LEADER 04038nam 2200637 a 450 001 9910786253403321 005 20230803025627.0 010 $a1-84150-786-5 035 $a(CKB)2670000000340933 035 $a(EBL)1113136 035 $a(OCoLC)831120934 035 $a(SSID)ssj0000908554 035 $a(PQKBManifestationID)12404706 035 $a(PQKBTitleCode)TC0000908554 035 $a(PQKBWorkID)10901083 035 $a(PQKB)10840582 035 $a(MiAaPQ)EBC1113136 035 $a(Au-PeEL)EBL1113136 035 $a(CaPaEBR)ebr10651461 035 $a(CaONFJC)MIL884614 035 $a(EXLCZ)992670000000340933 100 $a20130208d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aRefugee performance$b[electronic resource] $epractical encounters /$fedited by Michael Balfour 210 $aBristol $cIntellect$d2013 215 $a1 online resource (344 p.) 300 $aDescription based upon print version of record. 311 $a1-84150-637-0 320 $aIncludes bibliographical references and index. 327 $aCover; Half Title; Title; Copyright; Contents; Acknowledgements; Permissions; Illustrations; Author Biographies; Preface; Chapter 1: Iraqi Memories. A Personal and Poetic Exploration of Homecomings, Departures and Arrivals from a Theatre Director Who Fled Iraq in 1987 and Returns Home Again; Chapter 2: On Stitches; Chapter 3: Health Theatre in a Hmong Refugee Camp: Performance, Communication, and Culture; Chapter 4: Play Extract: Forged in Fire; Chapter 5: Narrative Theatre as an Interactive Community Approach to Mobilizing Collective Action in Northern Uganda 327 $aChapter 6: Marketing Trauma and the Theatre of War in Northern UgandaChapter 7: Encounters in the Aida Refugee Camp in Palestine: Travel Notes on Attending Alrowwad Theatre's Production of Handala (2011); Chapter 8: Rape as War Strategy: A Drama from Croatia; Chapter 9: Far Away, So Close: Psychosocial and Theatre Activities with Serbian Refugees; Chapter 10: Play Extract: Refugees; Chapter 11: 'Politics Begins as Ethics': Levinasian Ethics and Australian Performance Concerning Refugees; Chapter 12: Refugee Performance: Encounters with Alterity 327 $aChapter 13: Repeat Performance: Dancing DiDinga with the Lost Boys of Southern SudanChapter 14: Theatre as a Healing Space: Ping Chong's Children of War; Chapter 15: Drama and Citizenship Education: Tensions of Creativity, Content and Cash; Chapter 16: Inclusive Democracy: A Consideration of Playback Theatre with Refugee and Asylum Seekers in Australia; Chapter 17: Hospitable Stages and Civil Listening: Being an Audience for Participatory Refugee Theatre; Index; Back Cover 330 $aThe title of this book, Refugee Performance, suggests there is a constituency of practices that might be unified under a definite term or god forbid to propose a new field of study. This is far from the intentions of the collection. This collection has grown out of an interest in performance and theatre in sites of war and the impact of conflict on diasporic communities. The chapters represent stories from a range of countries and war contexts, including Iraq, Thailand, Burma, Uganda, Palestine, Croatia, Serbia, Australia, the United Kingdom, and the United States of America. This is by no mea 606 $aTheater$xPolitical aspects 606 $aTheater and society 606 $aPerforming arts$xPolitical aspects 606 $aRefugees as artists 606 $aRefugees in literature 615 0$aTheater$xPolitical aspects. 615 0$aTheater and society. 615 0$aPerforming arts$xPolitical aspects. 615 0$aRefugees as artists. 615 0$aRefugees in literature. 676 $a792.022 701 $aBalfour$b Michael$0169994 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786253403321 996 $aRefugee performance$93812718 997 $aUNINA