Academic literature on the topic 'Prison theater'
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Journal articles on the topic "Prison theater"
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Lucas, Ashley, Natalia Ribeiro Fiche, and Vicente Concilio. "We Move Forward Together: A Prison Theater Exchange Program Among Three Universities in the United States and Brazil." Prison Journal 99, no. 4_suppl (July 9, 2019): 84S—105S. http://dx.doi.org/10.1177/0032885519861061.
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In 2013, the Prison Creative Arts Project at the University of Michigan and Teatro na Prisão at the Universidade Federal do Estado do Rio de Janeiro began an international exchange of university-based prison theater programs. The theater faculty at the Universidade do Estado de Santa Catarina joined the exchange in 2016 and began a new prison theater program at a women’s facility in Florianópolis, Brazil. Together, these three universities not only share best practices and resources but form a community of support and understanding as they engage in a highly specialized and challenging creative process inside prisons.
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Xiaoye, Zhang. "Participatory Theater as Fieldwork in Chinese Prisons: A Research Note." Prison Journal 101, no. 6 (December 2021): 742–61. http://dx.doi.org/10.1177/00328855211060342.
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This methodological reflection is based on the author's own experience taking part in participatory theater projects in mainland Chinese prisons over the past 5 years. This article demonstrates how the author's participation in prison theater projects secured otherwise unattainable research access by forming collaborations with various organizations. Participatory theater workshops also offered the space for sustaining long-term rapport. This research note discusses why trusting relationships are the most important guarantee to obtaining valid data in Chinese prison research. The findings contribute to understanding methodological challenges and innovations of conducting fieldwork in criminal justice systems with no formal research access channels.
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Van Steen, Gonda Aline Hector. "Forgotten Theater, Theater of the Forgotten: Classical Tragedy on Modern Greek Prison Islands." Journal of Modern Greek Studies 23, no. 2 (2005): 335–95. http://dx.doi.org/10.1353/mgs.2005.0024.
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Prendergast, Monica. "anecdotal." Qualitative Inquiry 26, no. 6 (May 5, 2019): 674–76. http://dx.doi.org/10.1177/1077800419846642.
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A poem based on an encounter with an audience member by the author following a prison theater production that the author was in as a mentor actor working alongside male inmates. The poem was presented as part of a panel on Applied Theater and Change—that is, how are we to know that change has occurred as a result of an applied theater experience or performance—at the triennial International Drama in Education Research Institute, University of Auckland, New Zealand in July of 2018.
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Jenkins, Ron. "Dante, fatherhood, and starvation behind bars." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 18, 2021): 568–80. http://dx.doi.org/10.1177/00145858211022645.
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This article documents the responses of incarcerated men to Dante’s story of Ugolino in canto 33 of Inferno. Reading Dante’s poem in prison theater workshops the men are inspired to write about the ways in which their own children, like Ugolino’s, have suffered because of the incarceration of their father. Interweaving fragments of Dante’s text into their stories the incarcerated readers generate narratives that explore the multiple meanings of starvation. While Ugolino’s children die starving for food, the children of incarcerated fathers are starving for love, family, and community. Like the majority of men in American prisons the participants in these Dante theater workshops are people of color and their writing highlights the impact of mass incarceration on black and brown communities in America at the same time that it demonstrates the continuing relevance of Dante’s poem to readers confronting issues related to justice and its absence in the twenty-first century.
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Abad, Ricardo. "Bilibid Weeks: An Account of Prison Theater in the Philippines." Perspectives in the Arts and Humanities Asia 9, no. 2 (October 31, 2019): 29–53. http://dx.doi.org/10.13185/ap2019.09202.
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Bartnicka, Anna Joanna. "Margaret Atwood’s Hag-Seed: Dramatic Encounters between Classic and Adaptation, Life and Art, Freedom and Imprisonment." Roczniki Humanistyczne 69, no. 11 (December 8, 2021): 21–33. http://dx.doi.org/10.18290/rh216911-2.
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This paper examines Margaret Atwood’s novel Hag-Seed (2016) as a metatextual adaptation of Shakespeare’s literary classic The Tempest. The terms “adaptation” and “classic” are employed to explain the relation of Atwood’s work to its source material. The performance of The Tempest prepared by the characters of the novel that engages convicts is a form of multi-media interactive theater, and the classical text of the Shakespearean play is considered a form of “sacra” (Turner), which has educational and utilitarian purposes. Michel Foucault’s analysis of prison, his concept of “heterotopia”, and Victor Turner’s concept of “liminality” are introduced to discuss the convicts participating in a theatrical workshop as liminal individuals during the ritual of transition while in the heterotopian space of a prison.
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Sáez, Alejandra. "La actuación del derecho." Acta Poética 42, no. 2 (June 22, 2021): 47–76. http://dx.doi.org/10.19130/iifl.ap.2021.2.18123.
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Law, in its structure and from its first conformation, shares the same matrix with theater. Elements such as representation, spectacle, storytelling and actions are constitutive of both subjects, which makes law an eminently fictitious practice. This becomes evident in the case of Jorge Mateluna, former member of the patriotic front Manuel Rodriguez, who was arrested and sentenced to 16 years in prison for a crime he did not commit, a case denounced in the play Mateluna by Chilean playwright Guillermo Calderon, staging that, when compared to the legal case, reveals the theatrical and fictitious nature of law.
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Weegels, Julienne. "Undoing the “Cemetery of the Living”: Performing Change, Embodying Resistance through Prison Theater in Nicaragua." Revista Crítica de Ciências Sociais, no. 120 (December 1, 2019): 137160. http://dx.doi.org/10.4000/rccs.9770.
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Chmut, Darina, and Tetyana Mykhed. "Margaret Eleanor Atwood: the Prison Topos as the Main Path of her Novel “Hag-Seed”." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 39 (2021): 61–71. http://dx.doi.org/10.17721/2663-6530.2021.39.06.
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The article is devoted to the analysis of M. Atwood’s novel “Hag-Seed”, which transfers the situation and issues of Shakespeare's "The Tempest" to the modern environment. The author literalizes the metaphorical meanings invested by the great bard, at the same time attaching her own metaphors to create a two-level text. An attempt is made to investigate the specifics of the author's use of the prison topos as a literary path to draw public attention to the existing problems of the penitentiary system, and to promulgate the role of theater in preparing convicted criminals to return to society and their successful integration. Atwood uses different types of imprisonment and restraint in her work, which correlates with Foucault's research in the field of control and supervision, as well as his heterotopology. Also, the emphasis on the psychological state of the hero makes it possible to consider the problem through the prism of D. Moran's theory of carceral space.
Dissertations / Theses on the topic "Prison theater"
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White, Lillian W. "Storytelling, Community and Dialogue: The Making of And Yet We'll Speak at Grafton Reintegration Center." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1562022462391606.
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Walsh, Alwyn Mae. "Performing (for) survival : performance tactics of incarcerated women." Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/8889/.
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In an era characterised by impacts of cuts and austerity in the UK, this study is positioned at the interface between two socio-cultural institutions against which societies are judged: the arts and criminal justice. Within this field, the thesis investigates the ways women in prison are positioned in a carceral performance that is cyclical and inevitably ‘tragic’. The argument considers the tactics women use in order to firstly, survive their incarceration, and sometimes, resist, the institution. The theoretical frame is drawn from feminist criminology and Bourdieu’s ‘habitus’ to examine everyday performances as well as theatrical works by and about incarcerated women. This project adds to the field by locating performance practices in and of prison within wider social contexts of the politics of carceral spaces. The main questions posed by this project were ‘what does theatre/ performance offer to challenge stereotypes of ‘the cage’?; and to what extent and in what ways does performance in (and of) prison challenge/ subvert/ augment/ transform the site itself’? The research sought to understand to what extent women’s articulations of subjectivity could be a radical alternative to the logocentric and discursive prisons of sentences and prison records. The study was developed as an ethnographic examination of performance in and of prison, alongside exploring how contemporary performance modes are implicated in defining, containing, and correcting (criminal) women’s everyday performances. The thesis is primarily concerned with a critical reflection on theatre practices in prison, with particular emphasis on the political implications of the effects of prison as/and performance. The study makes claims for a radical practice in and about prisons that is distanced from current applied theatre practices, and as such points towards a more troubled rehearsal of how punishment is performed.
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Derbes, Brett J. "Prison Productions: Textiles and Other Military Supplies from State Penitentiaries in the Trans-Mississippi Theater during the American Civil War." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84198/.
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This thesis examines the state penitentiaries of Louisiana, Arkansas, and Texas that became sources of wartime supplies during the Civil War. A shortage of industry in the southwest forced the Confederacy to use all manufactories efficiently. Penitentiary workshops and textile mills supplied a variety of cloth, wood, and iron products, but have received minimal attention in studies of logistics. Penitentiary textile mills became the largest domestic supplier of cloth to Confederate quartermasters, aid societies, citizens, slaves, and indigent families. This study examines how penitentiary workshops converted to wartime production and determines their contribution to the Confederate war effort. The identification of those who produced, purchased, distributed, and used penitentiary goods will enhance our knowledge of overall Confederate supply.
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O'Grady, Lucy. "The therapeutic potentials of creating and performing music with women in prison : a qualitative case study /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7079.
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The aim of this research is to contribute ideas toward the possibilities of what music therapy can be, by examining the therapeutic potentials of creating and performing music within the context of an Australian maximum-security women’s prison. Until recently, music therapists rarely documented or explored the potential of performance for music therapy practice while some health professionals even suggested that performance is anti-therapeutic (See Maratos, 2004). Music therapists writing about their practices in forensic settings emphasise the therapeutic potentials of singing and song writing rather than performance and they predominantly approach these activities from a behavioural orientation. The almost singular theoretical approach to practising music therapy in forensic settings reflects a lack of relevant research. Consequently, the purpose underlying this research is to explore the therapeutic potentials of making and performing music with women in prison from an alternative perspective; namely humanistic rather than behavioural. The aim of this research is not only to examine previously undocumented processes in music therapy such as performance but also to contribute to the literature concerning the health and wellbeing of women in prison.The research was designed as a qualitative case study of a ten-week creative process involving seven women in prison who collaboratively created a musical together with artists from a theatre company. As a culmination of this ten-week process, the women in prison and the artists of the theatre company performed the musical to an audience of approximately 60 prisoners, prison officers, health professionals and prison staff. In order to examine the therapeutic potentials of creating and performing music in this case, post-performance interviews were conducted with the seven women who were in prison as well as with the artists involved in the theatre company. The researcher also wrote session notes throughout the ten-week process and these, as well as the interviews and five songs created during the ten weeks, comprise the data set for this study.
The data was analysed using a variety of qualitative techniques chosen for their suitability to two main research tasks: 1) describing the case and 2) analysing the therapeutic potentials of creating and performing music in this case. In order to describe what happened collectively throughout the ten-week process, a content analysis was performed upon the researcher’s session notes. Phenomenological techniques of analysis were then applied to the interviews with the women in prison in order to describe the essence of each individual’s experience of the ten-week process. The five songs are presented in their original form as a way of further illustrating the case. In order to describe the work of the theatre company, techniques of grounded theory were used to analyse the interviews with the participating artists. Grounded theory analysis was also the method used to ultimately explain various aspects relating to the therapeutic potentials of creating and performing music in this case.
The main results of this analysis are presented in three parts. The first set of results explains how creating and performing music in this case served the participating women in prison as a bridge from the ‘inside’ to the ‘outside’. These women described a real and symbolic divide between their realities inside prison and the world outside the razor wire. By creating and performing music, the women were able to experience five different ways of shifting outside of their realities in prison, by moving 1) from physical and symbolic ‘inside’ places to ‘outside’ places, 2) from privacy to public, 3) from solitude to togetherness, 4) from self-focus to a focus on others, and 5) from subjective thought processes to objective thought processes. The results outline different therapeutic potentials for each type of outward movement. The exploration of an outward-directed approach to music experience in this case can help to extend conventional music therapy practices where inward-directed therapeutic shifts are more commonly described.
The second set of results depicts the influence of five personal resources that helped the women to enact the therapeutic potentials associated with each of the five outward shifts. In particular, these results suggest that each type of outward movement was especially powerful when courage, readiness, exchange, support and trust were present in their fullest dimensions. It was these resources, rather than the processes usually associated with therapy, that enabled the therapeutic potentials of creating and performing music in this case to be fulfilled. Consequently, the notions of ‘therapy’ and ‘therapeutic’ are further delineated while important implications for the use of music as therapy and for the related practice of ‘arts in health’ are highlighted.
The third and final set of results suggest that music in this case, when compared with visual art and drama, provided the women with a ‘middle road’ in terms of the levels of exposure required by each art-form. As a predominantly gentle form of exposure, music in this case provided therapeutic potentials that differed more in strength rather than quality when compared with drama and visual art. These results suggest the importance of creativity in explaining the relationship between the therapeutic potentials of all arts therapies while also representing important implications for the development of indigenous theory in music therapy.
In relation to the stated aims, this research documents and explores the therapeutic potentials of musical performance and directly relates these potentials to new possibilities for music therapy practice. Furthermore, the research presents a humanistic rather than behavioural approach to creating and performing music with women in prison, thereby adding variety and depth to the sparse music therapy literature related to forensic health. More broadly, however, this research adds to the slim body of literature concerning women in prison by outlining a creative and powerful approach to helping such women improve their health and well-being.
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Guse, Anna. ""I Am More Than an Inmate...": Re/Developing Expressions of Positive Identity in Community-Engaged Jail Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636691932172.
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Stathopoulos, Alexia. "Le "théâtre carcéral" : des complexités sociales en prison et de l'art comme possibilité de créer du "commun" : etude menée en France et en Espagne." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H011/document.
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Ce travail s’ancre dans une démarche compréhensive des expériences individuelles du quotidien carcéral. De nombreux entretiens semi-directifs réalisés auprès de différents acteurs des prisons (personnes détenues, personnels de surveillance, CPIP, membres de la direction) constituent les principales références et sources de cette recherche ; c’est en cela qu’ils sont présentés et donnés à lire au même titre que le développement qu’ils nourrissent. Cette enquête tend à comprendre et à montrer que, si la prison a des conséquences désocialisantes et désaffliantes pour les personnes détenues, le drame social de la prison se joue avant tout dans les nouvelles formes de sociabilité qu’elle induit. Le concept de « théâtre carcéral », fil rouge de ce travail, permet notamment de saisir et de questionner les logiques de « représentation » et de « rôles » (Cf. Erving Goffman) qui sont au cœur des interactions entre les différents acteurs sociaux des prisons ; ces « rôles » sont entendus comme les attentes, les fonctions et les comportements qui sont induits par le statut interne de chaque acteur (qu’il soit CPIP, surveillant ou «détenu»). Malgré des micro « sorties de rôles » et l’existence de nombreuses pratiques d’entraide et de convivialité en détention, les logiques interactionnelles du « théâtre carcéral » restreignent les formes de « présentation de soi » de chaque acteur aux yeux des autres, et dévoilent une appréhension généralisée de la relation à l’autre comme un risque. Ce travail pose l’art, dans le cadre d’expériences artistiques collectives, comme possibilité de sortir du « théâtre carcéral » pour les personnes détenues, et de (re)créer du « commun » à l’intérieur de la détention, mais aussi entre l’intérieur des prisons et l’extérieur. Cette proposition est illustrée par l’expérience-exposition « Des traces et des Hommes. Imaginaires du château de Selles », réalisée au CD de Bapaume à l’initiative du musée des beaux-arts de Cambrai en 2016. Il s’agit de montrer que les expériences artistiques se distinguent d’autres activités proposées en détention, dans la mesure où elles permettent aux personnes de construire un interstice dans lequel explorer des possibilités de vie (ensemble), et de se (re)connaître dans l’expression créative de leurs individualités ; l’engagement individuel au sein d’un collectif peut en cela changer la donne en termes de rapport à l’autre, en détention d’abord puis dans la perspective de la sortie de prisonThis investigation is based on a comprehensive approach to individual experiences of prison. The methodology includes many semi-structured interviews with various social actors in prison (inmates and prison administration staff). These testimonies are presented as part of the analysis. The purpose of this investigation is to demonstrate that the experience of prison involves generating new forms of sociability, in addition to having “de-socialising” and “disaffiliating” consequences for detained people. The concept of “prison theatre” is an interesting guideline for understanding the logics of “representation” and “roles” that are at the centre of social interactions in prison (Cf. Erving Goffman’s dramaturgical analysis approach). The potency of the established and expected “roles” in prison (as “inmate” or as “prison guard” for example) reduces the forms of “presentation of Self” and of socialization among the different social actors in prison. This work proposes collective arts experiences as a way out of the “prison theatre” for detained people and as an opportunity to create a common living world inside the prison and between “inside” and “outside”. Such a proposition is illustrated by the experience-exhibition “Traces and Humans: imaginations of the castle of Selles” initiated in 2016 by the Museum of Cambrai in the prison of Bapaume. This experience raises the power of art as a universal language which allows the possibility for inmates to express themselves inside the prison, to have contact with the “outside world” and to feel like they are still taking part in the society
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Chinhanu, Chiedza Adelaide. "Prison a/r/tography: the aesthetic of 'captive' masculinities." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25018.
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Contemporary artists have been successful in breaking into prisons and persuading the prison institutions, the general public and prison educators to legitimize artistic activity. However, the discourses on prison theatre have been largely dominated by therapeutic and rehabilitative agendas, possibly at the expense of theatre practice - its aesthetic strategies, and aural and visual qualities. This research comes against such a background. The research project was developed in response to the debates and concerns about artistic work in applied prison theatre. It was located at the borders of what can be articulated about aesthetic intervention 'without purpose' in a prison setting; - without purpose in the sense of eschewing big claims of social and psychological efficacy. Through the practice of a/r/tography, which is a means of inquiry through a method of art making, the research examined what is possible about the work. Of particular interest was the potential to explore possibilities for aesthetic intervention understandings and nuances in prison theatre. Be that as it may, although there was a conscious moving away from the applied umbrella as overtly instrumentalist, it can be argued from the findings that there is a possible tension of falling under the umbrella.
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Davey, Linda. "Performing Desistance: A model of change for applied theatre with incarcerated women." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370986.
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This thesis occupies a multidisciplinary space where questions of utility intersect those of aesthetics, to engage with the concerns of theatre, criminology and psychology. As such, it straddles difficult territory: the no-man’s-land of applied theatre in prison contexts, a territory where the epistemological walls around disciplinary boundaries are often fortified, and where research worlds often collide. This thesis moves boldly into this territory, moving within and between the arts and the social sciences in a quest to understand and theorise change within prison theatre practice.
Missing from many discussions of prison theatre is the connection between the often-espoused transformative claims, and what we know ultimately assists people to move away from crime. This is not an easy link to make and for the most part has not been made, due largely to the lack of an adequate theory of change for the work. This thesis develops a model of change for women’s prison theatre. This model is anchored in a three-tiered conceptualisation of desistance from crime and theorises the ways in which our unique embodied and aesthetic medium contributes to the change process. In so doing it provides a relevant and gender-responsive conceptualisation for applied theatre practice within settings with incarcerated women.
Firstly, the research draws upon current theories of desistance to inform the development of an applied theatre practice in two projects with incarcerated women in Queensland, Australia. Secondly, it analyses the experience of the participants, staff and audiences against this theoretical background to understand those elements within the practice that provoke the experience of women’s change as defined by theories of primary, secondary and tertiary desistance; and thirdly, it infuses this analysis with an exploration of the importance of the aesthetic dimension of the theatrical experience for enhancing this change process.
The emerging model identifies a theatre of doing, being and belonging in which the embodied and affective qualities of the practice catalyse the development of those elements known to assist women in their move away from crime. In so doing this thesis highlights the importance of an informed praxis within the field of participatory prison theatre with incarcerated women. It is buttressed, not only by claims of renewal or transformation, but also by the knowledge of the elements of our practice that assist offenders. The research is not evaluative, but conceptual: it provides a preliminary theoretical framework that can inform relevant and appropriate future evaluation. This thesis proposes that, by conceptualising how prison theatre can catalyse change, we are more able to claim the utility of our unique work with women offenders. We can view prison theatre as an ethical set of practices, embedded within the larger context of women’s pathways to crime and incarceration, thereby seeking to ameliorate suffering and restore dignity in ways that are clear and well defined.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
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Ridha, Thana. "Exploring Prison Theatre in Canada: A Case Study on William Head on Stage (WHoS)." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38449.
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While the criminological literature has devoted great attention towards examining prison programs and interventions, the research has largely overlooked arts-based initiatives within prison. To gain an understanding of the impact that prison theatre has on the lives of criminalized individuals, this thesis represents a case study on Canada’s only inmate-run prison theatre, William Head on Stage (WHoS). Through qualitative interviews with 15 incarcerated WHoS participants and 6 former WHoS participants, this study explores the experiences of individuals with this long-standing theatre initiative. By implementing an integrative conceptual framework that captures the prison backdrop to which prison theatre operates, this study draws on Goffman’s (1961) total institutions as well as conceptual understandings around the prison culture (Ricciardelli, 2015; 2014b). Through the analysis of the participants’ experiences, the emerging themes in this study collectively reveal how the impacts of WHoS stem from the contrasting nature of prison theatre to both the structural and social systems of prison. While this research study helps substantiate the significance of arts-based initiatives like WHoS, it also helps bridge the gap within the literature between the arts and criminology.
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Omirova, Dana. "This Prison Where I Live: Authority and Incarceration in Early Modern Drama." Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/99086.
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The image of the prison looms large in early modern literature. By the sixteenth century, the prison was as much a part of everyday life as the public theatre. Although scholars have recently focused on the prison as a cite of cultural production, the depictions of fictionalized prison have not received much attention. Early modern drama in particular frequently resorts to prison as the setting for political struggle, inviting further discourse on authority and its sources. In this thesis, I argue that the prison's liminality allows early modern playwrights to explore the nature of royal privilege. I analyze Marlowe's Edward II, Shakespeare's Richard II, Shakespeare's The Tempest, and Fletcher's The Island Princess through the cultural and historical lens of imprisonment, determining that the prison is a space where relations and power dynamics between the king and his subjects can be questioned and subsequently condemned, upheld, or transformed.Master of Arts
Much like modern art and popular culture, sixteenth-century English drama comments on both everyday life and political climate of its time. One image that appears frequently in the works of Shakespeare and his contemporaries is the prison. In many plays, the prison appears as a crucial backdrop for political struggle. Setting the action within a prison allows the playwright to ask a series of questions regarding the nature of authority and privilege. In this thesis, I analyze Marlowe's Edward II, Shakespeare's Richard II, Shakespeare's The Tempest, and Fletcher's The Island Princess, focusing on the figure of the royal prisoner.
Books on the topic "Prison theater"
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1966-, Thompson James, ed. Prison theatre: Perspectives and practices. London: Jessica Kingsley Publishers, 1998.
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Iacobone, Paola. Prison rules: Teatro in carcere : Italia e Inghilterra. Roma: Lithos, 2020.
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Tocci, Laurence. The proscenium cage: Critical case studies in U.S. prison theatre programs. Youngstown, N.Y: Cambria Press, 2007.
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Tocci, Laurence. The proscenium cage: Critical case studies in U.S. prison theatre programs. Youngstown, N.Y: Cambria Press, 2007.
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Richard, Fahy Thomas, and King Kimball, eds. Captive audience: Prison and captivity in contemporary theater. New York: Routledge, 2003.
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Trucco, María José. Los móviles: Modus operandi de acciones dramáticas en cárceles. Ciudad de Buenos Aires, Argentina: Ediciones Artes Escénicas, 2017.
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Robert, Jordan. The convict theatres of early Australia, 1788-1840. Strawberry Hills, NSW: Currency House, 2002.
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M, Meerovich Boris, ed. Theatre in the Solovki prison camp. Luxembourg: Harwood Academic Publishers, 1995.
Find full textBook chapters on the topic "Prison theater"
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Lehmann, Courtney. "Double Jeopardy: Shakespeare and Prison Theater." In Shakespeare and the Ethics of Appropriation, 89–105. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137375773_6.
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McAvinchey, Caoimhe. "Theatre & Prison." In Theatre & Prison, 1–16. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34468-6_1.
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McAvinchey, Caoimhe. "Theatre About Prison." In Theatre & Prison, 36–52. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34468-6_3.
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McAvinchey, Caoimhe. "Theatre in Prison." In Theatre & Prison, 53–81. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34468-6_4.
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McAvinchey, Caoimhe. "The Performance of Punishment." In Theatre & Prison, 17–35. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34468-6_2.
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Hulsmeier, Adelle. "The History of Prison Theatre." In Applied Shakespeare, 47–49. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-45414-1_6.
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Syrbe, Holger. "Theatre Projects in Prisons." In Preventing Violent Radicalisation in Europe, 85–108. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52048-9_5.
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Gramsci, Antonio. "Selections from the prison notebooks." In The Applied Theatre Reader, 141–42. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-27.
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Marshall, Susan. "Theatre Inside/Outside Prison: San Vittore Globe Theatre Company, Milan." In The Palgrave Handbook of the History of Women on Stage, 679–700. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23828-5_30.
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Knudsen, Marianne Nødtvedt, and Bjørn Rasmussen. "Transition and challenge – ethical concerns in prison theatre." In The Applied Theatre Reader, 113–19. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-22.
Full textConference papers on the topic "Prison theater"
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Novelli, Francesco. "Castle Garth in Newcastle (UK): processes of transformation, integration and discharge of a fortified complex in an urban context." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11548.
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Castle Garth is the name of the fortified area once enclosed within the castle walls. In the fifteenth century Newcastle became a county in its own right, however, the Garth, being within the castle walls, remained part of the County of Northumberland. The Great Hall, a building separate from the Castle Fortress (the “Keep”), which in later years became known as the “Old Moot Hall”, was used by courts that sat at regular intervals in every county of England and Wales. The Fortress then became a prison for the County and was used as such until the early nineteenth century. Beginning in the fifteenth century, unlicensed traders, taking advantage of the fact that the city authorities had no jurisdiction over the Garth area, settled there with their commercial activities. From the time of Charles II (1630-1685), the area then became famous for its tailors and shoemakers, who grew particularly abundantly on the path known as “Castle Stairs”. In 1619 the fortified complex was rented by James I to the courtier Alexander Stephenson, who allowed the civilian houses to be built inside the castle walls. After the civil war, new houses were added until, towards the end of the eighteenth century, Castle Garth had become a distinct and densely populated community, with a theater, public houses and lodgings. The main urban transformations were started in the early nineteenth century with the construction of the new Moot Hall called County Court. From 1847 to 1849 the fortified enclosure was partially compromised by further intersections with the infrastructure for the construction of the railway viaduct, thus interrupting direct access from the Castle guarding the Black Gate. Despite the development of the contemporary city has affected the preservation of the ancient fortified palimpsest, a strong consolidated link is still maintained by the sedimentation of values of material and immaterial culture. The proposed contribution intends to present this process of integration between fortified structure and city highlighting today the state of the art, the conservation, restoration and enhancement initiatives undertaken in the last forty years.
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Balaban, Larisa, and Diana Bunea. "Scientific project valorisation and conservation by digitization of the colections of academic and traditional music from the Republic of Moldova (2021–2023)." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.01.
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The institutional research project Valorisation and conservation by digitization of the colections of academic and traditional music from the Republic of Moldova was developed between 2021–2023 at the Academy of Music, Theater and Fine Arts and represents an important contribution to the development of various activities of safeguarding the national immaterial patrimony, realized by a team of scholars and researchers in this field. The article presents a wide review of the activities carried out and the scientific results obtained within the project.
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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.
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The Karangiozi theatre play has existed for centuries in its various forms and across territories. Initially emanating from the Ottoman regions, it entered Greece several centuries prior, and was popularized during Ottoman occupation of Greece. Structured on a system of multilayered symbolisms, the visuals, performances and narratives in Karangiozi present the lead character, Karangiozi, a poor and benevolent man who is frequently oppressed and beaten for his misdoings. The character must contend with the arrogance and comical approaches of other characters, and must support his family, all while accepting his low socioeconomic status. While the theatre has long addressed Greece’s political satire, nationalist discourse, and class and socioeconomic differentials, the performance has, over the past century, significantly shifted with respect to its poetics, narratives, and symbolisms. These shifts correlate with movements from capitalism to late capitalism, and to the information age, as technology and information flow, and the acceleration of time scales require a new engagement with media, technology and information, where old media, such as puppet theatre performance and its narratives, as well as poetic forms of vernacular, now appear redundant. In this paper, I address the changes in the Karangiozi puppet theatre performance. To this, I have collated a corpus of old and new Karangiozi narratives and performance scripts, which I compare. Factors I address include the altered poetics and script designs, and the notable shift in symbolisms, over the past century. Here, I draw on a framework of symbolic and narrative analysis, while also discussing the ways in which narratives and performance are newly appropriated in the shifting form of the theatre play.
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Badrajan, Svetlana, and Diana Bunea. "Safeguarding and researching the intangible musical heritage in the context of contemporary digital technologies." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.02.
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The article deals with a topical problem regarding the safeguarding of the intangible musical heritage. In the context of the contemporary tendencies, international conventions, the UNESCO and Governments’ policy referring to this huge cultural layer, the protection, valorization and study of the heritage become a priority. The contemporary technologies represent an important mechanism that can realize these directives. The Folklore Archive of the Academy of Music, Theatre and Fine Arts from Chisinau, Republic of Moldova contains valuable factual materials referring to the Romanian Folklore and the Folklore of different cohabiting ethnic groups such as Ukrainians, Bulgarians, Gagauz, Gypsies and others. These Folklore audio materials amount to about 16000 expressions and elements recorded on magnetic tape, as a result of field investigations starting with 1964 on the current territory of the Republic of Moldova and in some regions populated by Romanians from Ukraine and Russia. The digitization of these materials offers real solutions for the preservation and further valorization, through editing Folklore collections, scientific research both at national and international level, interpretation and academic composition treatment, jazz, pop-rock, etc.
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Brandt, Galina. "Interpenetration Phenomenon of Public & Private Aspects in Contemporary Theatrical Practices." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-12.
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The article hypothesises that the opposition of ‘publicity/privacy’ concepts (alongside with other fundamental dichotomies, e.g. spiritual/material, social/individual, political/personal) in the media era, and first of all in the era of the Internet together with related communicative resources, is no longer productive. The study was performed via discursive analysis since it concerns methods of making use of the original concepts of ‘publicity’ and ‘privacy’. The author also addresses media survey methods since it is a contemporary media context that guides changes in the balance between the concerned phenomena. The deconstruction method is also important since the theatre institution itself, on the example of which the phenomenon of the interpenetration of the public and the private is examined, is deconstructed and shadowed by absolutely new theatrical practices. The culturological approach is the paradigmal prism through which the declared topic is researched, since the study goal is to demonstrate how ‘current’ (Z. Bauman) changes of the modern cultural landscape change habitual ideas on some or other dichotomies, particularly the dichotomy of ‘publicity/private’. The aforementioned research tools were used in the study to address theatrical practices explicitly demonstrating the removal of the dichotomy of public and private. A closer look was taken at the play ‘Questioning’ staged by the contemporary Petersburg theatre Pop-up, and where invasion of publicity into the area of privacy and intimity, and exposition of aspects taken out from ultimate existential depths constitutes the very essence of the play. The article concludes that such theatrical practices can take place when the cultural horizon is extended to enable the attribution of a new semantic scope, in particular ‘forced publicness’ (E. Shulman).
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Oprea, Crenguta lacramioara. "A WAY TO AN AUTHENTIC, INTERACTIVE AND CREATIVE LEARNING." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-212.
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school of the future intends to be the place where students would learn with pleasure, participating creatively in building their own knowledge. From this point of view, the teachers are the main factors involved in stimulating students to learn in a creative and interactive way. In this regard we propose a new concept, the interactive-creative learning, as an evolutionary process based on receptivity to the new experiences identified and resolved through exploration, deduction, analysis, synthesis, generalization, abstraction, concretization, focusing on achievement of the connections between meanings and requiring a deep intellectual involvement, psychomotor, affective and volitional. Thus the student discovers, imagines, builds and redefines the meanings, filtering them through the prism of his own personality and using higher mental processes of thought and creation. It occurs as a result of the individual and collective efforts, of the interaction between the educated and others, based on social exchanges in the achieving the new. Many studies demonstrate that learning is most effective when students are involved in this process. Training strategies that engage the students in learning stimulate the critical thinking increase the level of awareness and responsibility on their part. The interactivity is based on mutual relationships and refers to the process of active learning in which the student acts on information to transform it into a new, personal and interiorized one. In a constructivist sense, the one who learn re-builds new senses by exploring the educational environment, solving problems and / or applying the information acquired in new circumstances. The present study does not wish to tell you what you should do but to present what you can do to stimulate interactive-creative learning of students in the school: interactive teaching strategies, theater games and more.
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Colberg Poley, Celeste, and Balakumar Balachandran. "Motion Analysis of Robot Arm for Obstacle Avoidance." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-71010.
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In the previous work of the authors, a modified version of Rapidly exploring Randomized Trees (RRT) algorithm was used to study trajectories of end effectors of multi-link robotic systems. They showed how constraints could be used for better trajectory control. The overall aim of the prior work and the current study is to develop path-planning algorithms that can be used for robots in surgical environments. The authors have picked the KUKA DLR LWR IV+, a seven link, 7 Degree of Freedom (DOF) system, as a representative system for their studies. In the current study, as an initial step, obstacle avoidance has been examined for systems with low number of degrees of freedom (DOF). The goal of using obstacle avoidance is to navigate to representative anatomical body parts such as veins or bones. The authors have explored motions of multi-link robotic systems, by combining the RRT algorithm with Obstacle Avoidance. The modified path-planning algorithm is expected to yield smooth trajectories, which can be followed to expertly navigate delicate anatomical obstacles between initial and goal states. This is facilitated through the construction of constraints that can capture the difficulties encountered during minimally invasive and laparo-scopic surgical procedures. These constraints, which have been formulated based on discussions with multiple surgeons, are utilized for planning the movement of the system. The motion simulations are intended to better represent the confining environment of the human body during surgical procedures, in particular, such as those involved in cochlear implantation. It will be discussed as to how well the formulated constraints help in the realizing paths for the robot end effectors. Given the manner in which the motion-planning algorithm has been constructed with information from the operating theatre, it is expected that this planning algorithm will be uniquely suited for the surgical environment.
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
Full textAbstract:
автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
Reports on the topic "Prison theater"
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Mehra, Tanya, Merlina Herbach, Devorah Margolin, and Austin C. Doctor. Trends in the Return and Prosecution of ISIS Foreign Terrorist Fighters in the United States. ICCT, August 2023. http://dx.doi.org/10.19165/2023.3.04.
Full textAbstract:
Approximately 300 Americans are estimated to have traveled or attempted to join the Islamic State (ISIS) as part of the group’s campaign in Syria and Iraq between 2013 and 2019. These individuals joined more than 53,000 men, women, and minors from roughly 80 countries. Often referred to as foreign (terrorist) fighters (FTF), these are individuals from third countries who travel to join a terrorist group to support its activities. In the United States (U.S.) context, the FTF designation does not denote the act of fighting itself, but rather the support of a designated foreign terrorist organization (FTO). While many of these radicalized individuals traveled alone to the conflict zone, others brought their families or formed new ones in-theater. As ISIS’ selfdeclared caliphate collapsed, many were killed, some fled to other locations, and many were captured and held by Kurdish forces. Men and some teenage boys were primarily placed in prisons, while women and minors were often moved into detention camps. Today, an estimated 10,000 male FTFs remain held in northeastern Syria including 2,000 men and boys from 60 countries outside Syria and Iraq (third country nationals, or TCNs). In addition, local camps hold close to 55,000 female FTF and FTF-affiliated family members, including roughly 10,000 TCN women and children. Some of these individuals have now been in detention for four years or more. The indefinite detention of FTF and FTF-affiliated families in northeastern Syria is not a tenable solution. In addition to clear humanitarian concerns, there is a significant security risk that the facilities’ inhabitants provide a groundswell of recruits to the still active ISIS campaign in the region. A 2022 U.S. military report puts it bluntly, “These children in the camp are prime targets for ISIS radicalization. The international community must work together to remove these children from this environment by repatriating them to their countries or communities of origin while improving conditions in the camp.” In lockstep, U.S. diplomatic leaders have made repatriation a policy priority empowered by a general domestic partisan consensus that the repatriation of FTF and FTF-affiliated families from northeastern Syria should be done expediently. Progress has been slow, while many Western nations were strongly resistant to bringing their detained citizens home, there is recent evidence for cautious optimism. Approximately 9,200 persons – including 2,700 TCNs and 6,500 Iraqis repatriated since 2019. This year, 13 countries have repatriated roughly 2,300 persons, including more than 350 TCNs. However, more work remains to be done. As of July 15, 2023, 39 U.S. persons have been officially repatriated, including both adults and minors. At least 11 additional U.S. persons have returned on their own accord, ten of whom remained in the U.S. following their return. Furthermore, the U.S. has made the decision to bring several non-U.S. persons to the U.S. to stand trial.