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Afterword

Peter O’Connor

Dr. Peter O’Connor is Associate Professor and the Director of the Critical Research Unit in Applied Theatre at the University of Auckland, New Zealand. His research interests centre on the application of drama pedagogy within wider social justice or public education actions. His most recent work includes the development of the Teaspoon of Light Theatre Company as a response to the trauma of over 3000 earthquakes in Christchurch. Author affiliation details are correct at time of print publication.

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Michael Anderson

Michael Anderson is Professor of Education at the University of Sydney, Australia. His previous books include: Partnerships in Education Research: Creating Knowledge that Matters (Bloomsbury, 2014), and MasterClass in Drama Education: Transforming Teaching and Learning (Bloomsbury, 2012), and Drama education with digital technology, co-edited with J. Carroll and D. Cameron (Continuum, 2009) Author affiliation details are correct at time of print publication.

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Applied Theatre: Research : Radical Departures

Bloomsbury Methuen Drama, 2015

Books

...The series of cases provided in this book point to a new way of considering and realizing research. In considering what they might have to offer, we argue that they separately and collectively describe a radical departure from the notion...

Send in the Clowns

Applied Theatre: Facilitation : Pedagogies, Practices, Resilience

Bloomsbury Methuen Drama, 2016

Books

...The fidget I have always been a fidget. I’ve always moved around a lot. I had lived in eight different cities in three different countries with a mother, a sister and two different fathers...

Introduction to Facilitation

Sheila Preston

,

Sheila Preston is Head of Performing Arts at the University of East London, UK. Previously she was a senior lecturer in Applied Theatre at the Central School of Speech and Drama, University of London. She co-edited with Tim Prentki The Applied Theatre Reader (Routledge, 2009). Author affiliation details are correct at time of print publication.

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Michael Balfour

Michael Balfour

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Sheila Preston

Sheila Preston is Head of Performing Arts at the University of East London, UK. Previously she was a senior lecturer in Applied Theatre at the Central School of Speech and Drama, University of London. She co-edited with Tim Prentki The Applied Theatre Reader (Routledge, 2009). Author affiliation details are correct at time of print publication.

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Applied Theatre: Facilitation : Pedagogies, Practices, Resilience

Bloomsbury Methuen Drama, 2016

Books

...From the Latin word facilis meaning ‘easy’ or ‘easy to do’ the English noun ‘facilitation’ meaning ‘to make easy’ has its origins in the late fifteenth century. For academics there is a tendency to look down on the idea of making something...

The Art of Facilitation: ‘ ’Tain’t What You Do (It’s The Way That You Do It)’

Applied Theatre: Facilitation : Pedagogies, Practices, Resilience

Bloomsbury Methuen Drama, 2016

Books

...‘ ’Tain’t What You Do’. James ‘Trummy’ Young and Sy Oliver (1939). Ella Fitzgerald and ensemble with Chick Webb and his Orchestra, recorded 17 February 1939, New York.A few years ago there was a festival of theatre workshops for people...

‘Ain’t you got a right to the tree of life?’: Facilitators’ Intentions Towards Community, Integrity and Justice

Applied Theatre: Facilitation : Pedagogies, Practices, Resilience

Bloomsbury Methuen Drama, 2016

Books

...This is the title of an African-American spiritual sung widely during the Civil Rights movement. What is it that we are actually trying to accomplish when we facilitate group processes? How do we understand the relationships among...
...Over the past decade researchers across applied theatre, arts education and the creative arts have challenged many of the established protocols of organized research by introducing a number of radical methodological innovations...

All Our Stress Goes in the River: The Drama Workshop as a (Playful) Space for Reconciliation

Applied Theatre: Facilitation : Pedagogies, Practices, Resilience

Bloomsbury Methuen Drama, 2016

Books

...Introduction In the first part of this book, Sheila Preston makes the case for critical facilitation, wherein we might understand the ‘macro-discourses’ within which we are working, and the impact that these have on our...

Pedagogies: Critical Facilitation

Sheila Preston

,

Sheila Preston is Head of Performing Arts at the University of East London, UK. Previously she was a senior lecturer in Applied Theatre at the Central School of Speech and Drama, University of London. She co-edited with Tim Prentki The Applied Theatre Reader (Routledge, 2009). Author affiliation details are correct at time of print publication.

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Michael Balfour

Michael Balfour

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and

Sheila Preston

Sheila Preston is Head of Performing Arts at the University of East London, UK. Previously she was a senior lecturer in Applied Theatre at the Central School of Speech and Drama, University of London. She co-edited with Tim Prentki The Applied Theatre Reader (Routledge, 2009). Author affiliation details are correct at time of print publication.

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Applied Theatre: Facilitation : Pedagogies, Practices, Resilience

Bloomsbury Methuen Drama, 2016

Books

...The influence of critical pedagogy At the heart of this first chapter sits an intention to offer a nuanced approach to thinking about pedagogies of facilitation by explicit framing as critical facilitation, thus locating...

Meeting the others: Jeremy Weller’s Grassmarket Project

Performance and Community : Commentary and Case Studies

Bloomsbury Methuen Drama, 2014

Books

...The stage for me is a kind of laboratory in which all humanity can be explored. People ask whether this is a social approach but I don’t think it is. It’s more spiritual or psychological. It’s about when you’re not acting, when you’re...

The artist in collaboration: Art-making and partnership in the work of Mark Storor and Anna Ledgard

Performance and Community : Commentary and Case Studies

Bloomsbury Methuen Drama, 2014

Books

...Introduction Individuals working in community contexts call themselves many things other than artists: facilitators, theatre makers, theatre practitioners and animateurs, to name but a few. This variety reflects the diversity...