Deploying social theatre in TDR is performative-as likely to bring
about as it is to describe. Social theatre is not a meeting of two distinct
unrelated wholes. It is the dynamic meeting of theatre and social work, an
interaction that can change both disciplines.
Here We Are: Social Theatre and Some Open Questions about Its Developments [Access article in PDF] Subject Headings:
Theater and society.
One of the leaders of the movement considers some of the theoretical and
historical sources and themes of social theatre as an instrument of action
"Far Away, So Close": Psychosocial and Theatre Activities with Serbian Refugees [Access article in PDF] Subject Headings:
Theater and society -- Serbia and Montenegro -- Serbia.
Refugees -- Serbia and Montenegro -- Serbia.
Making creative activities for children, adolescents, and elderly refugees living in the collective centers of war-torn southern Serbia proved to be no easy task.
University of Texas at Austin. Live from death row [performance]
Webster, Ken. Jury duty [performance]
Theater -- Political aspects.
"Staged activism" is social protest using the tactics of performance, while "activist performance" is conventional stage drama deliberately performed as part of a particular political project. What are the advantages and drawbacks of each?
Whose Play Is It?: The Issue of Authorship/Ownership in Israeli Community-Based Theatre [Access article in PDF] Subject Headings:
Community theater -- Israel.
Theater -- Political aspects -- Israel.
Theater and society -- Israel.
Community-based theatre in Israel is a means for individual and social empowerment. But who really owns these theatrical means of production-the community, the artists, or the sponsors?
What are the ways that collective storytelling becomes a communityforming activity, where individual and communal identity is negotiated and explored? What are the interactive exchanges between the storyteller
Sri Lanka -- History -- Civil War, 1983- -- Theater and the war.
What happens when the theatre is implicated in the horrors of the situation it displays? Who can judge the truth of one story against another? Should we champion a narrative that denies the rhetoric of war, and deny the narrative that champions the need for war?
Reflecting on 25 years of making grassroots art, Cocke asks: How can artists relate to tradition, pursue intercultural collaborations, build diverse audiences, and help communities discover and perform their stories?
Schechner's working visit to Taipei, Hong Kong, and Shanghai proved to be a journey among three very different kinds of Chinese communities with very different political and artistic practices—from social drama to traditional theatre.
Finding himself in the midst of political upheaval surrounding Jean-Bertrand Aristide's fall from power in Haiti, Bailey saw in the violence a great need for the kind of healing and empowering that social theatre can bring.
Sorgenfrei, Carol Fisher.
The Man Who Saved Kabuki: Faubion Bowers and Theatre Censorship in Occupied Japan (review) [Access article in PDF] Subject Headings:
Okamoto, Shiro, 1946- Man who saved Kabuki: Faubion Bowers and theatre censorship in occupied Japan.