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Journal articles on the topic 'Theatre for Social Change'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Wilson, Kate C. "ASHTAR: Palestinian theatre for social change." Research in Drama Education: The Journal of Applied Theatre and Performance 20, no. 3 (July 3, 2015): 357–62. http://dx.doi.org/10.1080/13569783.2015.1059745.

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McKenna, Jennifer. "Creating community theatre for social change." Studies in Theatre and Performance 34, no. 1 (January 2, 2014): 84–89. http://dx.doi.org/10.1080/14682761.2013.875721.

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3

Thompson, James, and Richard Schechner. "Why “Social Theatre”?" TDR/The Drama Review 48, no. 3 (September 2004): 11–16. http://dx.doi.org/10.1162/1054204041667767.

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Deploying social theatre in TDR is performative—as likely to bring about as it is to describe. Social theatre is not a meeting of two distinct unrelated wholes. It is the dynamic meeting of theatre and social work, an interaction that can change both disciplines.

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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 its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.

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Ahsan, Nazmul. "Social Theatre in Bangladesh." TDR/The Drama Review 48, no. 3 (September 2004): 50–58. http://dx.doi.org/10.1162/1054204041667776.

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Litwak, Jessica. "Audience Engagement in Theatre for Social Change." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 275–95. http://dx.doi.org/10.15402/esj.v5i2.68351.

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This report from the field describes some of the author’s methods of audience engagement as a means of social engagement, discussing the implications for practice. The report invites dialogue with the reader about the usefulness of audience engagement and ways it can be manifested before, during and after performance. Theatre is a vibrant and valuable tool for sparking dialogue and inspiring action around challenging social topics. Audiences who are engaged in the process of the performance beyond the standard role of passive spectator are more likely to be motivated to deliverable endeavors post performance. This report from the field offers four brief case studies as examples of audience engagement and includes pragmatic techniques for using theatre as a vehicle for personal and social change through audience engagement. It explores how artists can galvanize and empower audiences by creating experiential communities pre, during, and post-show. Drawing upon examples from high-quality international theatre projects written and directed by the author, the essay investigates and describes the work of The H.E.A.T. Collective including My Heart is in the East (U.S., U.K. and Europe), The FEAR Project (produced in the US, India and Czech Republic), Emma Goldman Day (U.S.).

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Norris, Joe. "Playbuilding and Social Change." LEARNing Landscapes 13, no. 1 (June 13, 2020): 23–27. http://dx.doi.org/10.36510/learnland.v13i1.1024.

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In this interview, Joe Norris reflects on his early experiences with performance and how he became involved with collective creations and playbuilding. His work has led him to develop and implement qualitative research methods using playbuilding. In his role as artistic director of Mirror Theatre, he has been the driving force behind numerous plays that inspire social change. He shares candid observations about the challenges of doing performative work and gives advice for educators wishing to pursue this kind of work.

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Leffler, Elliot. "Theatre of good intentions: challenges and hopes for theatre and social change." Research in Drama Education: The Journal of Applied Theatre and Performance 19, no. 2 (April 3, 2014): 213–14. http://dx.doi.org/10.1080/13569783.2014.895626.

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Vieyra, Deborah. "Healingdeurmekaar: theatre, social change and praxes of potential." South African Theatre Journal 28, no. 1 (January 2, 2015): 58–67. http://dx.doi.org/10.1080/10137548.2015.1011861.

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Oliveira, Catarina Sales de. "Empowerment Labs: Gender Equality, Employability and Theatre Catalyzing Social Change." Procedia - Social and Behavioral Sciences 161 (December 2014): 56–63. http://dx.doi.org/10.1016/j.sbspro.2014.12.010.

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11

Woodfield, Amy. "Book Review: Theatre for Change; Education, Social Action and Therapy." Dramatherapy 37, no. 1 (March 2015): 62–63. http://dx.doi.org/10.1080/02630672.2015.1055906.

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Thornton, Sarah. "Theatre for social change: Collective Encounters on rediscovering the radical." Journal of Arts & Communities 7, no. 1 (June 1, 2015): 33–43. http://dx.doi.org/10.1386/jaac.7.1-2.33_1.

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Brahma, Jharna, Vinod Pavarala, and Vasuki Belavadi. "Driving Social Change Through Forum Theatre: A Study of Jana Sanskriti in West Bengal, India." Asia Pacific Media Educator 29, no. 2 (September 3, 2019): 164–77. http://dx.doi.org/10.1177/1326365x19864477.

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This article examines Forum Theatre as a form of participatory communication for social change. Based on an ethnographic study of Jana Sanskriti ( JS), a Forum Theatre group working for over three decades in the eastern Indian state of West Bengal, this article seeks to show how this form of theatre, developed by the Brazilian activist Augusto Boal, subverts the passivity inherent in the communicator–receiver model of the dominant paradigm by activating the critical consciousness of the spectator and triggering a process of social change through dialogue and discussion. JS has been using Forum Theatre to address some of the deeply entrenched social norms in rural West Bengal, including those related to patriarchy, child marriage, domestic violence, and maternal and child health related issues, by extending Boal’s notion of the ‘spect-actor’ to encourage the spectators to become ‘spect-activists’, who then are engaged in community-level work on social change. We suggest that this form of communication is clearly bottom-up, radically participatory, community-based and led by the oppressed, as has been advocated by several scholars working on communication for social change.

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Fletcher, John. "Theatre of Good Intentions: Challenges and Hopes for Theatre and Social Change by Dani Snyder-Young." Theatre Journal 67, no. 3 (2015): 579–80. http://dx.doi.org/10.1353/tj.2015.0097.

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Markenson, C. Tova. "Theatre of Good Intentions: Challenges and Hopes for Theatre and Social Change by Dani Snyder-Young." Theatre Topics 25, no. 3 (2015): 307–8. http://dx.doi.org/10.1353/tt.2015.0036.

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LE LAY, MAËLINE. "Performing for Peace and Social Change in Africa's Great Lakes Region." Theatre Research International 46, no. 1 (March 2021): 23–38. http://dx.doi.org/10.1017/s0307883320000565.

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International aid has influenced and, in part, shaped the artistic sector in Africa's Great Lakes region (DRC, Rwanda, Burundi) since the 1990s, a period marked by numerous conflicts and mass violence. Due to NGOs’ programmatic foci, artists performing for social change are increasingly compelled to focus on reconciliation and conflict resolution, generating political awareness and bringing about social change, healing and peacemaking. Through a comparative analysis of European and local productions on the genocide this article asks, how and why does an ‘NGO-style theatre’ develop a specific audience in the region? How have themes such as mass violence, inter-ethnic conflict and social cohesion become the main concerns of the territory's theatre? How do performances made and/or sponsored by NGOs challenge not only theatre's form, its social stakes and functions, but also the conception of its audience and the relationships between actors and spectators?

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Friedman, Dan. "Theatre, Community, and Development: The Performance Activism of the Castillo Theatre." TDR/The Drama Review 60, no. 4 (December 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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18

Worrall, David. "Inchbald’S Kotzebue: The Wise Man of the East (1799) and Social Assemblage Theory." Linguaculture 2014, no. 1 (February 1, 2014): 35–49. http://dx.doi.org/10.1515/lincu-2015-0020.

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Abstract This article argues that Lord Mansfield's judgement in favour of the actor Charles Macklin in 1775 wrought a profound change on noisy and disruptive theatre auditoriums. Mansfield ruled that persons returning to theatres to repeatedly disrupt performances were guilty of conspiracy and performers' lost earning were assessed as felonies in English common law. Those found guilty might have substantial damages awarded against them and might be liable for a prison sentence. The paper traces that Garrick's Drury Lane was repeatedly disrupted but with no action being taken, even though ringleaders had been identified. Macklin's case, arising from his engagement at Covent Garden, suppressed repeatedly rowdy evenings. The paper suggests that Sarah Siddons's rise at Drury Lane from 1782 onwards was linked to these changes in the legal environment for stage performers.

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Aubrey, Meg. "CLICK: Arts education and critical social dialogue within global youth work practice." International Journal of Development Education and Global Learning 7, no. 1 (June 1, 2015): 71–91. http://dx.doi.org/10.18546/ijdegl.07.1.05.

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This article discusses CLICK, a collaborative theatre project between the Mess Up The Mess Theatre Company in Wales, the Hong Kong Academy for Performing Arts, the Australian Theatre for Young People, and Inspired Productions in New Zealand. This case study demonstrates the value of using arts education to bring together young people from multiple countries across the world through the use of social media and theatre for development work, and to explore issues of diversity and identity through Education for Sustainable Development and Global Citizenship (ESDGC). This article will explore the use of social media within arts education and global youth work practice to promote critical social dialogue around sensitive issues as a catalyst for positive social change.

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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 (May 18, 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. Marijuana addiction is a challenge worldwide and theatre practitioners have engaged several community theatre projects in order to sensitise addicts on the need to do away with drugs. This work used focus group interactions, participant observation and in-depth interviews methods to record the opinions of the people of Tombia community on issues of concern evolving from marijuana abuse. Adopting performance analysis schemata, the responses recorded were structured as thematic strands analysed and interpreted in line with the research objectives. Findings showed that community theatre is a viable avenue within which Tombia, Ekpetiama community became aware and knowledgeable about the social challenges of marijuana addiction. This in turn influenced the resolve of the youths to change by shunning marijuana smoking while the community elders were prompted to put progressive local measures in place in order to checkmate the youths and boost practices that strengthen development. Therefore, it was concluded that, community theatre is indeed an ideal agent for the mobilisation of people at the grassroots level as it encourages village or community participation to open room for them to assess their problems and proffer solutions via the implementation of meaningful changes that aid community development. The study contributes to the understanding of community theatre and exposes its efficacy, as an additional strategy; to fight against drug abuse in communities in Nigeria.

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MARX, PETER W. "Consuming the Canon: Theatre, Commodification and Social Mobility in Late Nineteenth-Century German Theatre." Theatre Research International 31, no. 2 (June 7, 2006): 129–44. http://dx.doi.org/10.1017/s0307883306002082.

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Max Reinhardt's theatre is an intriguing example of the social function of commodification in the late nineteenth century; while critics praised him as the leading figure of a renewed theatre, they also blamed him for a merely decorative style. Notwithstanding the fact that economic success was a substantial precondition of Reinhardt's theatre, Reinhardt's style was highly eclectic and determined by a visual or pictorial order rather than by literary concepts. But this theatre not only followed an aesthetic programme, it also answered to a major change in German society: the process of urbanization which produced a new community of urban dwellers which had to be integrated in the role models of society. The paradoxical reception of Reinhardt thus is not only a matter of taste but rather the hallmark of bourgeois theatre in a period of transition, rearticulating the cultural legacy by commodifying it for a new audience.

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Larabee, Anne. "Staging America: Cornerstone and Community-Based Theater. By Sonja Kuftinec. Carbondale: Southern Illinois University Press, 2003; pp. xviii + 255. $45 cloth." Theatre Survey 45, no. 2 (November 2004): 284–86. http://dx.doi.org/10.1017/s0040557404230265.

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Through this case study of the Cornerstone Theater, Staging America sets out to explore the complexities of theatrical practices that aim to transform their audiences and enact social change, especially within the context of national identity. Cornerstone was founded in 1986 by a group of Harvard graduates interested in “bringing theater to the culturally disadvantaged,” but the company soon found itself equally transformed by the communities it served (66). With unusual theoretical depth in its use of cultural studies and ethnography, Staging America chronicles Cornerstone's changes as it attempted to become America's national theatre, traveling across the country to foster grassroots productions of classical plays. It is a fascinating journey that never quite settles on any easy conclusions, for if Cornerstone has ever come close to being a national theatre, it is only with the same unease that any single “America” can ever be staged or even defined. Kuftinec argues that this unease is Cornerstone's strength, as it constantly refigures itself in an anxious dialogue over national identity. Ultimately, she says, Cornerstone reflects America as “a matrix of continuously refigured difference.”

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Pancheva, Svetlana. "New Bulgarian Drama: Imagery and Style." Theatre Research International 25, no. 2 (2000): 160–63. http://dx.doi.org/10.1017/s0307883300012980.

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Over the last few years—which for Bulgaria were years of great political, social and psychological change, related to the disintegration of ideological systems and conventions, and to the destruction of established social and theatrical structures—the very term ‘Bulgarian drama’ seemed entirely missing from the theatre practice of the country. In the new theatre system that emerged from this period of change there was a dearth of new Bulgarian plays.

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Ejiofor, Benjamin Asodionye, and Tekena Gasper Mark. "Brechtian Methodology in Wise’s The Sound of Music: Insights into Theatre in Education." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 28–43. http://dx.doi.org/10.4314/ijah.v9i1.4.

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Methods are problem solving devices for the benefit of education in society. When a method assumes regimental fixations, society suffers hackneyed bouts of limitation and contention necessitating flux. This paper examines issues of regimentalism as they affect society in Robert Wise’s The Sound of Music, and the staccato notes of change inevitably mobilizing a Brechtian methodological reading amplifying social change, in a Theatre in Education performance. Bertolt Brecht (1898-1965), accomplished German director, playwright and theorist, mobilized theatre for social change by setting up Marxist dialectics in pursuit of retrenchment of total empathy; giving free reign to critical consciousness in theatrical productions. This paper has investigated analytically, the representations of this Brechtian methodology in The Sound of Music with the manifest result that the experiment in the movie has produced a healthier and better organized society than the German regimental machine. Key Words: Education, Theatre in Education, Brecht, Alienation Effect, Social Change, Family, Critical, Learning and Socialization

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Lin, Wei-Ya. "Maataw – the Floating Island: Performing Social and Ecological Change among Tao People." Musicological Annual 52, no. 2 (December 9, 2016): 85–101. http://dx.doi.org/10.4312/mz.52.2.85-101.

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This article addresses dance theatre project Maataw, which is based on ethnomusicological research among the Tao/Yami people, one of sixteen recognized indigenous groups of Taiwan. The project transmits ecological problems they are facing and the corresponding political issues to general audiences. The article also anlyses the public impact of this engaged artistic project.

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Black, Helen. "Organisational Climate for Change and Innovativeness." Asia Pacific Journal of Health Management 13, no. 1 (October 21, 2018): i22. http://dx.doi.org/10.24083/apjhm.v13i1.27.

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Purpose: Acute health services around the world are increasingly required to respond to accreditation institutes, the changing needs and expectations of patients and societal values that demand continuous improvement in quality and efficiencies. Many change initiatives and innovative attempts have failed or resulted in lower performance than expected. The purpose of this paper is to increase understanding of the organisational contextual factors such as social capital and organisational climate that interact with the change implementation processes and provide a new perspective for change management in the unique environment of acute health care. Methodology: This mixed methods study was executed in three different sized operating theatre suites. A survey and in-depth interviews were used to reveal a current organisational climate for innovativeness through team member perspectives. The strength of each organisational climate was assessed with reference to the level of disparity in the participant responses. In-depth interviews and observations provided understanding of how social capital is developed and maintained, then examined in context with the climate for innovativeness to understand how contextual factors, social capital and climate interact. Findings: It has been demonstrated that social capital in the operating theatre suite has bearing on the organisational climate for change and innovativeness. Size and structure of an organisation influence how social networks develop; policies and management practices influence how different networks interact; and, the combination of contextual factors and social capital influences the organisational climate for innovativeness. Originality/value: Managing social capital can offer a people-focused perspective through which to design and implement change and enhance an organisational climate for innovativeness.

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KATRAK, KETU H. "‘Stripping Women of Their Wombs’: Active Witnessing of Performances of Violence." Theatre Research International 39, no. 1 (February 10, 2014): 31–46. http://dx.doi.org/10.1017/s0307883313000539.

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This essay creates a theoretical frame interweaving Jill Dolan's concept of ‘finding hope at the theatre’ with Michel Foucault's concepts of ‘biopower’ and ‘biopolitics’ to argue that spectators’ affective responses to performed violence in live theatre include hope and imagining social change. I draw upon my own active witnessing of theatrical performances of two works –Ruinedby Pulitzer Prize-winning African-American Lynn Nottage, andEncounterby the Indian-American Navarasa Dance Theater Company. Along with Dolan and Foucault, I draw upon affect scholarship by James Thompson and Patricia T. Clough, and upon theorist Saidiya V. Hartman's discussion of slavery that makes the human into an abject ‘non-human’. Continuing forms of female enslavement and resistances to domination are evident in the representations of sexual slavery in the two works.

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Saddler, Sarah. "Training Corporate Bodies." TDR/The Drama Review 64, no. 3 (September 2020): 118–31. http://dx.doi.org/10.1162/dram_a_00946.

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In the global corporate world, dramatic techniques adapted from theatre for social change repertories provide tools for workplace empowerment. In corporate India, theatre training teaches employees to conform to implicit workplace codes of bodily conduct. Overlaps between managerial strategies and tactics of workshop participants reveal that corporate theatre engineers moments of human expression that exceed human capital formation.

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Afriadi, Deni. "TEATER BANGSAWAN MUDA, FORMULA PERTUNJUKAN DRAMA MELAYU BANGSAWAN MASA KINI." Jurnal Ilmu Budaya 15, no. 2 (March 2, 2019): 115–26. http://dx.doi.org/10.31849/jib.v15i2.2329.

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Malay “Bangsawan” drama is believed to the embryo of the development of theatre in Riau province. From its history, Bangsawan drama owed to Indian traders who brought wayang Parsi to Malay Peninsula (Malaysia, Sumatera, and to Temasik (Singapore)). Malay “Bangsawan” drama nowdays undergoes changes. The “Bangsawan” drama changes the existed convention which differentities it from the “old Bangsawan” is then called the “new Bangsawan”. This change is beneficial for the continuity of “Malay Bangsawan” drama because a good performance should be able to adapt with the social condition. This writing views how the changes in form and structure occur in Malay “Bangsawan” drama. The changes lead to the term “New (young) Bangsawan Theatre”. Keywords: Malay Bangsawan Drama, New (young) Bangsawan Theatre.

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Balabuch, Allison. "The French Play: An Ethnodrama About Applied Theatre for Social Justice Education in Middle School." in education 26, no. 2 (June 8, 2021): 92–113. http://dx.doi.org/10.37119/ojs2021.v26i2.487.

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In this study, I investigate the use of applied theatre with French Immersion Grade 8 students to better understand social justice issues. Through unstructured interviews, four participants were asked to recall their past experiences participating in applied theatre projects as a learning experience and as a process to better understand social justice issues. Participants’ words and feedback were then used to create an ethnodrama script, performed by the participants and me via video conference. Findings are grouped under five categories; Doll’s (2013) 4Rs: Richness, Rigor, Recursion, and Relations and Freire’s (2000) concept of conscientization. Participants in applied theatre reported they had a space to tell authentic stories in their own words, became more self-confident, and work towards being catalysts for change. The purpose of this article is to inform educators of the possibilities in using applied theatre and problem-posing education for social justice education and to share the process of ethnodrama as a methodology in arts-based research. Keywords: applied theatre; ethnodrama; problem-posing education; social justice education

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Buzinde, Christine, Behrang Foroughi, and Josephine Godwyll. "Youth leadership programs for community development and social action: a pedagogical approach." Community Development Journal 54, no. 4 (April 9, 2018): 677–94. http://dx.doi.org/10.1093/cdj/bsy015.

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Abstract This conceptual paper explores pedagogical interventions that can be applied to social change centered youth leadership programs. It specifically focuses on two interventions, Image Theatre and autonomy promotion; the former is a pedagogical tool while the latter is a pedagogical approach. These interventions are vital for social change centered youth leadership programs because they allow facilitators to account for participants’ sense of agency and determination while concurrently engaging them in critical social analyses necessary for the advancement of community development and well-being. This paper presents a description of Image Theatre and autonomy support as well as a discussion of how facilitators can apply these interventions to youth leadership programs. The theoretical tenets that inform the aforementioned pedagogical interventions, theory of self-determination and critical consciousness, respectively, are presented.

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Athanasiou-Taki, Marina. "THE CYPRIOT THEATRE IN THE MIDST OF GLOBAL CRISIS." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 103–20. http://dx.doi.org/10.32621/acotaciones.2021.46.04.

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In the 21st century, the era of globalization, the technological advancement and the ongoing migration movements, the global com-munity experiences a deep and multi-dimensional crisis (sociopolitical, financial, and cultural). This paper discusses the impact of these multi-ple aspects of the crisis in the theatre of Cyprus, especially during the second decade of the 21st century. The theatre in the time of crisis seems to suffocate within the traditional frames of dramatic theatre. As a re-sult, a group of young directors, without hesitation, confront and keep up with the new trends observed internationally, thus introducing new theatre forms (devised theatre, site-specific theatre, happenings etc.) in the Cypriot theatrical landscape and seeking to develop a new way of dialogue with the audience. Cypriot theatre today uses methods and approaches (ideological and aesthetic) that renounce fundamental the-atrical conventions of dramatic theatre. This fact allows us to talk about experimentation, as well as about presence of elements of post-dramatic theatre in the country. The making of theatre in the public sphere is now an act of social resistance to local and global events and the first step that may lead to political and social change.

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Ince, Bernard. "Rash Speculation or Sheer Misfortune? Insolvency and Bankruptcy in the Victorian and Edwardian Theatre." New Theatre Quarterly 32, no. 3 (June 30, 2016): 283–98. http://dx.doi.org/10.1017/s0266464x16000269.

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Bernard Ince here surveys insolvency and bankruptcy in the theatres of England and Wales during the period 1830 to 1913. His methodology analyzes failures in absolute and relative terms, using aggregate and disaggregated data. The annual pattern of failure shows a marked volatility in the aggregate, with the absolute number of failures tending to increase towards the 1880s before declining thereafter. When the data are expressed as a rate relative to annual theatre population change, the trend is, however, reversed, failures being much higher in the 1830s and 40s than in the later decades. When annual failures are analyzed alternatively in terms of the number of theatres actually managed or owned by bankrupts, and the data disaggregated between the London and provincial theatres, different patterns of failure emerge, London theatres experiencing higher risk during those early decades, while the provincial Theatres Royal on the other hand are especially vulnerable during the 1830s, 40s, and 50s, and other theatres in the provinces are exposed more during the 1860s. From an analysis of over 200 cases it is clear that factors contributing to theatrical failure are diverse and often complex. Rarely is failure the result of a single catastrophic event but is more often caused by a combination of events, or from the cumulative impact of insolvencies carried over from previous years. While a correlation between annual fluctuations in theatrical failures and cycles in the general economy cannot be firmly established, anecdotal evidence suggests that regional or local conditions play a more important role. It is concluded that while the financial situation of many theatres operated on the limits of financial viability, bankruptcy on a significant scale was uncommon, indicative of remarkable resilience in the face of profound economic, social, political, and legislative change. The author is an independent theatre historian.

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Beng, Tan Sooi, and Kees P. Epskamp. "Theatre in Search of Social Change: The Relative Significance of Different Theatrical Approaches." Asian Folklore Studies 50, no. 2 (1991): 353. http://dx.doi.org/10.2307/1178392.

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Mitchell, Gail J., Sherry Dupuis, and Christine Jonas-Simpson. "Countering Stigma with Understanding: The Role of Theatre in Social Change and Transformation." Canadian Theatre Review 146 (April 2011): 22–27. http://dx.doi.org/10.3138/ctr.146.22.

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Horn, Elizabeth Brendel, B. Caine, M. Katsadouros, and E. Freeman. "‘Act Out Justice’: reflective collaborative inquiry on theatre for social change youth programming." Reflective Practice 21, no. 3 (April 13, 2020): 371–83. http://dx.doi.org/10.1080/14623943.2020.1749585.

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Zien, Katherine. "Panamanian Theatre for Social Change: Notes from an Interview with Playwright Raúl Leis." Latin American Theatre Review 47, no. 2 (2014): 109–15. http://dx.doi.org/10.1353/ltr.2014.0017.

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Österlind, Eva. "Evaluation of Theatre for Social Change: What counts and what is being counted?" Applied Theatre Research 1, no. 1 (January 1, 2013): 91–106. http://dx.doi.org/10.1386/atr.1.1.91_1.

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Mitchell, Gail J., Sherry Dupuis, and Christine Jonas-Simpson. "Countering Stigma with Understanding: The Role of Theatre in Social Change and Transformation." Canadian Theatre Review 146, no. 1 (2011): 22–27. http://dx.doi.org/10.1353/ctr.2011.0029.

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Postlewait, Thomas. "Theatre History and Historiography: A Disciplinary Mandate." Theatre Survey 45, no. 2 (November 2004): 181–88. http://dx.doi.org/10.1017/s0040557404000122.

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Historical scholarship, despite the many changes in methodologies and models over the years, is one of the abiding missions of the discipline of theatre studies: yesterday, today, and tomorrow. Yesterday, as is well known, Theaterwissenschaft was the foundational methodology for scholarship and doctoral education. Today, of course, our approaches to theatre history encompass several dozen research methodologies and analytical models. And tomorrow? Will cultural, social, political, and intellectual histories still provide a reliable foundation? Or will we develop fields of investigation and modes of analysis that draw upon new ideas in psychology, neuroscience, and biology? One thing is clear: our methods and models will continue to change.

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Ijah, Rex Friday Ogoronte A., Solomon N. Elenwo, Joy O. Dayi, and Alexander A. Dimoko. "Problems and impact of use of private owned theatre wears as seen by theatre users." International Surgery Journal 8, no. 3 (February 25, 2021): 915. http://dx.doi.org/10.18203/2349-2902.isj20210927.

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Background: The surgical theatre wear or attire include but are not limited to surgical caps, surgical scrubs, theatre aprons, and theatre foot wears. The basic principles in the care and maintenance of theatre wears are aimed at ensuring safety and infection prevention and control. Aim was to explore the problems associated with private owned theatre wears (scrubs, boots and aprons); and examined the impact of semi-closed mode of procurement and maintenance of theatre wears on theatre users in the tertiary healthcare setting.Methods: A cross-sectional descriptive study was done among theatre users in a tertiary healthcare center using self-administered semi-structured questionnaires. Data was analyzed using the Statistical Package for the Social Sciences (SPSS) version 20.0.Results: One hundred and twenty-nine (60.6%) respondents affirmed that the mode of care of theatre scrub was not standard. 133 (62.4%) of the respondents asserted that there were problems associated with the semi-close mode of care. Nearly half (42.3%) of the respondents stressed that bad smell and contamination were their worries, and most respondents call for a change in the model of procurement and care of theatre wears.Conclusions: There were problems associated with the semi-closed system as revealed in this study, which bothers on safety of the theatre staff. Most respondents were negatively impacted, rated the current practice below standard, and call for a change in policy.

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Lehmann, Niels. "What Happened to Theatre Studies?" Nordic Theatre Studies 30, no. 2 (March 13, 2019): 8–21. http://dx.doi.org/10.7146/nts.v30i2.112948.

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In this article, the recent development of theatre studies is outlined in order to suggest a way forward under the heading of “theatre studies 3.0.” A double thesis is defended. Firstly, it is argued that the development of theatre studies is marked by a simultaneous tendency towards pragmatization, theorization, and expansion. Secondly, it is shown that these three strands of development may be seen as reactions to a more fundamental threefold change of the social semantics: a decline of the tradition of edification, an insistence of convergence of the theoretically and the practically oriented programmesof education, and finally a loss of self-evident borders for disciplines. Having suggested what happened to theatre studies and why it happened, the article suggests that we follow a path called “theatre studies 3.0.” based on “an asymmetrical double strategy”.

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García Walsh, Katerina. "Mesmerism in Late Victorian Theatre." Complutense Journal of English Studies 28 (November 24, 2020): 217–27. http://dx.doi.org/10.5209/cjes.71586.

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Originating as a medical practice and ultimately rejected as pseudoscience, mesmerism evolved into a literary symbol in the later Victorian era. This paper focuses on three plays that use mesmerism as a symbol of marital control and domination: the comedy His Little Dodge (1896), adapted from Le Systême Ribardier (1892), by George LeFeydeau and Maurice Hennequin; Trilby (1895), adapted from the novel by George Du Maurier; and, finally, Johan Strindberg’s The Father (1893). The mesmeric power one character imposes over another, overriding both consent and awareness in the trance state, serves both to reaffirm hierarchies of power and highlight anxieties about social change in the fin-de-siècle.

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Steadman, Ian. "Performance and Politics in Process: Practices of Representation in South African Theatre." Theatre Survey 33, no. 2 (November 1992): 188–210. http://dx.doi.org/10.1017/s0040557400002404.

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In many studies of South African theatre, critical scholarship has elucidated the ways in which playwrights have dramatized their views of oppression and struggle under apartheid. As political change in the country in the 1990s determines new developments in cultural expression, theatre in many quarters finds itself no longer thematically bound to the unambiguous morality which characterized anti-apartheid theatre in the 1970s and 1980s. The issues, and the forms and methods used to construct interpretations of the issues in the theatre, appear increasingly more complex in the 1990s. In academic commentary on South African theatre, a moral outrage shared with theatre practitioners against a repugnant social system has frequently blunted critical faculties. Gayatri Spivak warns us that in the writing of history we need to “look at [our] own subjective investment in the narrative that is being produced.“ There is, in South African theatre studies, a great deal of room for critical vigilance when considering “theatre against apartheid.”

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Noy, Kinneret. "Creating a Movement Space: the Passageway in Noh and Greek Theatres." New Theatre Quarterly 18, no. 2 (May 2002): 176–85. http://dx.doi.org/10.1017/s0266464x02000258.

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Keir Elam's observation in 1980 that ‘the theatrical text is defined and perceived above all in spatial terms’ reflected a growing attention to the significance of spatial organization and utilization in creative and perceptive processes in the theatre. In the last twenty years space has found its long-deserved status as a prominent feature of the theatrical experience and a key element in theatre studies. In this article Kinneret Noy focuses on a unique spatial component shared by two theatrical traditions – the Greek and the Japanese. By comparing and contrasting the function of the eisodos in the Greek theatre with that of the hashigakari in the Japanese Noh, she offers a fresh look at both forms. The spatial relation between the passageway and the main ‘stage’ create what Mitsuo Inoue terms a ‘movement space’. Noy borrows this term from Japanese architecture to point the connection between theatrical space and dramatic techniques. After discussing the main characteristics of a ‘movement space’ in the theatre she deals with the differences that exist between Noh and Greek theatres' spatial qualities, suggesting some connections between developments in the theatres and social and political changes. A graduate from the University of Pittsburgh (1997), Kinneret Noy studied with the Noh master Takabayshi Shinji in Kyoto, and currently teaches in the Theatre Department and East Asian Department of Haifa University and the Hebrew University in Jerusalem.

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Greenhalgh, Susanne. "A World Elsewhere." Critical Survey 31, no. 4 (December 1, 2019): 77–87. http://dx.doi.org/10.3167/cs.2019.310408.

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Documentaries about the use of Shakespeare in applied theatre publicise and endorse the work of practitioners to scholars as well as the general public, and have influenced the growth of academic interest in what this article terms Social Shakespeare: practices in which Shakespeare and social work interact with each other to bring about change. However, in the quest for touching and uplifting individual stories, such media treatments risk ignoring the actual values and strategies governing the work in favour of narratives that normalise social differences through emphasis on the transformative power of Shakespearean theatre, viewed as a sanctified space. Documentaries about three different constituencies – prisoners, young people with learning disabilities, and combat veterans – are examined to determine how far they locate the need for change in society rather than in the individual.

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Sutherland, Richard. "The Gallimaufry and the Roots of Alternative Theatre in Vancouver." Theatre Research in Canada 16, no. 1 (January 1995): 40–58. http://dx.doi.org/10.3138/tric.16.1.40.

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In the late 1960s, theatre in Vancouver, like that in Toronto and other Canadian cities, underwent enormous change. As part of the social, cultural and political upheaval that characterized this era, new theatre companies, later labelled as "alternative," challenged many of the previously-held values and practices of the so-called mainstream. The importance of the alternative theatre movement in the 1970s to the development of a modem Canadian canon has been well-documented. This essay considers the roots of that movement in Vancouver as reflected by the company known simply as "The Gallimaufry."

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Spratt, Houston, and Magill. "Imaging the future: theatre and change within the child protection system." Child & Family Social Work 5, no. 2 (May 2000): 117–27. http://dx.doi.org/10.1046/j.1365-2206.2000.00152.x.

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JOHANSSON, DR OLA. "The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa." Theatre Research International 32, no. 1 (March 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 viewed as a means in itself, or a means for rapid change, community theatre is viewed as a relational means in coordinated programmes against AIDS. However, in spite of functioning as an exceptional relational agency for the most exposed cohort in the epidemic (women aged between fifteen and twenty-four), the social, gender and epidemic predicaments will persist as long as policy-makers do not fully recognize the status of young people and the capacity of community theatre.

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Mangold, Alex. "Failure, Trauma, and the Theatre of Negativity: the New Tragic in Contemporary Theatre and Performance." New Theatre Quarterly 35, no. 1 (January 16, 2019): 33–43. http://dx.doi.org/10.1017/s0266464x18000593.

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In this article, Alex Mangold identifies failure as a defining element of tragedy and argues that traditional understandings of the genre have been too narrow. Here, he asserts that tragic failure contributes to a tragic ‘mode’ that transcends genre definitions and, instead, extends to all kinds of contemporary theatre and performance. Examining a wide range of performance examples, including work from Sophocles to Sarah Kane, Forced Entertainment, Sasha Waltz, and Orlan, he argues that tragic failure, as it has come to be realized in examples of postdramatic writing and in site-specific or dance-based performance, is presented as an option, a dramatic choice, an outcome or part of an overall denial of dramatic form. The true power of the new tragic consequently lies in its ability to foster social change and a more ethical stance toward social dystopias. Alex Mangold lectures in the Department of Modern Languages at Aberystwyth University. He is co-editor (with Broderick Chow) of Žižek and Performance (Palgrave, 2014) and has published articles and chapters on the work of Sarah Kane and Howard Barker.

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