Applied Practice: Evidence and Impact in Theatre, Music and Art (Applied Theatre)

• Publisher: Bloomsbury Methuen Drama
• Year: 2017
• Tongue: English
• Leaves: 265
• Category: Library

✦ Synopsis

Applied Practice: Evidence and Impact in Theatre, Music and Art engages with a diversity of contexts, locations and arts forms including theatre, music and fine art and brings together theoretical, political and practice-based perspectives on the question of evidence in relation to participatory arts practice in social context. This collection is a unique contribution to the field, focusing on one of the vital concerns for a growing and developing set of arts and research practices. It asks us to consider evidence not only in terms of methodology but also in the light of the ideological, political and pragmatic implications of that methodology. In Part One, Matthew Reason and Nick Rowe reflect on evidence and impact in the participatory arts in relation to recurring conceptual and methodological motifs. These include issues of purpose and obliquity; the relationship between evidence and knowledge; intrinsic and instrumental impacts, and the value of participatory research. Part Two explores the diversity of perspectives, contexts and methodologies in examining what it is possible to know, say and evidence about the often complex and intimate impact of participatory arts. Part Three brings together case studies in which practitioners and practice-based researchers consider the frustrations, opportunities and successes they face in addressing the challenge to produce evidence for the impact of their practice.

✦ Table of Contents

Cover page
Halftitle page
Series page
Title page
Copyright page
Dedication
Contents
Contributors
Acknowledgements
Introduction
Women, prison and the cultural imagination
Women in the criminal justice system – who are they?
Prison theatres
Theatre with and about women in prison
The Medea Project: Theater for Incarcerated Women (USA)
Teatro Yeses (Spain)
Clean Break (UK)
International practices and perspectives
Scope and structure
Notes from the field
Notes
References
Wicked (1991)
1 Interplay: Tracing Personal and Political Transformation through Popular Participatory Theatre in Westville Female Correctional Centre, Durban, South Africa
Introduction: A transformational politics
Popular participatory (prison) theatre
The women of Westville
Politics of the issue
Politics of identity
Politics of human rights
Notes
References
‘Four Walls’, Voices from Prison (1987)
2 ‘They Pink Dress Ain’t Done Shit’: Sex, Dress and Quare Activism in a Women’s Gulf Coast Prison
The pink dress policy
Drama Club herstory
Beauty Coming and Going
Pinky’s Boutique
The response and the trajectory
Acknowledgements
Notes
References
Decade (1984)
3 Daughters of the Floating Brothel: Engaging Indigenous Australian Women Prisoners through Participatory Radio Drama
Introduction
Background
The trauma trails of indigenous female incarceration
Blessing and releasing the past
Representing intergenerational incarceration
Episode one: The ship and its arrival
Episode two: Barambah Mission
Episode three: Old Boggo Road Gaol
Conclusion
Acknowledgements
Notes
References
‘I am a theatre’, Voices from Prison (1987)
4 What Works: The Affective and Gendered Performance of Prison
Affect and stigma
‘What works?’ Applied theatre as intervention
Affect and aesthetics: HMP Drake Hall
The work of gender in the project
Concluding remarks
Notes
References
Extract I from Inside Bitch (2019)
5 Possible Fictions: Split Britches, Biography and Fantasy with Women in Prison
HMP Highpoint. 2 April 2002. Day 1. Morning.
HMP Highpoint. 2 April 2002. Day 1. Aft ernoon. The creation of fantasy characters.
HMP Highpoint. 3 April 2002. Day 2.
HMP Highpoint. 4 April 2002. Day 3. Tammy Whynot.
HMP Highpoint. 12 April 2002. Final day. Betty No-Boobs changes her mind.
Note
References
Extract I from Killers (1980)
6 Theatre as Collective Casework: Clean Break Theatre Company’s Charged (2010)
Setting the conditions for casework: The Charged poster and structure of the production
Beginning and ending in risk environments: The basement and studio plays
Proscenium prisons: Staging custodial settings on the middle level
Conclusion
Notes
References
‘Prison Loves, Prison Hates’, Voices from Prison (1987)
7 Somebody’s Daughter Theatre Company: The Arts – Unapologetically Transcendent
Where did it all begin?
Lessons I have learnt
Extract II from Killers (1980)
8 The Meeting Place: Collaborative Learning in a University–Prison Partnership
I. Sustained weekly drama practice at HMP New Hall: ‘I see myself as a different person now’
II. Creative writing, song and resettlement at HMP Askham Grange: ‘Wanting a relationship with my family again’
III. Motherhood and prison: ‘Keeping mum’
IV. The Donmar Warehouse Shakespeare Trilogy: ‘I feel like I have a voice’
Conclusion
Extract II from Inside Bitch (2019)
9 Acting Out: An Interview with Sherrin Fitzer
Inside a Cloud (2016)
10 ‘There Is Still Life in Me, Despite What I Have Done’: Assuaging Woundedness through Collective Creativity
Introduction
Contexts
South African prison context
Theoretical framework
The practice: Witnessing each other and seeing myself
Taking careful risks: Seeing the ‘other’
Conclusion
Acknowledgements
Notes
References
‘Dirty Rule Makers’, Voices from Prison (1987)
11 The Stella Adler Studio Outreach Programme at the Rose M. Singer Center for Women at Rikers Island Correctional Facility: An Interview with Joanne Edelmann and Tom Oppenheim
21.23.6.15 (2018)
12 In Their Shoes: Participation, Social Change and Empathy in Open Clasp’s Key Change
The work of Open Clasp Theatre and the Key Change project
Representing the voices of women prisoners
In their shoes: Debates of representation and appropriation
Promoting a ‘Key Change’ through the portrayal of women prisoners
Notes
References
Index