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

Australia and New Zealand Western Europe North America The Balkans Latin America Southern Africa References I. Australia and New Zealand INTRODUCTION TO PART I: Considering the ethics of representation in applied theatre Introduction Story ownership: considering the conflicting rights of the individual and the collective Positioning and power relations: considering the ethics of inclusion and ownership Accuracy or artistry: representing the affective nature of experience The politics of editing: which parts of the story (not) to tell?Colonisation, collaboration and captivities: exploring ethics of engagement within prison theatre Trauma and transformative experience: considering ethics of representation in recovery theatre Impact, effect and affect: considering the possibility of unintended negative consequences Economies of care: creating enabling spaces for cultural safety and system change Therapeutic theatre: relational encounters with strangers in care Drawing some conclusions References IDENTIFYING AND UNDERSTANDING THE NOTION OF QUALITY WITHIN AN APPLIED THEATRE PROJECT DESIGNED TO PLAYFULLY ENGAGE PEOPLE LIVING WITH DEMENTIA Informing literature Practice approach Research approach The setting The vignettes Conclusion Note References REPAIRING THE EVIL: Staging Puppet Antigone (2017) at Auckland Prison Introduction: the colonial legacy, the prison community and puppets Tangihangat respect for the dead Tiresias: a blind tohunga Whaikdrero and the art of oratory Bunraku puppets, manaaki, and an ethics of care Repairing the evil Acknowledgements Notes References TAURIMA VIBES: Economies of manaakitanga and care in Aotearoa New Zealand Two perspectives Tikanga Maori and wellbeing as a kaupapa for performance practice (Boni)Rethinking the economies of applied performance (Molly)The context Taurima Vibes: Kaupapa, whanau, mahi Economies of care and manaaki The Puawai Festival Final comments Acknowledgements Notes References SMALL ACTS AT THE MARGINS: Making theatre work at cross-cultural intersections Introduction Day one The spark Meeting Moogahlin Finding the play History, country and context On country with Uncle Max Rehearsal Inside the third space (Bhabha, 1990)Conclusion References THE ART OF LISTENING IN PRISON: Creating audio drama with incarcerated women Prelude Background The “Floating Brothel” and Australia’s colonial legacy of female incarceration Participatory audio drama, intimacy, and acoustic agency Listening across time, distance, and difference Ethical tensions: Compromising acoustic agency Conclusion Author’s note Notes References II. The Balkans INTRODUCTION TO PART II AND III: Memory, identity and the (ab)use of representation PERFORMING THE OTHERNESS: Representation of the invisible communities in post-conflict and post-communist societies: Croatian example THE BRIDGE TO HOPE: Applied theatre in post-war Bosnia and Herzegovina THEATRE AGAINST VIOLENCE, ACTION IN CLASSROOMS Entitled to a Mistake Bottom(s up)Lie Turn On Your Computer, Turn On Your Brain AD INTERVIEW WITH VLADIMIR KRUSIC: Theatre and drama in education IN SEARCH OF POLYPHONIC CONCEPTS OF PARTICIPATORY THEATRE AND ART FOR SOCIAL CHANGE: Almost half a century of engagement Theatre of participation: a polyphonic concept Skozoriste Skozoriste Plays The 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 Inclusion Applied theatre platform Bitef Polyphony Instead of a conclusion GIVING VOICE TO THE VOICELESS: Raising awareness and spurring debate on the Homeland War (1991-1995) in Croatian theatre Introduction The 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 trilogy Generation 91-95 Trilogy on Croatian Fascism The Fall and later plays Conclusion Notes References III. North America EXAMINING THE ETHICS OF RESEARCH-BASED THEATRE THROUGH CONTACT!UNLOAD Introduction ContactlUnload Conceptualizing and researching Developing Producing Performing Witnessing Evaluating Conclusion Note References WE ARE HERE: Glyphing a re-creation story through waterways, bloodlines and constellations You are here: remembering the bitter Earth You are here: re-emplacement as survivance-intervention You are here: remembrance, acknowledgement and re-orientation We are here: the personal cosmography as contemporary “futurity practice”Notes References APPLIED PERFORMANCE PRACTICES OF THERAPEUTIC CLOWNS: A curated conversation with Helen Donnelly PLAYBACK THEATRE CONDUCTOR AS RITUAL GUIDE: The artful and sensitive job of extracting personal stories A cold warm-up To be heard Lost at sea Freedom Conclusion References THEATRE TO ADDRESS SOCIAL JUSTICE ISSUES WITH GATEKEEPERS IN CANADA Reform and revolution: approaches to addressing social justice Applied theatre to address social justice issues Applied performance Notes References TENSIONS OF ENGAGEMENT: Oscillating between distance and implication Introduction Grappling with the margins of society Obstacles Protocols of engagement “Return to the Nile”Conclusion Note References QUESTIONING SOCIAL JUSTICE: A dialogue on performance, activism, and being in-between TIMELY HOMECOMINGS Improvised entry points Interval passageways Concrete arrivals Unsettling resettlement References THE ARRIVALS LEGACY PROCESS: Reviving Ancestral stories of recovery and return Introduction The process The village journey Decolonizing strategies The body’s wisdom Where are we now?Note References APPLYING HAMILTON IV. Latin America INTRODUCTION TO PART IV: Applied performance in Latin America Politico-historical context Community theater/theater in community Performance, memory, and politics Communal living culture Notes References THE BODY, WOMEN, AND PERFORMANCE ART IN LATIN AMERICA Introduction Women and violence Stereotypes and socially imposed roles Everyday life Art and the media Ritual Conclusion Notes References DANCE AS A TOOL FOR THE CONSTRUCTION OF PEACE AND IDENTITY Political context Conclusions Author’s note Notes References WE PLAY AS WE MEAN TO RESIST: Theatre games as political participation The potentials and problems of play Joy as resistance? At the crossroads between affect and effect The invisibles: to resist from within Conclusion References COMMUNAL LIVING CULTURE: From the many to the few, from the few to the many Introduction Communal living culture The journey thus far The journey ahead Latin American-European bridge Community passport Pluriversity Certification Embassies of community culture Summary Notes Reference ю LATENT CONFLICT OR LATENCY IN CONFLICT: The liminal space between art actions and the Chilean civic-military dictatorship Latency in conflict and the liminal space of‘applied performance’Contextual emergency: the civic-military dictatorship in Chile Conflict in latency: art actions, the CADA, Janet Toro, and Mujeres por la Vida NO+ by the CADA and its public diaspora Wounded body, public pain, and the Mapocho River: Janet Toro SOMOS + and No me olvides: social agitation and latent conflict in Mujeres por la vida Notes References THE COMMUNITY AND ITS GAZE: Argentine community theater The gaze The history The proponents The epic, the aesthetics Inclusion, celebration Relations with the state Community theater and social transformation The movement Bibliography THREE COMMUNITY EXPERIENCES AND A RESIGNATION Dingki-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 program Tree That Tells Stories, or, the Mining Illusion (2000)3 The spirit of a tree About the work The Dance of Souls (1996)Introduction I: A ceremony on the stage, the strength of the Garifuna woman Introduction II: Conflicts between religiosities, The Dogii: a stigmatized ceremony Letter of resignation Notes V. Southern Africa INTRODUCTION TO PART V: Applied performance in Southern Africa ROMIO NDI JULIETI (ROMEO AND JULIET): Chichewa language production of a serious drama Historical, political, and cultural context Romio ndi Julieti Workshops Rehearsals and production Note Bibliography RITUALS (2010) AS A COUNTER NARRATIVE OF HEALING AND RECONCILIATION IN ZIMBABWE Introduction Theoretical framework Background and production data Endogenous healing and justice as subversive Victim-sensitive truth and reconciliation versus imprisonment Forgiveness without truth Conclusion References DEAR MR GOVERNMENT Section A Section B References APPLIED PERFORMANCE AS A SPACE TO ADDRESS ISSUES AFFECTING GIRLS AND YOUNG WOMEN IN ZIMBABWE: A case study of Rachel 19 Applied theatre practice in Africa and Zimbabwe The Victory Siyanqoba Trust and Rachel 19 Conceptual framework: the Laundry Café Problems personified and gendered approaches to socio-political issues in the community Breaking boundaries and taboos through Rachel 19 and the Laundry Café The use of metaphor as a way of dealing with problems Rachel 19 as a rehearsal for action Conclusion References APPLIED ARTS IN BUSINESS CONTEXTS: Selling out to the oppressor or doing transformational work?Introduction: The need for applied performance in the workplace The ethical gap Phase 1: Initial identification of values Phase 2: Interrogating meaning The values conversation Systemic awareness Hutnans as resources Intellectual ownership Intrinsic value Conclusion: Counter measures Notes References VI. Western Europe INTRODUCTION TO PART VI: Care for the Open: intercultural challenges and transcultural potential of applied performances in Western Europe Applied performance with refugees Between art and real life: political strategies of applied performance Conclusion Note References REALISTIC ART AND THE CREATION OF ARTISTIC TRUTH Memory and condensation: Hate Radio (2011)Fate and unity: Empire (2016)Truth and justice: The Congo Tribunal (2015/2017 film)References ARTISTIC CREATION AND PARTICIPATION IN PORTUGAL AND BRAZIL: The urgencies of today Introduction Community arts practices Community arts practices in Portugal and Brazil The case of Pele The case of Mexe: The International Art and Community Festival The case of Bonobando Conclusions Notes References CORE OF NORDIC APPLIED THEATRE: Challenges in a subarctic area What is the Nordic context?Marginality Conceptual clarification in a Nordic context In light of art didactics Applied theatre and disability Location-specific rooms Spatiality Challenges ahead Notes References YOUTH TRANSFORMATION IN SEARCH OF FREEDOM In place of an introduction: a fairy tale about growing up to be responsible Responsibility for words Watchful of each other I am innocent The incredible power of failure (learning through experience)Growing up under the mask of an actor’s role References LEGAMI IN SPAZI APERTI (BONDS IN OPEN SPACES)A short account of prison theatre in Italy Diary notes Beginning of the project Crisis and development The 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 mediator To be there for someone else: the rediscovery of parenthood as a process of reconciliation A local network to promote its community Performing the social Notes References EXPLORING DRAMATURGY IN PARTICIPATORY REFUGEE THEATRE AS A DIALOGICAL ART PRACTICE: Dialogical tensions in a temporary relational playground A temporary common playground The creative process: towards the new world Creating collective tableaux vivants Reflecting on video interviews Creating and sharing personal material Envisioning a new world Temporary Dialogical practices inside and outside the creation process Conclusion Acknowledgements References THE RIGHT ARTISTIC SOLUTION IS JUST THE BEGINNING Background The political and cultural context The Danish theatre for young audiences and the “expressive literacy”Methodology The first steps: the pilot project (November 2016-February 2017)Evaluation of the pilot project The full Hodja project (March 2017-August 2019)Partnerships Financing and key figures Performances Workshops Two case studies of applied performance Monitoring With or without the Danish schoolchildren?When Hodja was “overtaken” by reality Conclusion References

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