LEADER 03526 am 22006613u 450 001 9910153561803321 005 20161024011046.0 010 $a1-78374-261-5 010 $a2-8218-8403-6 010 $a1-78374-260-7 035 $a(CKB)3710000000869539 035 $a(EBL)4694633 035 $a(MiAaPQ)EBC4694633 035 $a(FrMaCLE)OB-obp-3635 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/39028 035 $a(PPN)203889606 035 $a(EXLCZ)993710000000869539 100 $a20161021h20162016 uy| 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aTheatre and war $enotes from the field /$fNandita Dinesh 210 $cOpen Book Publishers$d2016 210 1$aCambridge :$cOpen Book Publishers,$d[2016] 210 4$dİ2016 215 $a1 online resource (214 p.) 300 $aDescription based upon print version of record. 311 $a1-78374-258-5 311 $a1-78374-259-3 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- 1. Why -- 2. Where -- 3. Who -- 4. What -- 5. When -- Conclusions -- Bibliography -- Index. 330 $aNandita Dinesh places Kipling's 'six honest serving-men' (Who, What, When, Where, Why, How) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dinesh's personal narrative with the public story of modern conflict. In it Dinesh asks how theatre might intervene in times and places of conflict and how we might reflect on such interventions. In pursuit of answers, Theatre and War adopts the methods of auto-ethnography, positioning the theatrical practitioner at the heart of conflict zones in northern Uganda, Guatemala, Northern Ireland, Mexico, Rwanda, Kenya, Nagaland, and Kashmir. Each chapter approaches the need for a synthesis of theory and practice by way of a term of inquiry ? Why, Where, Who, What, When ? and each is equipped with a set of unflinchingly honest field notes that are designed to reveal some of the 'hows' from the author's own repertoire: questions and issues that were encountered during her own theatrical undertakings, along with first hand reflection on the complexities, potential, and challenges that attended her global work in community theatre. Within these notes are strategies that give the reader a practical insight into how the book's discussion might find its footing on the ground of war. The range and scope of this book make it required reading for those interested in theatre ? practitioners, researchers, and students alike - as well as those seeking to understand the applications of the arts for ethics, politics, and education. 606 $aWar and theater 610 $aperformances 610 $aethics 610 $atheatre 610 $aetnography 610 $awar 610 $acommunity theatre 610 $aAegean dispute 610 $aAfterlife 610 $aArmenia 610 $aIndia 610 $aIntentionality 610 $aKashmir 610 $aRwanda 615 0$aWar and theater. 676 $a809.2/93581 700 $aDinesh$b Nandita$0887077 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910153561803321 996 $aTheatre and war$92280863 997 $aUNINA