LEADER 04526nam 2200589 450 001 9910806271703321 005 20230920173038.0 010 $a1-78320-627-6 035 $a(CKB)3710000000850830 035 $a(EBL)4675516 035 $a(MiAaPQ)EBC4675516 035 $a(EXLCZ)993710000000850830 100 $a20161006d2016 uy| 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aApplied theatre $einternational case studies and challenges for practice /$fedited by Monica Prendergast and Juliana Saxton 205 $aSecond edition. 210 1$aBristol :$cIntellect,$d2016. 215 $a1 online resource (298 pages) 300 $aDescription based upon print version of record. 311 $a1-78320-626-8 311 $a1-78320-625-X 320 $aIncludes bibliographical references and index. 327 $aCover; Half Title ; Title ; Copyright ; Contents; Acknowledgments; Preface: What Is This Book About?; Part One: Theories, History and Practices of Applied Theatre ; Chapter One: Theories and History of Applied Theatre ; 1.1 Where Do We Find Applied Theatre?; 1.2 What Is Applied Theatre?; 1.3 Why Applied Theatre? How Did It Emerge?; 1.4 What Is the Purpose of Applied Theatre?; Summary; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Chapter Two: Practices of Applied Theatre; 2.1 How Do We Make Applied Theatre?; 2.2 Who Are the Performers of Applied Theatre? 327 $a2.3 Who Is Applied Theatre for?2.4 What Are the Interactions between Actors, Spectators and Facilitators in Appliedtheatre?; 2.5 How Do We Assess Applied Theatre?; 2.6 What Are the Key Areas to Effective Applied Theatre Practice?; Summary; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Chapter Three: Story, Storytelling and Applied Theatre; 3.1 How Is Story Related to Applied Theatre?; 3.2 What Kinds of Stories Inform Applied Theatre?; 3.3 What Is Effective Storytelling?; 3.4 How Does Storytelling Change in Applied Theatre? 327 $a3.5 What Are the Issues around the Uses of Story in Applied Theatre?Summary; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Part Two: The Landscape of Applied Theatre; Chapter Four: Popular Theatre; Introduction; 4.1 Popular Theatre as Spectacle; 4.2 Puppetry with at-Risk Youth; 4.3 Comic Performance in Bangkok; 4.4 Street Theatre for Safer Practices; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Web Resources; Chapter Five: Documentary Theatre; Introduction; 5.1 Fight for Freedom; 5.2 Translating Testimony 327 $a5.3 Reciprocating Roles5.4 Detaining Asylum Seekers in Australia; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Web Resources; Chapter Six: Theatre in Education (TIE) ; Introduction; 6.1 Human Rights; 6.2 Disability and the Inclusive Classroom; 6.3 Countering Radicalization; 6.4 Child Abuse and Family Violence; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Web Resources; Chapter Seven: Theatre of the Oppressed (TO) ; Introduction; 7.1 A letter from Augusto Boal; 7.2 Forum Theatre on Sexual Harassment 327 $a7.3 Igniting the social imagination7.4 Life skills in medical education; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Web Resources; Part Three: The Locations of Applied Theatre ; Chapter Eight: Theatre in Health Education (THE) ; Introduction; 8.1 HIV/AIDS; 8.2 Prenatal Screening as Multimedia Performance; 8.3 Approaching a Doctor's Life; Further Reading; Questions for Reflection and Discussion; Suggested Activities; Web Resources; Chapter Nine: Theatre for Development (TfD) ; Introduction; 9.1 A Bangladesh TfD Project 327 $a9.2 Education for Political Process in Uganda 606 $aCommunity theater 606 $aTheater 606 $aDrama 606 $aTheater and society 606 $aTheater$xStudy and teaching 615 0$aCommunity theater. 615 0$aTheater. 615 0$aDrama. 615 0$aTheater and society. 615 0$aTheater$xStudy and teaching. 676 $a792 702 $aPrendergast$b Monica 702 $aSaxton$b Juliana$f1933- 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910806271703321 996 $aApplied theatre$94005519 997 $aUNINA