This book explores and critiques the concept of participation in applied theatre both theoretically and practically.
Participation is one of the concepts central to applied theatre practice, but it’s mostly considered when engaging with communities in applied theatre, while the term itself is under-theorized in applied theatre discourses. This study examines and unpacks participation as a tool to foster community engagement and decolonize research and knowledge production in applied theatre practice, especially regarding representation, equity and access.
What does participation even mean? What are the new and existing paradigms and frameworks in participation discourses? How do these frameworks impact participation from ethical, sociocultural, economic and aesthetic perspectives? And in what ways can applied theatre practitioners re-conceptualize and re-position participation meaningfully in their work? Through case studies drawn from a diverse range of places including Kenya, Brazil and Canada, this book presents discourses on and experiences of participation for the purpose of repositioning it.
List of Figures
Note on Contributors
Acknowledgements
Introduction
Part 1 - (Re)Framing Participation
1. Self-Positionality
2. Conceptual Framework for Participation
3. Applied Theatre and Participation
Part 2 - Case Studies of (Re)Framing
4. Challenging ‘Participation’: The Limits of Applied Theatre in Spaces of Deprivation of Liberty — Sergio Costa Junior (Sergio Kauffmann) and Marina Henriques Coutinho (UNIRO – Federal University of the State of Rio de Janeiro, Brazil)
5. When Participation Matters in the Climate Justice Conversation: Reflection on an Applied Theatre Project in the Niger Delta — Stephen Okpadah (University of Warwick, UK)
6. Arena y Esteras (Sands and Mats): Communal Living Culture and Good Living — Rodrigo Benza Guerra and Paloma Carpio (Pontifical Catholic University of Peru, Peru)
7. Re-orientating White-settler Participatory Praxes in Higher Education – Jemma Llewellyn and Steve Donnelly (University of Guelph, Canada)
8. Exploration of the Art and Act of Participation Employed in the Devising and Performance of Message Crossing Time — Wan-Jung Wang (National University of Tainan, Taiwan)
9. Keeping the Peace? Perspectives from Kenyan Practitioners on Theatre and Peacebuilding Projects’ – Bobby Smith (University of Warwick, UK) and Maxwel Okuto (Amani People's Theatre, Kenya)
10. Constructing Sinophone Childhoods: An Exploratory Case Study of Participatory Theatre in Hong Kong— Tam Po-chi (The Education University of Hong Kong)
11. Interviews
a. Keamogetsi Joseph Molapong (Namibia)
b. Julian Boal (Brazil)
12. Afterwords
Index
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