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Journal articles on the topic 'Applied Theatre Practice'
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1
Aguiar, Jeff. "Applied Theatre in Peacebuilding and Development." Journal of Peacebuilding & Development 15, no. 1 (2019): 45–60. http://dx.doi.org/10.1177/1542316619866419.
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Blending autoethnographic approaches with critical analysis, this article explores the intersection of arts-based praxis in peacebuilding and development in peace studies and conflict resolution (PS/CR). In recent decades, arts-based approaches have emerged across the globe in post-conflict settings. Applied, or process, theatre constitutes a social ontology, analysing and digesting experiences and an acceptance of multiple methods that inform research, theory, and practice. Similar to experiential education, applied theatre methodology connects research, theory, and practice in an integrative setting, but how does it resonate with PS/CR in practice? How can peace practitioners access arts-based praxis in development efforts? What benefits do such approaches provide? The author proposes that applied theatre principles, inspired by Augusto Boal and his system called Theatre of the Oppressed, can strengthen existing connections between peace education and peacebuilding practice, whilst also providing opportunities to enhance leader and learner benefit through active engagement in various settings.
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Crossley, Mark, Andy Barrett, Brian J. Brown, Jonathan Coope, and Raghu Raghaven. "A systematic review of applied theatre practice in the Indian context of mental health, resilience and wellbeing." Applied Theatre Research 7, no. 2 (2019): 211–32. http://dx.doi.org/10.1386/atr_00017_1.
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Abstract This systematic review seeks to evaluate the documented uses of applied theatre practice within an Indian context. For the purposes of this review, specific applied theatre practices were focused upon, notably community theatre, theatre in education, theatre in health education and Theatre for Development. This article was written in preparation for a collaborative research project (<uri xlink:href="https://mhri-project.org">http://mhri-project.org</uri>) utilizing community theatre practices to investigate mental health and resilience within slum (basti) communities in the city of Pune, in the state of Maharashtra in India. At its most particular level, the review focuses on theatre interventions within migrant slum communities. Of specific interest is the conjunction of applied theatre with research and practice in mental health and wellbeing, and how such collaborations have investigated levels and modes of mental resilience within migrant communities. The review also draws upon related global research to contextualize and inform the Indian context. At present, systematic reviews are not prevalent within the research fields of theatre generally or applied theatre specifically, yet these reviews arguably offer the breadth of objective evidence required to interrogate the efficacy of this practice. This review is therefore intended to rigorously map the existing academic research and the more diffuse online dialogues within India that are pertinent to the subject; to consider the relations, contradictions, absences and inconsistencies within this literature; and, from this, to articulate key findings that may be integrated into the planning and delivery of new initiatives within this field.
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Mackey, Sally. "Applied theatre and practice as research: polyphonic conversations." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 4 (2016): 478–91. http://dx.doi.org/10.1080/13569783.2016.1220250.
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Sadeghi-Yekta, Kirsten. "Applied theatre: international case studies and challenges for practice." Studies in Theatre and Performance 38, no. 3 (2017): 346–47. http://dx.doi.org/10.1080/14682761.2017.1367893.
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Aaltonen, Heli. "Voice of the forest: post-humanism and applied theatre practice." Research in Drama Education: The Journal of Applied Theatre and Performance 20, no. 3 (2015): 417–21. http://dx.doi.org/10.1080/13569783.2015.1059263.
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Sextou, Persephone, and Cory Smith. "Drama is for Life! Recreational Drama Activities for the Elderly in the UK." Text Matters, no. 7 (October 16, 2017): 273–90. http://dx.doi.org/10.1515/texmat-2017-0015.
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Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education (TiE), Theatre-in-Health Education (THE), Theatre for Development (TfD), prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more recently, theatre in hospitals. In this paper we are positioning the application of recreational dramatic activities with older adults (55+) under Applied Theatre and we are exploring the benefits they offer to the participants. We are concerned that their health and wellbeing in western societies is not prioritized and it is clear that loneliness in particular is a current and ongoing issue. We will present research results from a drama dissertation study that took place in a community hall in the South East England where drama is placed at the core of their practice with old populations. Data was collected by a mixed method (semi-structured interviews and semi-immersive observations) and was critically discussed amongst the authors to conclude that attending recreational drama classes brings a certain degree of happiness, social belonging and improvement of interaction with others to old people’s lives.
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Liang, Peilin. "Towards docuvention: the multiplicities of documentary practices in Practice as Research (PaR) Applied Theatre." Research in Drama Education: The Journal of Applied Theatre and Performance 24, no. 4 (2019): 449–64. http://dx.doi.org/10.1080/13569783.2019.1643709.
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Purcell-Gates, Laura, and Matt Smith. "Applied puppetry: Communities, identities, transgressions." Applied Theatre Research 8, no. 1 (2020): 3–11. http://dx.doi.org/10.1386/atr_00022_2.
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This editorial outlines the scope of this special issue on puppetry. The issue editors introduce articles that theorize the use of puppets for a purpose and present dialogues with practitioners working in the field. The authors emphasize the power of puppetry within contemporary cultural systems and the plethora of diverse practices comprising applied puppetry. The lively and developing field of applied puppetry is presented as involving new thinking and methods that have been adopted globally. The editorial argues that applied puppetry, as well as being a set of practices that can affect the lives of participants, is also a robust academic field. The authors hope for a reconsideration of objects in applied theatre practice generally, as a way to further understand networks in socially engaged performance practices.
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Chinyowa, Kennedy C. "Emerging paradigms for applied drama and theatre practice in African contexts." Research in Drama Education: The Journal of Applied Theatre and Performance 14, no. 3 (2009): 329–46. http://dx.doi.org/10.1080/13569780903072117.
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Kandil, Yasmine. "Playing in a house of mirrors: applied theatre as reflective practice." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 4 (2016): 594–96. http://dx.doi.org/10.1080/13569783.2016.1228448.
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Tidey, Leah. "Applied theatre second edition: international case studies and challenges for practice." Research in Drama Education: The Journal of Applied Theatre and Performance 24, no. 4 (2019): 529–32. http://dx.doi.org/10.1080/13569783.2019.1657005.
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Elliott, Matthew. "Young People as Legislators: Legislative Theatre and Youth Parliament." Applied Theatre Research 9, no. 1 (2021): 73–86. http://dx.doi.org/10.1386/atr_00049_1.
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Young People as Legislators is the result of a six-month Legislative Theatre project with Collective Encounters Youth Theatre, Youth Focus NW and Youth Parliament UK. The project formed part of a wider scheme of practice as research that explored youth theatre practice as political engagement for young people. Legislative Theatre practice was utilized to work alongside the Youth Parliament’s Make Your Mark scheme, an annual poll for young people to decide on campaigning issues. In this article, I consider three elements: tokenism in youth engagement, differing experiences between artistic process and product, and applied theatre’s inability to develop long-term effects. Employing the critical theories of Paulo Freire, the article regards the practice as a failed attempt to develop critical youth theatre practice. I argue that the Legislative Theatre project led to uncritical engagement and no political change due to partner organizations regarding the theatre practice as a service to satisfy their own targets and requirements.
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RASMUSSEN, BJØRN, and RIKKE GÜRGENS. "Art as Part of Everyday Life: Understanding Applied Theatre Practices through the Aesthetics of John Dewey and Hans Georg Gadamer." Theatre Research International 31, no. 3 (2006): 235–44. http://dx.doi.org/10.1017/s0307883306002203.
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In the period between 2000 and 2004, the Norwegian Research Council funded a research project on ‘cultural-aesthetic practice and welfare’. This project includes two independent studies about theatre and young people. In her dissertation Rikke Gürgens investigates the theatre experience of exceptional and extraordinary people who produce their own theatre. Bjørn Rasmussen conducted an action research project, which established a ‘reflection room’ for teenagers at risk in high schools by means of drama and theatre practice. In both studies, the notion of art as an important part of everyday life became important. The theatre experience had strong implications both socially and aesthetically. In this article we discuss the link and the difference between the aesthetic and the social dimension from the perspectives of John Dewey and Hans-Georg Gadamer. In different ways we believe these philosophers provide a bridge between an autonomous view of art and a present cultural aesthetic that emphasizes the social perspective to a greater degree.
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Abraham, Nicola. "The intuit: An investigation into the definitions, applications and possibilities offered by intuitive applied theatre practice with vulnerable youth." Applied Theatre Research 7, no. 2 (2019): 233–49. http://dx.doi.org/10.1386/atr_00018_1.
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Abstract This article offers insights into what might constitute intuition in applied theatre practices with vulnerable youth in London. The study will explore the approaches of five theatre companies working with children and vulnerable youth. A lead practitioner from each company has been interviewed, and the interpretation of the data they have provided has offered new insights into the role of intuition as an approach to ensuring that applied theatre is responsive to young people living precarious lives. The research identifies two aspects of intuitive practice: one that resides with the actions and thoughts of the practitioner, and the other that involves the acceptance of intuitive creative offerings by participants. The study has also revealed the potential heightening of intuitive responses for practitioners who share history, culture, location or identities with their participants. As a whole, the findings offer useful potential considerations of key qualities for an intuitive practitioner, or the intuit, working specifically with young people in contexts of uncertainty.
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ESTRADA-FUENTES, MARÍA. "Performative Reintegration: Applied Theatre for Conflict Transformation in Contemporary Colombia." Theatre Research International 43, no. 3 (2018): 291–304. http://dx.doi.org/10.1017/s0307883318000548.
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Civil wars and internal armed conflicts are commonly followed by transitional justice processes known as Disarmament, Demobilization and Reintegration programmes. Focusing on the social reintegration of ex-combatants in Colombia, this article examines the role of embodiment and secondary care in conflict transformation, and outlines the process of incorporating creative and embodied practice as core elements of transitional justice mechanisms. It discusses the relational qualities of applied theatre, policy development and implementation to demonstrate how embodied practice enables peace-building practitioners and ex-combatants to develop a better understanding of how affective transactions and emotional states shape transitional societies. In so doing, this article discusses some of the challenges of devising sustainable arts-based interventions when working with communities that have been significantly affected by war.
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Graham, Catherine. "Applied Theatre: International Case Studies and Challenges for Practice (review)." Canadian Theatre Review 143, no. 1 (2010): 90–92. http://dx.doi.org/10.1353/ctr.0.0041.
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Skeiker, Fadi, and Myla Morris-Skeiker. "Language acquisition and identity-making: Applied theatre as a mediating practice with Syrian refugees in Europe." Applied Theatre Research 9, no. 1 (2021): 25–37. http://dx.doi.org/10.1386/atr_00046_1.
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This article addresses the potential use of applied theatre in facilitating new language acquisition among refugees who are resettled in European countries such as Germany. The article charts the applied theatre work carried out by one of the authors with Syrian refugees in Europe, with a special focus on participant reactions to the host country’s expectations surrounding language acquisition and identity-making. The authors challenge current ‘integration’ practices that prioritize focused language learning as a major indicator for the refugees’ re-nationing process, arguing for higher consideration of the trauma surrounding displacement, especially when refugees have first arrived in their host community.
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Serdechnaia, Vera V. "Post-dramatically: Russian theatre and its borders." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 50–59. http://dx.doi.org/10.18522/2415-8852-2020-1-50-59.
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The article is devoted to the interpretation of the concept of postdramatic theatre as applied to the stage practice of modern Russian theatre. Despite the controversial theoretical status of the concept of postdramatic theatre, it is a convenient generalizing term to mark the directions towards expansion of theatrical boundaries that has taken place in recent decades in Russian and world theatre. The article gives various examples from modern Russian theatre practice, and explores such trends as the theatre going beyond the stage and the theatre building, the mediation of theatricality by means of modern communications, the refusal of linear text reproduction, and the documentary theatre. The modern Russian theatre breaks down ‘the fourth wall’, enriches itself with performance and engages in social work; it revises its goals, moving from purely aesthetic to research tasks, turning it from a cathedra into a full-fledged means of communication.
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Senna, Pedro de. "Futures literacy theatre lab with unaccompanied asylum-seeking minors." Conceição/Conception 8, no. 2 (2019): 75–93. http://dx.doi.org/10.20396/conce.v8i2.8657876.
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This article discusses a Practice as Research project, the design and implementation of a Futures Literacy Lab in which tools derived from the arsenal of the Theatre of the Oppressed were applied. The lab involved asylum-seeking unaccompanied minors, and took place in the island of Lesvos, Greece in July, 2019. Applied theatre practices often deal with communities and individuals in a transformational manner, which is, by definition, future-oriented. In this respect, the work undertaken served as a first case study for potential interdisciplinary collaboration between Performance Studies and Futures studies. This exercise is not without its ethical implications, though. This paper will discuss some of the challenges, pitfalls and successes of this process.
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Ghirlando, Lou. "Book Review: Applied Theatre: International Case Studies and Challenges for Practice, 2nd Edition." Dramatherapy 38, no. 2-3 (2017): 155–57. http://dx.doi.org/10.1080/02630672.2017.1351211.
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Chinyowa, Kennedy C. "Revisiting monitoring and evaluation strategies for applied drama and theatre practice in African contexts." Research in Drama Education: The Journal of Applied Theatre and Performance 16, no. 3 (2011): 337–56. http://dx.doi.org/10.1080/13569783.2011.589994.
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Frost, Lauren Kathleen. "Big Daddy Lives or Don’t Say the F Word: Intersectional Feminist Directing in Theory and in Practice." Arbutus Review 10, no. 1 (2019): 4–20. http://dx.doi.org/10.18357/tar101201918930.
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As a theatre and gender studies double major at the University of Victoria, I have been ableto critically think about the ways each of my fields of study could benefit the other. In myexperience, many courses in the UVic Department of Theatre generally focus on dramatic texts andtheoretical literature written by white men. Consequently, contributions to the theatre by women,people of colour, and/or non-Western theatre practitioners are largely dismissed or ignored. Myfrustration with this pattern was what led me to create Big Daddy Lives or Don’t Say the F Word,a part scripted, part devised performance piece that staged scenes from classic and contemporaryplays using directing theory written by feminists, for feminists. I curated the excerpts, wrote thetransition-text, and directed the play using an intersectional feminist framework. The project wasan experiment in applying intersectional feminism to theatre directing in order to critique the waythe male-dominated canon of plays and theories shapes theatre education. Through this project, Ifound that intersectional feminist directing techniques foster collaboration; encourage discussionand mutual education about identity, oppression, and representation; and can be applied to theproduction of both classics and contemporary feminist plays and to the creation of new work by anensemble.
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Ryan, Holly Eva, and Matthew Flinders. "From senseless to sensory democracy: Insights from applied and participatory theatre." Politics 38, no. 2 (2017): 133–47. http://dx.doi.org/10.1177/0263395717700155.
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This article seeks to stimulate a fresh and inter-disciplinary debate which revolves around the need to move from a ‘senseless democracy’ that is insufficiently attuned to the dilemmas and challenges of fostering meaningful political engagement to a more ‘sensory democracy’. It achieves this by first exploring and dissecting recent works within democratic theory that emphasise the role of ‘watching’ and ‘listening’ within sociopolitical relationships. It then goes on to develop a set of constructive criticisms by applying insights drawn from the fields of practical aesthetics and applied theatre. Not only does this exercise allow us to take the analytical lens far beyond the focus on voice-based forms of expression that have hitherto dominated political analysis, it demonstrates the value of inter-disciplinary scholarship in exposing sensory-subtleties that raise distinctive questions for both politics ‘as theory’ and politics ‘as practice’.
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Fisher, Teresa A., and Leslie L. Smith. "First do no harm: Informed consent principles for trust and understanding in applied theatre practice." Journal of Applied Arts & Health 1, no. 2 (2010): 157–64. http://dx.doi.org/10.1386/jaah.1.2.157_1.
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Sotimirin, Olatunji Samson. "The producer-artistic business relationship: a major concern for the survival of theatre practice in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 422–32. http://dx.doi.org/10.4314/ejotmas.v7i1-2.28.
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This paper evaluates some of the perennial problems identified by scholars, writers and theatre practitioners as the bane of the growth and survival of theatre practice in Nigeria. These are inadequate funding, non-availability of befitting venues, economic and social insecurity, training and professionalism, orientation of the public sector, technological development, and so on. The central argument, however, is the issue of the business relationship between the producer and the professional theatre artiste. The paper contends that there are many issues concerning the artiste working and struggling to get paid, and artiste being exploited by producers without respectable reward. Consequently, in order to conquer these exploitative tendencies and lack of trust on the part of the producer, the paper submits that it is imperative that the artiste puts his/her professional relationship with the producer on a sound legal footing. This involves not only engaging the use of contracts constricted in agreement with good professional conventions, but also considering the need for the formation of recognized monitoring structures that will be responsible for guiding the actions and behaviour of practitioners. This ought to be done with a governmental support safeguarding the various theatre Associations and guilds as it is the case with other established Associations such as the Institute of Chartered Accountants, Society of Engineers, Nigerian Medical Association and so on. Thus, the method applied to this study is a self-report personality approach where the artistic business of the theatre is evaluated. The paper concludes that although some of the problems highlighted still exist, the situation is gradually improving, especially in terms of the availability of enough befitting venues and regularity of theatre shows at these venues.
 Keywords: Artistic, Nigeria, Theatre practitioners, Producer-artistic business relationship
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Barnett, David. "Resisting the Irish Other: the Berliner Ensemble's Production of The Playboy of the Western World." New Theatre Quarterly 33, no. 2 (2017): 156–68. http://dx.doi.org/10.1017/s0266464x17000069.
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In this article David Barnett explores the Berliner Ensemble's production in 1956 of Synge's classic The Playboy of the Western World. Although it was directed by Peter Palitzsch and Manfred Wekwerth, Bertolt Brecht, the company's co-founder, loomed large in planning and rehearsal. This staging serves as an example of how a politicized approach to theatre-making can bring out relationships, material conditions, and power structures that the play's production history has often ignored. In addition, Barnett aims to show how Brechtian methods can be applied more generally to plays not written in the Brechtian tradition and the effects they can achieve. David Barnett is Professor of Theatre at the University of York. He is the author of Heiner Müller's ‘The Hamletmachine’ (Routledge, 2016), A History of the Berliner Ensemble (Cambrige, 2015) and Brecht in Practice: Theatre, Theory, and Performance (Bloomsbury, 2014). His recent AHRC-funded ‘Brecht in Practice: Staging Drama Dialectically’, led to a Brechtian production of Patrick Marber's Closer, and he offers theatre-makers and teachers workshops on using Brecht's method on stage and in the classroom.
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Bouvier, Hélène. "Foreword." Theatre Research International 19, no. 1 (1994): 1–8. http://dx.doi.org/10.1017/s0307883300018769.
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On stage, in the wings, in the audience and outside: these are the spaces ethnologists and anthropologists traverse in the practice of fieldwork and writing—metaphorically, as participant-observers within a given community, or literally, if they study theatre forms.Immersion in another community or society (with the consequent blurring of exoticism), purposeful distancing in time and space (rivalling with empathy generated by field presence), systematic investigation of selected themes, and constant striving to have theory inform data and perceptions of the objects of study—all these aspects of the anthropological method can be applied, in a given society, just as effectively to theatre as to those institutions (matrimonial, political, economic or religious, among others) usually studied by ethnologists. A circumscribed object, but one with complex implications for individuals and groups, theatre is a sophisticated, often useful means of access to understanding society, or at least a key to reading the combinatory diversity of a community's functioning, its history, its material production and technology, its cognitive orientations. Building on the necessary contextual analyses revealing the social, political and economic underpinnings of theatre forms, developing the concept of an expressive or aesthetic system in which theatre is but one element interacting with other artistic productions or practices within a given society, and testing the concept through intercultural comparison, the horizons for theatre anthropology are broad enough.Attempting a more modest beginning, this special issue seeks to portray a special moment, a meeting between anthropology and theatre in a fertile, though underdeveloped field of study, with contributions from both anthropologists and theatre scholars.
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Poskakalova, T. A. "The history of the development of theatre practices in education: foreign and Russian experience." Современная зарубежная психология 10, no. 2 (2021): 96–104. http://dx.doi.org/10.17759/jmfp.2021100210.
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The article briefly describes the history of the development of theatrical practices in education in Russia and abroad. The main dimensions of theater and drama in contemporary pedagogy are considered. The article demonstrates that various forms of theater in education are more widespread and better developed in foreign pedagogy, where theater is not limited to the framework of school disciplines as it is used as a means for providing complex solutions of problems related to development, learning and socialization. It is substantiated that in the practice of Russian schools, theater is much less in use, since it is so far applied exclusively as a means of introduction to culture, its traditions and values.
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KAYNAR, GAD. "Pragmatic Dramaturgy: Text as Context as Text." Theatre Research International 31, no. 3 (2006): 245–59. http://dx.doi.org/10.1017/s0307883306002215.
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This essay attempts to theorize the decades-long practice of German and other dramaturgs, a practice that is rarely acknowledged by theatre research. It maintains that the dramaturgical interpretation of the specific play in the process of preparing it for stage realization is subject to ‘applied dramaturgy’. Dramaturgy in this sense is predominantly ‘circumstantial’ rather than play-oriented, accounting mainly for the contextual performance conditions, either extra-textual, extra-theatrical or both. Through concrete and partly personal examples drawn largely from the field of production dramaturgy, the article suggests that extrinsic parameters such as the management of the theatre; the definition of the theatrical institution; its implied spectators; the reality conventions within which it operates; its human artistic, technical, spatial and financial resources; its marketing methods; and so on might be no less important to academic play and performance analysis than they are for practical theatre purposes.
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Stedman, Molly. "The limitations of Inclusive Research in practice: reappraising the ‘sympathetic researcher’ role in applied theatre research." Research in Drama Education: The Journal of Applied Theatre and Performance 24, no. 4 (2019): 465–71. http://dx.doi.org/10.1080/13569783.2019.1653177.
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Pufahl, Jeffrey, Camilo Reina-Munoz, and Hannah Bayne. "Theatre Connect: Key Strategies for Facilitating LGBTQQ Youth Theatre Programs." Health Promotion Practice 22, no. 1_suppl (2021): 31S—34S. http://dx.doi.org/10.1177/1524839921996290.
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Youth who identify as lesbian, gay, bisexual, transgender, queer, or questioning (LGBTQQ) often experience heterosexism, homophobia, prejudice, and bullying in addition to the typical demands of adolescent development. Applied theatre programs have been shown to empower youth, improve mental health and well-being, and create positive identity and interpersonal relationships and, as such, have the potential to strengthen a range of protective factors for LGBTQQ youth. However, when programs engage participants in personal narratives, practitioners must be prepared to deftly navigate between the two domains of theatre in health and drama therapy. Since 2017, the University of Florida’s (UF) Center for Arts in Medicine has offered an afterschool theatre program for LGBTQQ youth in partnership with clinicians from UF Health’s Youth Gender Clinic and faculty in the Mental Health Counseling training program in the College of Education. Theatre practitioners lead the program in partnership with mental health professionals, who participate in sessions and are “on call” for participants. Program facilitators have developed a set of guidelines for organizations attempting to start LGBTQQ or other youth theatre programs in their local communities, which include the following recommendations: (1) prioritize safe and ethical practice through creating sustainable partnerships between mental health counsellors, experienced theatre practitioners, and local LGBTQQ organizations; (2) develop a clear contract between participants and facilitators regarding program goals; (3) utilize Baim’s drama spiral as a conceptual tool and limit program activities to the first four spiral rings; (4) emphasize “play” and skill building rather than LGBTQQ topics.
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Gow, Sherrill. "Queering Brechtian feminism: Breaking down gender binaries in musical theatre pedagogical performance practices." Studies in Musical Theatre 12, no. 3 (2018): 343–53. http://dx.doi.org/10.1386/smt.12.3.343_1.
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This article explores how musical theatre pedagogy might begin to dismantle modes of practice that perpetuate exclusion and a dualistic, gendered perspective. I draw on my experience of directing postgraduate musical theatre students at Mountview in a production of Pippin (1972). Casting a trans man as Pippin – in many respects an archetypal male hero role – set in motion a process of queering and subverting norms. However, casting is only one element of creating an inclusive practice: in this work, I developed a hybrid approach that honoured students’ identities and experiences and took a critical, political view of the material being presented. My approach brings together Elin Diamond’s feminist theoretical framing of Brecht with queer concepts including heteronormativity and chrononormativity, which are then applied to David Barnett’s practical explanation of a Brechtian process. I argue that feminist and queer approaches can work together to meaningfully critique hegemonic forces influencing musical theatre training and production processes.
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Niziołek, Katarzyna. "Przestrzeń możliwości. Teatr partycypacyjny jako środek budowania kapitału społecznego." Civitas. Studia z Filozofii Polityki 27 (December 22, 2020): 217–49. http://dx.doi.org/10.35757/civ.2020.27.09.
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The article is an attempt at examining the possibilities for the development of social capital by means of active cultural engagement, as exemplified by participatory theatre. Narrowing the analysis to this particular area of artistic practice is not a coincidence. Theatre constitutes one of the most exclusive social spaces within the cultural field, requiring a high degree of cultural competency, and taking the inequality of position between artists and spectators for granted. On the other hand, it is defined by their immediate, face-to-face encounter, which, as compared to other areas of art, provides theatre with an exceptional social potential. The so-called participatory turn in contemporary art has moved theatre into a new domain of social functionality, which cannot be adequately described and researched without the sociological “toolbox”. Hence, the article is also an attempt at taking an interdisciplinary stance and connecting the study of art and society, as well as outlining a proposal for a practical application of sociological knowledge, used not only for the sake of understanding, but also organising of the artistic practice. In this respect, it addresses the growing interest in applied social research (both filed work, and theory), as shown by political, cultural, and scientific institutions.
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Sextou, Persephone, Anatoli Karypidou, and Eleni Kourtidou-Sextou. "Applied theatre, puppetry and emotional skills in healthcare: A cross-disciplinary pedagogical framework." Applied Theatre Research 8, no. 1 (2020): 89–105. http://dx.doi.org/10.1386/atr_00028_1.
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Artists such as actors and puppeteers in health care face emotional challenges in their work. This article investigates the interpersonal competencies and emotional skills of the artist who uses puppets in their practice in health-care contexts and settings. We present initial findings from phase B of a wider longitudinal study. Phase A focused on actors in hospitals and drama trainees; Phase B uses qualitative research methods with actors, puppeteers and therapists as participants. Content analysis of data reveals that the main competencies the artist needs to deal with emotional incidents in health care are empathy, self- and social awareness, self-care, self-reflection, emotional resilience and active listening. These skills are needed alongside acting and puppetry skills to develop competent and professional artists in healthcare. The study offers evidence to further develop strategies of receiving, processing and communicating emotions safely and effectively within the protection of the artform. This study therefore diverts our attention from traditional training courses that are mainly about learning artistic skills to a cross-disciplinary pedagogical framework that aims to enable artists to observe, reflect and process emotions before, during and after a performance with patients as theatre ‘audience’-participants.
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Stuart Fisher, Amanda. "Developing an ethics of practice in applied theatre: Badiou and fidelity to the truth of the event." Research in Drama Education: The Journal of Applied Theatre and Performance 10, no. 2 (2005): 247–52. http://dx.doi.org/10.1080/13569780500103992.
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Cahill, Helen. "Withholding the personal story: using theory to orient practice in applied theatre about HIV and human rights." Research in Drama Education: The Journal of Applied Theatre and Performance 19, no. 1 (2014): 23–38. http://dx.doi.org/10.1080/13569783.2013.872427.
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Turner, Jane. "Acts of Creative Vandalism? Plane Performance Deconstruct the Canon." New Theatre Quarterly 23, no. 3 (2007): 208–18. http://dx.doi.org/10.1017/s0266464x07000115.
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In this article Jane Turner explores the trilogy of works titled Re-placing Texts, together with Epilogue, devised and performed by the innovative group Plane Performance, now in its tenth year. The trilogy – Three Degrees of Frost, SET and Round-about – are rewritings of Chekhov's The Cherry Orchard, David Lean's film Brief Encounter, and Rogers and Hammerstein's film musical, Carousel. The article examines the strategies adopted by the company as acts of ‘creative vandalism’, both in terms of current understandings of theatre practice and in terms of their treatment of the original texts. Jane Turner argues that the dramatic texts have become ossified by cultural usage and that the radical stance taken by the company allows for a counter-cultural position to re-emerge. The author is a Principal Lecturer in Contemporary Arts at Manchester Metropolitan University. She has recently published work on Eugenio Barba and applied theatre practice.
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Kneebone, Roger, and Abigail Woods. "Recapturing the History of Surgical Practice Through Simulation-based Re-enactment." Medical History 58, no. 1 (2013): 106–21. http://dx.doi.org/10.1017/mdh.2013.75.
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AbstractThis paper introducessimulation-based re-enactment(SBR) as a novel method of documenting and studying the recent history of surgical practice. SBR aims to capture ways of surgical working that remain within living memory but have been superseded due to technical advances and changes in working patterns. Inspired by broader efforts in historical re-enactment and the use of simulation within surgical education, SBR seeks to overcome some of the weaknesses associated with text-based, surgeon-centred approaches to the history of surgery. The paper describes how we applied SBR to a previously common operation that is now rarely performed due to the introduction of keyhole surgery: open cholecystectomy or removal of the gall bladder. Key aspects of a 1980s operating theatre were recreated, and retired surgical teams (comprising surgeon, anaesthetist and theatre nurse) invited to re-enact, and educate surgical trainees in this procedure. Video recording, supplemented by pre- and post-re-enactment interviews, enabled the teams’ conduct of this operation to be placed on the historical record. These recordings were then used to derive insights into the social and technical nature of surgical expertise, its distribution throughout the surgical team, and the members’ tacit and frequently sub-conscious ways of working. While acknowledging some of the limitations of SBR, we argue that its utility to historians – as well as surgeons – merits its more extensive application.
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Göksel, Eva, and Stefanie Giebert. "Notes on the third Drama in Education Days 2017." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (2017): 117–20. http://dx.doi.org/10.33178/scenario.11.1.10.
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After two successful conferences (2015 & 2016) at Reutlingen University, the third Drama in Education Days was held at Konstanz University of Applied Sciences, June 30th and July 1st, 2017. The bilingual (English/German) conference focuses on best practice and research in the field of drama and theatre in education in second and foreign language teaching, and is organised by Dr. Stefanie Giebert (Konstanz University of Applied Sciences, Germany) und MA Eva Göksel (Centre for Oral Communication, University of Teacher Education Zug, Switzerland). The two-day event caters to teachers, scholars, and performers working with drama and theatre in language education at all levels – primary through to tertiary. This year’s conference attracted 45 participants from 9 countries including Austria, Canada, France, Germany, Kirgizstan, Spain, Switzerland, the US, and the UK. The conference kicked off Thursday, June 29th, with a hands-on pre-conference workshop, during which Tomáš Andrášik (Masaryk University) demonstrated how improv theatre creates a positive classroom atmosphere and fosters communication skills. In the space of two hours, workshop participants tested out techniques to lower communicative anxiety and to develop public speaking skills. Exercises aimed at building self-confidence in speaking and listening and to empower spontaneous and authentic communication were also presented. ...
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GRAHAM-JONES, JEAN. "‘Common-Sense Catchword’: The Applications ofCensurato Argentinian Theatre and Performance." Theatre Research International 36, no. 2 (2011): 102–16. http://dx.doi.org/10.1017/s0307883311000198.
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This article probes some of the ‘catches’ in the universal application of the common-sense word ‘censorship’. To do so, it scrutinizes the application of the Spanish-language termcensurato theatre produced in Buenos Aires and its working-class suburbs in the past thirty-five years, under dictatorship as well as democracy, through the examination of specific cases of productions and plays classified as censored, self-censored, and/or counter-censorial. The article concludes by examining two plays whose writing pre-dates the last dictatorship but which are still considered illustrative of a certain kind of Argentinian censorship. Through these various examples drawn from Argentinian theatrical practice, the article exposes censorship as a problematic category when applied equally at all times.
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Balfour, Michael. "Mapping Realities: Representing War through Affective Place Making." New Theatre Quarterly 28, no. 1 (2012): 30–40. http://dx.doi.org/10.1017/s0266464x12000036.
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One of the most unusual statistics in the study of performance and war is that aesthetic activity often increases in times of conflict. In this article Michael Balfour extends the consideration of performance and war to aesthetic projects that were located far removed from the centres of conflict, but that deeply connected with the affective impact of war. As an illustration of performative practice, the examples demonstrate the ways in which place making can play with documenting and representing war experiences in different ways. The two examples – This is Camp X-Ray in Manchester (a temporary installation) and the Vietnam Veterans Memorial in Washington DC – were designed in separate contexts for very different purposes; but contribute to understanding the kinds of choices that artists make in representing the affective ‘truths’ of war experience. In both cases, the artists were interested in creating spaces that would make the wars more visible for an audience, and provide a tangible place in which experiences of war could be re-conceived and an affective connection made. Michael Balfour is Professor of Applied Theatre, Griffith University, Brisbane, Australia. His research expertise is in the social applications of theatre, in particular theatre and war, prison theatre, and arts and health. Major Australian Research Council-funded projects include The Difficult Return, on approaches to artsbased work with returning military personnel, and Captive Audiences, on the impact of performing arts programmes in prisons. His books include Theatre and War 1933–1945 and, most recently, Performance in Place of War, co-authored with James Thompson and Jenny Hughes (Seagull Press, 2010).
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Milatovic-Ovadia, Maja. "Shakespeare's Fools." Critical Survey 31, no. 4 (2019): 29–41. http://dx.doi.org/10.3167/cs.2019.310404.
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In November 2017, Ratko Mladic, a war-time leader and a commander of the Bosnian Serb Army, was sentenced by the United Nations International Criminal Tribunal to life imprisonment for the genocide and crimes against humanity committed during the 1992–1995 war in Bosnia and Herzegovina. In the region the verdict was received with conflicting reactions, emphasising yet again how extensive the ethnic division is within the society. Through close analysis of the theatre project Shakespeare’s Comedies performed by ethnically segregated youth in Bosnia-Herzegovina, this article aims to understand how Shakespeare’s work functions as a vehicle to address the consequences of war and to support the complex process of reconciliation under circumstances in which the issues of war crimes cannot be tackled in a straightforward and direct manner. The study takes a cross-disciplinary approach to research, drawing from theory of reconciliation, applied theatre practice and comedy studies.
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Inchley, Maggie. "Applied Theatre: International Case Studies and Challenges for Practice (Second edition) edited. by Monica Prendergast and Juliana SaxtonCritical Perspectives on Applied Theory edited by Jenny Hughes and Helen Nicholson." Contemporary Theatre Review 27, no. 1 (2017): 129–30. http://dx.doi.org/10.1080/10486801.2016.1268784.
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Harrop, Stephe. "Greek Tragedy, Agonistic Space, and Contemporary Performance." New Theatre Quarterly 34, no. 2 (2018): 99–114. http://dx.doi.org/10.1017/s0266464x18000027.
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In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy's contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy's competitive and conflictual negotiation of performance space, understood in relation to the cultural trope of the agon. Drawing on David Wiles's structuralist analysis of Greek drama, which envisages tragedy's spatial confrontations as a theatrical correlative of democratic politics, performed tragedy is here re-framed as a site of embodied contest and struggle – as agonistic spatial practice. This historical model is then applied to a recent case study, Aeschylus’ The Suppliant Women as co-produced by Actors Touring Company and the Lyceum, Edinburgh, in 2016–17, proposing that the frictious effects, encounters, and confrontations generated by this production (re-staged and re-articulated across multiple venues and contexts) exemplify some of the potentials of agonistic spatial practice in contemporary re-performance of Greek tragedy. It is contended that re-imagining tragic theatre, both ancient and modern, as (in Chantal Mouffe's terms) ‘agonistic public space’ represents an important new approach to interpreting and creatively re-imagining, interactions between Athenian tragedy and democratic politics. Stephe Harrop is a Lecturer in Drama at Liverpool Hope University, where her research focuses primarily on performances and texts adapted from, or responding to, ancient tragedy and epic. She is co-author of Greek Tragedy and the Contemporary Actor (Palgrave Macmillan, forthcoming).
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Ruastiti, Ni Made, Ni Wayan Parmi, Ni Nyoman Manik Suryani, and I. Nyoman Sudiana. "Davedan Show Di Amphi Theatre Nusa Dua Bali." Mudra Jurnal Seni Budaya 33, no. 2 (2018): 278. http://dx.doi.org/10.31091/mudra.v33i2.365.
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Artikel ini disusun dari hasil penelitian yang bertujuan untuk dapat memahami pertunjukan Davedan Show di Amphi Theatre Nusa Dua Bali. Penelitian ini dilakukan karena adanya ketimpangan antara asumsi dan kenyataan di lapangan. Pada umumnya wisatawan yang datang ke Bali hanya senang dan antusias menonton seni pertunjukan pariwisata berbasis seni budaya lokal saja. Tetapi kenyataan ini berbeda. Walaupun Davedan Show tidak dibangun dari seni budaya lokal saja, tetapi kenyataannya wisatawan sangat senang menonton pertunjukan tersebut. Pertanyaannya: bagaimanakah bentuk pertunjukan Davedan Show tersebut?; mengapa wisatawan senang menonton pertunjukan itu?; apa implikasinya bagi pelaku, masyarakat, dan industri pariwisata di Nusa Dua, Bali?. Penelitian ini menggunakan metode penelitian kualitatif, khususnya implementatif partisipatoris yang mengutamakan kerjasama antara periset dengan para informan terkait. Sumber data penelitian ini adalah pertunjukan Davedan itu sendiri, pihak manajemen, para penari, penonton, hasil-hasil penelitian yang telah ada sebelumnya. Seluruh data yang telah dikumpulkan dengan teknik observasi, wawancara, FGD, dan studi kepustakaan itu dianalisis secara kritis dengan menggunakan teori estetika postmodern, teori praktik, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukan bahwa: (1) Davedan Show disajikan dalam bentuk oratorium. Hal itu dapat dilihat dari cara penyajian, koreografi, dan iringan pertunjukannya. Davedan Show yang menampilkan tema Treasure of The Archipelago, membuka gerbang petualangan baru itu diiringi musik rekaman etnik Nusantara secara medley, berkelanjutan dengan struktur pertunjukan: seni budaya Bali, Sumatra, Sunda, Solo, Kalimantan, dan seni budaya Papua; (2) Davedan Show banyak diminati wisatawan manca negara karena penciptaan pertunjukan itu dilatari oleh ideologi pasar, ideologi estetika, dan ideologi budaya Nusantara; (3) Hingga kini Davedan Show berkembang secara berkelanjutan di Nusa Dua Bali karena berimplikasi positif pada ekonomi para pihak terkait, pengayaan bagi seni pertunjukan daerah setempat, dan identitas bagi kawasan wisata Nusa Dua, Bali.This article was compiled from the research results that aimed to understand the Davedan Show at Amphi Theater Nusa Dua, Bali. This research was conducted due to the imbalance between the assumption and the reality in real life. Generally, tourists visiting Bali are more excited and enthusiastic to watch the tourism performing arts that are based on local traditional art and culture. However, the reality is different. The questions are: how is the form of the Davedan show?; why do the tourists enjoy watching the show ?; what are the implications for the performer, the society, and the tourism industry in Nusa Dua, Bali?. This research applied qualitative research methods, especially the participative implementation that prioritized cooperation between the researchers and the related informants. The data sources of the research were the Davedan show, management, dancers, audiences, and similar research results produced by previous researchers. All data that had been collected by observation, interview, FGD, and literature study were then analyzed with aesthetic postmodern theory, theory of practice, and theory of power relationship. The results showed that: (1) Davedan Show was presented with the concept of a new presentation in the tourism performing arts in Bali. It could be seen from the material, the form, the way of presentation, and the management of the show. Davedan Show, presenting the theme of Treasure of the Archipelago and opening the new adventure gate, was accompanied by ethnic music recordings of the archipelago in a medley then continued with the performance structures of: Balinese, Sumatran, Sundanese, Solo, Borneo and Papuan art and culture; (2) Davedan Show attracted many foreign tourists because the show was based on the existence of market, aesthetic, and cultural ideologies of the archipelago; (3) Currently, Davedan Show has developed in Nusa Dua, Bali sustainably because of its positive implications to the economics aspect of the stakeholders, the enrichment of Balinese performing arts, and the identity of Nusa Dua tourism area of Bali.
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Arul, GS, J. Reynolds, S. DiRusso, et al. "Paediatric admissions to the British military hospital at Camp Bastion, Afghanistan." Annals of The Royal College of Surgeons of England 94, no. 1 (2012): 52–57. http://dx.doi.org/10.1308/003588412x13171221499027.
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INTRODUCTION International humanitarian law requires emergency medical support for both military personnel and civilians, including children. Here we present a detailed review of paediatric admissions with the pattern of injury and the resources they consume. METHODS All paediatric admissions to the hospital at Camp Bastion between 1 January and 29 April 2011 were analysed prospectively. Data collected included time and date of admission, patient age and weight, mechanism of injury, extent of wounding, treatment, length of hospital stay and discharge destination. RESULTS Eighty-five children (65 boys and 17 girls, median age: 8 years, median weight: 20kg) were admitted. In 63% of cases the indication for admission was battle related trauma and in 31% non-battle trauma. Of the blast injuries, 51% were due to improvised explosive devices. Non-battle emergencies were mainly due to domestic burns (46%) and road traffic accidents (29%). The most affected anatomical area was the extremities (44% of injuries). Over 30% of patients had critical injuries. Operative intervention was required in 74% of cases. The median time to theatre for all patients was 52 minutes; 3 patients with critical injuries went straight to theatre in a median of 7 minutes. A blood transfusion was required in 27 patients; 6 patients needed a massive transfusion. Computed tomography was performed on 62% of all trauma admissions and 40% of patients went to the intensive care unit. The mean length of stay was 2 days (range: 1–26 days) and there were 7 deaths. CONCLUSIONS Paediatric admissions make up a small but significant part of admissions to the hospital at Camp Bastion. The proportion of serious injuries is very high in comparison with admissions to a UK paediatric emergency department. The concentration of major injuries means that lessons learnt in terms of teamwork, the speed of transfer to theatre and massive transfusion protocols could be applied to UK paediatric practice.
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Lin, Wei-Ya. ""Raus aus dem Elfenbeinturm!"." Die Musikforschung 72, no. 4 (2021): 333–45. http://dx.doi.org/10.52412/mf.2019.h4.39.
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The Tao are one of sixteen recognized indigenous groups in Taiwan who live on Ponso no Tao, which literally means "the island of human-beings". Since the 1950s, many policies by the Taiwanese government have aimed to support "development" and "modernization" of ethnic minorities. As a consequence the Tao veered away from their traditional religion and cultural practices, for example by using the economic and monetary system imposed by Taiwan since 1967, and in 1971 the island was opened for tourism. These lifestyle changes resulted in a loss of traditional vocal music as well as the knowledge of history, views of life and taboos which had traditionally been transmitted through song. In 1980, an "intermediate deposit" for weak radioactive waste was established on the island through close cooperation and fraudulent practices between the Taiwan Power Company and the government. In 2009, radioactive substances were found outside of the dumpsite on Orchid Island. This article evaluates the social and political implications of two applied ethnomusicological projects developed together with the indigenous group of the Tao. These are the concert project "SoundScape - Island of Human Beings" (2014), which brought together Austrian, Taiwanese and Tao performers and composers, and the dance theatre production Maataw - The Floating lsland (2016) developed in collaboration with the Formosan Aboriginal Song and Dance Troupe (FASDT). Both projects are based on the author's dissertation "Music in the Life ofthe Tao: Tradition and innovation" (2015). These projects posed questions such as: how can anthropological and ethnomusicological approaches and methods be applied during the creative processes of composition and choreography in order to interpret the Taos ecological and political issues on the stage? What insights can be gained from the practice-based collaboration and discussions, during and after the performances? And how do these artistic projects reflect back on and potentially change current political and social situations?
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Smith, Anne. "Creative English: balancing creative and functional language needs for adult refugees, asylum seekers and migrants." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (2016): 1–17. http://dx.doi.org/10.33178/scenario.10.1.1.
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This article argues that play and creativity are cornerstones of a person-centred approach to adult second language education. However, when learners are refugees, asylum seekers or migrants already living in the country where the language is spoken, it is important that language learning also addresses their functional needs. Creative English is an applied theatre programme for adults in the UK that balances these functional and creative needs while developing confidence in English language communication skills. Drawing on participant-led, practice-based research which resulted in the development of Creative English, this article purports the benefits of an approach that combines playful emotional engagement with pragmatic subject matter. Creative English is based on improvisation. It reduces inhibitions and creates a state highly conducive to learning and taking the risk to communicate in a second language. It also offers the opportunity to rehearse language in everyday life situations. When learners’ perceived needs are met, Maslow’s hierarchy of needs can then be inverted, as creativity allows opportunity to address needs in terms of self-esteem and belonging.
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Saro, Anneli. "Nõukogude tsensuuri mehhanismid, stateegiad ja tabuteemad Eesti teatris [Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 4 (September 9, 2019): 283–304. http://dx.doi.org/10.12697/aa.2018.4.02.
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Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre
 Since theatre in the Soviet Union had to be first of all a propaganda and educational institution, the activity, repertoire and every single production of the theatre was subject to certain ideological and artistic prescriptions. Theatre artists were not subject to any official regulations regarding forbidden topics or ways of representation, thus the nature of censorship manifested itself to them in practice. Lists of forbidden authors and works greatly affected politics related to repertoire until the mid-1950s but much less afterwards. Research on censorship is hampered by the fact that it was predominately oral, based on phone or face-to-face conversations, and corresponding documentation has been systematically destroyed.
 This article is primarily based on memoirs and research conducted by people who were active in the Soviet theatre system. It systematises the empirical material into four parts: 1) mechanisms of censorship, 2) forms and strategies, 3) counter-strategies against censorship and 4) taboo topics. Despite the attempt to map theatre censorship in Estonia after the Second World War (1945–1990), most of the material concerns the period from the mid-1960s to the mid-1980s. This can be explained by the age of the respondents, but it can also be related to the fact that the Soviet control system became more liberal or ambiguous after the Khrushchev thaw encouraged theatre artists and officials to test the limits of freedom.
 The mechanisms of theatre censorship were multifaceted. Ideological correctness and the artistic maturity of repertoire and single productions were officially controlled by the Arts Administration (1940–1975) and afterwards by the Theatre Administration (1975–1990) under the supervision of the Ministry of Culture. Performing rights for new texts were allocated by the Main Administration for Literary and Publishing Affairs (Glavlit): texts by foreign authors were approved by the central office in Moscow, and texts by local authors were approved by local offices. The third censorship agency was the artistic committee that operated in every single theatre. Nevertheless, the most powerful institution was the Department of Culture of the Central Committee of the Communist Party of Estonia, whose influence on artistic issues had to be kept confidential by the parties involved. On top of all this, there was the hidden power and omnipresent network of agents of the Committee for State Security (KGB). Some audience members also acted as self-appointed censors. The network and system of censorship made the control system almost total and permanent, also enforcing self-censorship.
 Forms of censorship can be divided into preventive and punitive censorship, and strategies into direct and indirect censorship. Soviet censorship institutions mostly applied preventive censorship to plays or parts of productions, but hardly any production was cancelled before its premiere because that would have had undesirable financial consequences. Punitive censorship after the premiere was meant for correcting mistakes when the political climate changed or if a censor had been too reckless/lenient/clever, or if actors/audiences had started emphasising implicit meanings. Preventive censorship was predominantly direct and punitive censorship indirect (compelling directors to change mise en scènes or prescribing the number of performances). Indirect censorship can be characterised by ambiguity and allusions. A distinction can be made between preventive and punitive censorship in the context of single productions, but when forbidden authors, works or topics were involved, these two forms often merged.
 The plurality of censorship institutions or mechanisms, and shared responsibility led to a playful situation where parties on both sides of the front line were constantly changing, enabling theatre artists to use different counter-strategies against censorship. Two main battlefields were the mass media and meetings of the artistic committees, where new productions were introduced. The most common counter-strategies were the empowerment of productions and directors with opinions from experts and public figures (used also as a tool of censorship), providing ideologically correct interpretations of productions, overstated/insincere self-criticism on the part of theatre artists, concealing dangerous information (names of authors, original titles of texts, etc.), establishing relationships based on mutual trust with representatives of censorship institutions for greater artistic freedom, applying for help from central institutions of the Soviet Union against local authorities, and delating on censors. At the same time, a censor could fight for freedom of expression or a critic could work ambivalently as support or protection.
 In addition to forbidden authors whose biography, world view or works were unacceptable to Soviet authorities, there was an implicit list of dangerous topics: criticism of the Soviet Union as a state and a representative of the socialist way of life, positive representations of capitalist countries and their lifestyles, national independence and symbols of the independent Republic of Estonia (incl. blue-black-white colour combinations), idealisation of the past and the bourgeoisie, derogation of the Russian language and nation, violence and harassment by Soviet authorities, pessimism and lack of positive character, religious propaganda, sexuality and intimacy. When comparing the list of forbidden topics with analogous ones in other countries, for example in the United Kingdom where censorship was abolished in 1968, it appears that at a general level the topics are quite similar, but priorities are reversed: Western censorship was dealing with moral issues while its Eastern counterpart was engaged with political issues.
 It can be concluded that all censorship systems are somehow similar, embracing both the areas of restrictions and the areas of freedom and role play, providing individuals on both sides of the front line with opportunities to interpret and embody their roles according their world view and ethics. Censorship of arts is still an issue nowadays, even when it is hidden or neglected.
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McIntyre, Meredith J., Ysanne Chapman, and Karen Francis. "Hidden costs associated with the universal application of risk management in maternity care." Australian Health Review 35, no. 2 (2011): 211. http://dx.doi.org/10.1071/ah10919.
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This paper presents a critical analysis of risk management in maternity care and the hidden costs associated with the practice in healthy women. Issues of quality and safety are driving an increased emphasis by health services on risk management in maternity care. Medical risk in pregnancy is known to benefit 15% or less of all pregnancies. Risk management applied to the remaining 85% of healthy women results in the management of risk in the absence of risk. The health cost to mothers and babies and the economic burden on the overall health system of serious morbidity has been omitted from calculations comparing costs of uncomplicated caesarean birth and uncomplicated vaginal birth. The understanding that elective caesarean birth is cost-neutral when compared to a normal vaginal birth has misled practitioners and contributed to over use of the practice. For the purpose of informing the direction of maternity service policy it is necessary to expose the effect the overuse of medical intervention has on the overall capacity of the healthcare system to absorb the increasing demand for operating theatre resources in the absence of clinical need. What is known about this topic? Australia is experiencing an increase in unexplained caesarean section births in healthy populations of women at a time when risk management is an accepted practice in maternity care irrespective of clinical need. The effect of this increase on health services has been cushioned in the belief that caesarean section is cost neutral when compared with uncomplicated vaginal birth. What does this paper add? This article shows that caesarean section is not cost neutral when compared with uncomplicated vaginal birth. Hidden costs in terms of serious morbidity affecting women’s future health and fertility associated with caesarean delivery in the absence of medical risk need to be calculated into the overall cost burden. Practitioners have been misled in this regard, thereby contributing to overuse of the practice. What are the implications for practitioners? The importance of changing the index measurement of safety and quality of maternity care to include serious morbidity following unexplained caesarean section birth rates and normal births.