up under the mask of an actor’s roleReferencesLEGAMI IN SPAZI APERTI (BONDS IN OPEN SPACES)A short account of prison theatre in ItalyDiary notesBeginning of the projectCrisis and developmentThe social theatre workshop ofVerziano: elements of a theatrical process intended to work on the development of the different subjects involved (individuals, groups and communities)The release from prison: the feast as performative mediatorTo be there for someone else: the rediscovery of parenthood as a process of reconciliationA local network to promote its communityPerforming the socialNotesReferencesEXPLORING DRAMATURGY IN PARTICIPATORY REFUGEE THEATRE AS A DIALOGICAL ART PRACTICE: Dialogical tensions in a temporary relational playgroundA temporary common playgroundThe creative process: towards the new worldCreating collective tableaux vivantsReflecting on video interviewsCreating and sharing personal materialEnvisioning a new worldTemporaryDialogical practices inside and outside the creation processConclusionAcknowledgementsReferencesTHE RIGHT ARTISTIC SOLUTION IS JUST THE BEGINNINGBackgroundThe political and cultural contextThe Danish theatre for young audiences and the “expressive literacy”MethodologyThe first steps: the pilot project (November 2016-February 2017)Evaluation of the pilot projectThe full Hodja project (March 2017-August 2019)PartnershipsFinancing and key figuresPerformancesWorkshopsTwo case studies of applied performanceMonitoringWith or without the Danish schoolchildren?When Hodja was “overtaken” by realityConclusionReferences
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