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Journal articles on the topic 'Community theatre Community theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.

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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project su

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2

HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.

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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse Ge

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3

Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT". Issues in Ethnology and Anthropology 11, № 1 (2016): 63. http://dx.doi.org/10.21301/eap.v11i1.3.

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This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider p

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4

Nogueira, Marcia P., Renaldo M. Goncalves, and Carina Scheibe. "Community Theatre in Florianópolis." Research in Drama Education: The Journal of Applied Theatre and Performance 1, no. 1 (1996): 121–28. http://dx.doi.org/10.1080/1356978960010111.

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5

Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.

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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize

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6

McDonnell, Bill. "Sheffield’s tenants’ theatres in the 1980s: theatre, community and activism." Studies in Theatre and Performance 40, no. 1 (2019): 8–20. http://dx.doi.org/10.1080/14682761.2019.1689737.

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7

King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.

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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’

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8

Lev-Aladgem, Shulamith. "Public Theatre, Community Theatre, and Collaboration: Two Case Studies." New Theatre Quarterly 26, no. 4 (2010): 369–82. http://dx.doi.org/10.1017/s0266464x10000679.

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In 1986 professional theatre practitioners working in two underprivileged neighbourhoods in greater Tel Aviv in Israel created in collaboration with the local residents two large-scale productions. In this article Shulamith Lev-Aladgem studies these rare encounters between professional public theatre and amateur, community-based theatre in Israel, employing a method similar to that of the historian who employs micro-history in order to reveal the excluded past of muted groups in a given society. Both productions – including the intentions of their creators and participants, the power struggles

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9

Pukelytė, Ina. "Reconstructing a Nomadic Network: Itineraries of Jewish Actors during the First Lithuanian Independence." Nordic Theatre Studies 27, no. 1 (2015): 78. http://dx.doi.org/10.7146/nts.v27i1.24241.

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This article discusses the phenomenon of openness and its nomadic nature in the activities of Jewish actors performing in Kaunas during the first Lithuanian independence. Jewish theatre between the two world wars had an active and intense life in Kaunas. Two to four independent theatres existed at one time and international stars were often touring in Lithuania. Nevertheless, Lithuanian Jewish theatre life was never regarded by Lithuanian or European theatre society as significant since Jewish theatre never had sufficient ambition and resources to become such. On the one hand, Jewish theatre o

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10

Plastow, Jane. "The Eritrea Community-Based Theatre Project." New Theatre Quarterly 13, no. 52 (1997): 386–95. http://dx.doi.org/10.1017/s0266464x00011544.

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Following Jane Plastow's contextual history of Eritrean theatre in NTQ50, Paul Warwick gave an account in the following issue of its previously undocumented role during the thirty-year Eritrean struggle for independence, describing the efforts of the freedom fighters to create theatre for the first time in a rural context. The Eritrean People's Liberation Front not only deployed theatre as a propaganda weapon, but also recognized its value as an agent for educating the people in matters ranging from women's rights to the benefits of modern medicine and farming methods: and with victory came me

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11

Wooster, Roger. "Creative inclusion in community theatre: a journey with Odyssey Theatre." Research in Drama Education: The Journal of Applied Theatre and Performance 14, no. 1 (2009): 79–90. http://dx.doi.org/10.1080/13569780802655814.

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12

Jones, Robert W. "Competition and Community: Mary Tickell and the Management of Sheridan's Drury Lane." Theatre Survey 54, no. 2 (2013): 187–206. http://dx.doi.org/10.1017/s0040557413000021.

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Despite considerable advances in scholarship—achievements on which this essay builds—our knowledge of how eighteenth-century theatres were run remains worryingly thin. The managerial enterprise of theatre production, especially its daily practicalities, is largely obscure, though the facts of performance history are well documented. Knowledge of practice is not our only lacuna. Accounts of the interfaces among performances, institutional theatre practices, and the wider culture of the eighteenth century are too few, though wonderful work has been produced by Jane Moody, Felicity Nussbaum, and

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13

Lacko, Ivan. "Imaginative Communities: The Role, Practice and Outreach of Community–Based Theatre." Ars Aeterna 6, no. 2 (2014): 21–27. http://dx.doi.org/10.2478/aa-2014-0010.

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Abstract In recent years, the artistic representation of communities (e.g. in community-based theatres) has found its source in the realm of the imagination (documentary drama, verbatim theatre, post-dramatic performance, etc.), addressing issues that are important and relevant not only for the communities themselves but also for the wider society. In this presentation I will use Zygmunt Bauman’s notion of the “seductive lightness of being” - or the transitory nature of our virtual experience - to talk about the role of selected community-based theatres in the United States and about their ima

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14

Kapadocha, Christina. "Community as soma: Reflections on a community-conscious theatre gathering." Journal of Arts & Communities 12, no. 1 (2021): 7–21. http://dx.doi.org/10.1386/jaac_00020_1.

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Taking as a point of departure the ongoing and ever-evolving interaction between theatre arts and communities, this article expands upon ideas on bodies and communities bringing together somatic, theatre and community studies. It uses as a case study a somatically inspired theatre praxis gathering that took place in the village of Kato Garouna (Corfu, Greece) during summer 2018 (23‐26 August). The gathering is identified as a ‘community-conscious’ project, which led to the awareness of ‘community as soma’. This approach to community inquiry, supported by the openness of somatic and practice-re

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15

Lev-Aladgem, Shulamith. "From Object to Subject: Israeli Theatres of the Battered Women." New Theatre Quarterly 19, no. 2 (2003): 139–49. http://dx.doi.org/10.1017/s0266464x03000058.

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Israeli institutional theatre has only just begun to toy with the idea of ‘feminist theatre’ and, despite a demonstrable increase in violence against women in Israel, with increased visibility in the mass media, the subject has yet to be confronted in mainstream theatres. However, women's creation has been longer at the frontier of theatre activities, and the issue of battered women has been a central theme of several community-based performances over the past two decades. In this article Shulamith Lev-Aladgem offers an overview of these plays – the first performed by professional actresses wh

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16

Nyatepeh Nyatuame, Promise, and Akosua Abdallah. "Youth Theatre and Community Empowerment in Ghana." Theatre and Community 9, no. 2021-1 (2021): 122–49. http://dx.doi.org/10.51937/amfiteater-2021-1/122-149.

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As contemporary theatre and new production models are now being evaluated with more regard to community empowerment, the importance of proper tools for evaluation of the process has increased. The article explored the community youth theatre practices of the Community Youth Cultural Centre (CYCC) of the National Commission on Culture (NCC) in Ghana. We examined the role of the youth theatre at CYCC in the light of community empowerment. Using the qualitative case study design, six artists with a minimum of five years and a maximum of thirty years of work experience with the CYCC were interview

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17

Paavolainen, Teemu. "Poor Theatre, Rich Theatre." Nordic Theatre Studies 30, no. 1 (2018): 144–64. http://dx.doi.org/10.7146/nts.v30i1.106927.

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The article analyzes two Finnish theatre adaptations of Fanny och Alexander, by Ingmar Bergman, and Rauta-aika, by Paavo Haavikko, premiered in 2010 and 2011 respectively. The key question is, how the two works brought the filmic originals’ wealth of material to theatrically manageable proportions, and how the themes of poverty and prosperity were developed by their scenic machineries – a question of theatricality, but also, if you will, of a sort of theatrical exchange: “golden age” to exile or decline in the story-worlds, lavish film to theatrical constraint in production. The first two sect

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18

Andreasen, John. "Community Plays—A Search for Identity." Theatre Research International 21, no. 1 (1996): 72–78. http://dx.doi.org/10.1017/s0307883300012724.

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During the last twenty years the number of community plays has grown enormously in Scandinavia and Great Britain. In Denmark, on average, some twenty new plays are produced annually. From the early 1970s to 1993, I have registered more than 300 Danish productions; these include about sixty of the 140 plays which celebrate the two-hundredth anniversary of abolition of adscription in 1988. ‘Community plays’ are known by a number of different names. In Scandinavia they are called ‘lokalspil’, ‘egnsspil’, ‘bygdespel’, ‘krönikespel’, ‘arbetarspel’, and so on. It is important to distinguish ‘communi

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19

McConachie, Bruce. "Local Acts: Community-Based Performance in the United States." Theatre Survey 47, no. 1 (2006): 140–42. http://dx.doi.org/10.1017/s0040557406350090.

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Theatre historians and practitioners in the academy have been slow to recognize the validity and significance of the community-based theatre movement in the United States. With the exception of a few books and articles, most of the scholarly literature on community-based theatre remains squirreled away in local reports, unpublished dissertations, and Web sites infrequently visited (at least by theatre academics). Perhaps this should not be surprising; compared to Australia, Latin America, and most of Europe, community-based theatre in the United States is scandalously underfunded and unknown.

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20

Inyang, Ekpe. "Community theatre as instrument for community sensitisation and mobilisation." Tydskrif vir letterkunde 53, no. 1 (2016): 149. http://dx.doi.org/10.4314/tvl.v53i1.10.

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21

Julien, Martin. "Community, Viability: Theatre Past and Present." Canadian Theatre Review 169 (January 2017): 78–83. http://dx.doi.org/10.3138/ctr.169.013.

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22

Kuftinec, Sonja. "A Cornerstone for Rethinking Community Theatre." Theatre Topics 6, no. 1 (1996): 91–104. http://dx.doi.org/10.1353/tt.1996.0004.

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23

Lee, Edward. "CENSORSHIP IN COMMUNITY COLLEGE THEATRE PROGRAMS." Community College Journal of Research and Practice 22, no. 5 (1998): 469–78. http://dx.doi.org/10.1080/1066892980220501.

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24

Mažeikienė, Rūta. "Collective Narratives: Community Based Theatre Practices." Art History & Criticism 11 (2015): 34–45. http://dx.doi.org/10.7220/2335-8769.11.3.

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25

McKenna, Jennifer. "Creating community theatre for social change." Studies in Theatre and Performance 34, no. 1 (2014): 84–89. http://dx.doi.org/10.1080/14682761.2013.875721.

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26

Gindt, Dirk. "Ola Johansson: Community Theatre and AIDS." Nordic Theatre Studies 24, no. 1 (2019): 142–44. http://dx.doi.org/10.7146/nts.v24i1.114931.

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27

Klivis, Edgaras. "Inside Frozen Geographies." Nordic Theatre Studies 32, no. 2 (2021): 138–55. http://dx.doi.org/10.7146/nts.v32i2.124357.

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After the annexation of the Crimean Peninsula by the Russian Federation in 2014, the attitude of Baltic theatre producers and artists towards cultural and institutional partnerships with Russian theatres and their involvement in the mutual artistic exchanges, tours, common projects, and networking changed; not only due to these exchanges becoming a controversial issue in the public eye, but also due to the polarization they caused in the artistic community itself. Some artists, like Latvian stage director Alvis Hermanis, have decisively terminated all their previous creative partnerships, arra

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28

Friedman, Dan. "Theatre, Community, and Development: The Performance Activism of the Castillo Theatre." TDR/The Drama Review 60, no. 4 (2016): 68–91. http://dx.doi.org/10.1162/dram_a_00596.

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The Castillo Theatre’s three decades of making theatre as part of an ongoing politically progressive community-building project in New York City is a new concept/practice of political theatre. Its radical statement is located not primarily in what’s presented onstage, but with those who make the theatre collaboratively, approaching social change activism performatively rather than ideologically.

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29

MALAN, EUNICE. "THEATRE AND THE ENVIRONMENT: THE EXAMPLE OF SOUTH AMERICAN COMMUNITY THEATRE." South African Theatre Journal 4, no. 2 (1990): 80–86. http://dx.doi.org/10.1080/10137548.1990.9688013.

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30

Fink, Ben. "Secular Communion in the Coalfields: The Populist Aesthetic and Practice of Roadside Theater." TDR/The Drama Review 64, no. 4 (2020): 16–43. http://dx.doi.org/10.1162/dram_a_00963.

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Roadside Theater is a populist theatre company. Refusing liberal elitism, activist vanguardism, and the authoritarian pseudo-populism of Donald Trump, Roadside works in grassroots partnerships that cross racial, political, and rural-urban lines. Combining theatre production, community organizing, and economic development, this work creates the conditions for residents of the Appalachian coalfields and neighbors nationwide to confront exploitative power structures and divisive culture wars, tell their own stories, build shared power and wealth, and create a future where “We Own What We Make.”

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31

Cohen-Cruz, Jan. "A Hyphenated Field: Community-Based Theatre in the USA." New Theatre Quarterly 16, no. 4 (2000): 364–78. http://dx.doi.org/10.1017/s0266464x00014111.

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Jan Cohen-Cruz argues that in the hyphen separating community theatre from community-based theatre lies a world of difference – of intention as of realization. Where community theatre tends to assemble the more self-confident members of a majority group to emulate successes from the Broadway repertoire, community-based theatre prefers to draw upon minority and deprived groups in an attempt to create original modes of performance that help the participants make sense of and improve their society. Drawing upon her own experiences and those of other community-based theatre practitioners over a pe

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32

Zibokere, Ebinepere, and Ekiyokere Ekiye. "Theatre as an Agent of Change: Mobilising Against Marijuana Addiction in Tombia Ekpetiama Community in Bayelsa State." East African Journal of Interdisciplinary Studies 2, no. 1 (2020): 1–11. http://dx.doi.org/10.37284/eajis.2.1.155.

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This paper posits community theatre as an agent of change and argues that community theatre possesses the technicalities to bring awareness to the members of a community to the social and cultural issues affecting them via their exploration in drama or performance, thereby causing changes in their mindset, action and socialisation patterns. With a focus on marijuana addiction amongst the youths in Tombia, Ekpetiama, the paper critically analyses the effectiveness of community theatre in mobilising, sensitising, entertaining and educating the community members on the dangers of drug abuse. Mari

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33

Fox, Hannah. "Playback Theatre: Inciting Dialogue and Building Community through Personal Story." TDR/The Drama Review 51, no. 4 (2007): 89–105. http://dx.doi.org/10.1162/dram.2007.51.4.89.

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The Playback Theatre method is humble: trained performers act out life stories volunteered by audience members. Playback Theatre's goal is to illuminate social problems and resolve them. Like Boal's Theatre of the Oppressed, Playback Theatre strives to give voice and visibility to those overlooked and ignored.

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34

Reading, Kerrie. "Navigating New Approaches for Grassroot Community Theatre in a (Post-)Covid World." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 163. http://dx.doi.org/10.14198/raei.2021.35.08.

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The cultural revolution of 1968 paved the way for many artists to reconsider how and where theatre was made. Community theatre gained currency and one company who became prominent during this cultural shift was Welfare State, later Welfare State International. They were one of the theatre companies who focused not only on a community theatre aesthetic but a grassroot one. I examine the radicality of community theatre and consider the efficacy of the historical approaches to engaging with communities in a (Post-)Covid world. I acknowledge and explore the shifting understanding of communities an

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35

이혜경. "A Case of Community Theatre beyond Theatre - Wol - Wall Festival - Storytelling in Village Space towards Empathetic Community." Journal of korean theatre studies association 1, no. 60 (2016): 37–74. http://dx.doi.org/10.18396/ktsa.2016.1.60.002.

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36

Campbell, Mary Schmidt. "Theatre Building, Building Theatre: Fostering Disruption and Community through Arts and Education." TDR/The Drama Review 58, no. 1 (2014): 9–15. http://dx.doi.org/10.1162/dram_a_00324.

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The occasion of building an NYU Abu Dhabi Arts Center on Saadiyat Island, as part of NYU's campus there, and the Tisch School planning a new Institute of Performing Arts Center (IPAC) in lower Manhattan create an opportunity for conceiving a dynamic, collaborative Middle East-meets-West partnership. This partnership has the potential to disrupt conventional expectations of both a liberal arts education and professional theatre training as well as to build bridges to new audiences.

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37

Blaylock, Malcolm. "Subsidy, Community, and ‘Excellence’ in Australian Theatre." New Theatre Quarterly 2, no. 5 (1986): 75–79. http://dx.doi.org/10.1017/s0266464x00001937.

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The Australian Labour government elected in 1972 (and sacked in highly controversial circumstances by the Governor-General in 1975) instituted under the premiership of Gough Whitlam a policy of greatly increased subsidy for the arts. But this was succeeded by a period of neglect, culminating in a drastic policy of cutbacks in 1981; and the election of a new Labour government in 1983 thus coincided with a major debate over both the nature and the distribution of arts subsidy, which has resulted in a wider spread of funding for culturally diverse forms of theatre. Malcolm Blaylock works both as

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38

Jaffe-Berg, Erith. "Drama as Disputation in Mantua." Medieval Encounters 24, no. 5-6 (2018): 666–79. http://dx.doi.org/10.1163/15700674-12340036.

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AbstractThe Jewish community of Mantua in Italy, a vibrant cultural center for Jews, performed plays for the Christian community from at least as early as 1520. During the 150 years of continuous theatre production, there were no public disputations in Mantua even though residents of Mantua often partook in debates elsewhere. This essay argues that theatre functioned as a forum for disputation in Mantua supplanting the need for a formal tradition of disputation. Theatre provided a context for the exchange in ideas about social functioning within each community, and it enabled Jewish community

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39

Kershaw, Baz. "Poaching in Thatcherland: a Case of Radical Community Theatre." New Theatre Quarterly 9, no. 34 (1993): 121–33. http://dx.doi.org/10.1017/s0266464x00007715.

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EMMA was one of the many small-scale touring groups which flourished as part of the community theatre movement of the 1970s. That it died within a year of the Thatcher decade was due, ironically, not to direct political intervention but to a financial crisis within its funding body, East Midlands Arts, brought on by its attempt to centralize community projects and render them safely retrospective. Here, Baz Kershaw compares the practice of EMMA with its stated intentions, and looks in detail at one of its self-created plays, The Poacher, as an example of ‘performative contradiction’ – in this

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40

LEV-ALADGEM, SHULAMITH. "Ethnicity, Class and Gender in Israeli Community Theatre." Theatre Research International 28, no. 2 (2003): 181–92. http://dx.doi.org/10.1017/s0307883303001056.

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Community theatre in Israel emerged as a unique theatrical form at the beginning of the 1970s in several disadvantaged neighbourhoods inhabited by the Mizrahim (Jews originating from Arab countries). It has since developed into a vital and diverse cultural intervention within different groups and locations. The political community theatre of the Mizrahi ethnic group reflects the power relationships between the hegemonic establishment of the Ashkenazi (Jews originating from Western countries) and the Mizrahi minority. The socio-cultural categories of ethnicity, class and gender are applied to t

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41

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

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42

Burvill, Tom. "Sidetrack: Discovering the Theatricality of Community." New Theatre Quarterly 2, no. 5 (1986): 80–89. http://dx.doi.org/10.1017/s0266464x00001949.

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In the interview above, Malcolm Blaylock referred to Sidetrack, a community theatre company in the inner-western suburbs of Sydney, as ‘arguably the best company in Australia’. Here, Tom Burvill examines some of the company's recent work, and sets it in the context of an understanding of community theatre which he traces back to Brecht and Walter Benjamin. Tom Burvill, who has himself acted as a dramaturg for Sidetrack, lectures in English and linguistics at Macquarie University.

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43

JOHANSSON, DR OLA. "The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa." Theatre Research International 32, no. 1 (2007): 85–100. http://dx.doi.org/10.1017/s0307883306002525.

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This article discusses the functions of African community theatre in general, and its preventive capacity in the HIV/AIDS epidemic in particular. By delineating the parallel developments of community theatre and HIV prevention, the reciprocal needs of the practices are assessed in light of certain cases in Tanzania. This country has taken a leading position in the implementation of sustainable and locally owned theatre projects, but the challenges of the AIDS epidemic have proven so vast that the previously assumed purposes of community theatre must be called into question. Rather than being v

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44

Liang, Shen. "Performing Dream or Reality: The Dilemma of Chinese Community-Based Theatre." TDR/The Drama Review 58, no. 1 (2014): 16–23. http://dx.doi.org/10.1162/dram_a_00325.

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In recent years, teachers and students at Shanghai Theatre Academy did several community-based theatre projects among the migrant workers and their families who came from the Chinese countryside. When we applied Augusto Boal's techniques of Theatre of the Oppressed, we found that many community members prefer performing their dreams to performing their unpleasant reality.

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45

Meewon Lee. "A Study of Education for Community Theatre." Korean Journal of Arts Studies ll, no. 20 (2018): 71–94. http://dx.doi.org/10.20976/kjas.2018..20.004.

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46

Kerr, David. "Community theatre and public health in Malawi." Journal of Southern African Studies 15, no. 3 (1989): 469–85. http://dx.doi.org/10.1080/03057078908708211.

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47

Hughes, Amy, Jill Stevenson, and Mikhail Gershovich. "Community through Discourse: Reconceptualizing Introduction to Theatre." Theatre Topics 16, no. 1 (2006): 85–101. http://dx.doi.org/10.1353/tt.2006.0008.

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48

Woodruff, Graham. "Theatre at Telford Community Arts 1974–90." Research in Drama Education: The Journal of Applied Theatre and Performance 9, no. 1 (2004): 29–46. http://dx.doi.org/10.1080/1356978042000185894.

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49

Anderson, Virginia. "Community Theatre and AIDS by Ola Johansson." Journal of Dramatic Theory and Criticism 29, no. 1 (2014): 108–10. http://dx.doi.org/10.1353/dtc.2014.0014.

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Sloman, Annie. "Using participatory theatre in international community development." Community Development Journal 47, no. 1 (2011): 42–57. http://dx.doi.org/10.1093/cdj/bsq059.

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