The presence of non-disabled artists challenges the possibility of disability aesthetics in arts and disability projects. This study therefore examines the meaning of disability for the aesthetics of their collaborations and artistic practice through in-depth interviews with twelve Belgian non-disabled performing artists. The findings show that…

This article reflects on the ethics and process of writing and performing the play "This Is Us" with a group of rejected asylum seekers from Deportation Centre Sjaelsmark in Denmark. Positioned within larger frameworks of political and media hostility, the group pushed for a more radical approach of 'not just theatre', but called instead…

In this commentary, summarized from a recent interview, the author shares insights and memories from a career devoted to drama and performance studies. He enthusiastically recounts events, initiatives, and collaborations that have helped sustain his lifelong passion for performance.

This is an attempt to articulate and explore the relationship between the science of memory and the applied theatre project, "The Not Knowns." The project was a collaboration between theatre practitioners and a psychologist who worked together with a group of young people known, problematically, as the "not knowns" throughout…

Through this paper, I consider how we might be aesthetically and relationally accountable in creating research-informed theatre through the conceptual frame of an aesthetic of relationality, and in-depth considerations of the theoretical notions embodiment, imagination and foolishness (as vulnerability-bravery). Through the example of…

Efforts to define creativity have started in the 20th century, with the emergence and spread of psychology as a modern discipline. The relationship between creativity and art education is frequently researched globally in the last twenty years, but studies on the relationship between creativity and performing arts education are few in number.…

The theatre classroom is necessarily a space in dialogue with myths about the marginalisation of theatre as an art and theatre audiences as a public. It is precisely "because" theatre is a marginalised discipline that curricula should incorporate the processes by which the labour of theatre artists changes value and joins the mainstream;…

"Dragons at the Snack Table" explores Magic Realism in relation to lived Applied Theatre spaces.

An artists' residency in a primary school in regional Victoria Australia staged a production of Shakespeare's "King Lear" in a local theatre. A qualitative, reflective practitioner research study into this project collected and analysed data from participating children and their community audience that gave some insight into their…

This paper explores an example of applied theatre and praxis learning in an Australian classroom with drama students aged 16-17 years which took the form of "real fiction" or social theatre monologue writing. It presents monologue responses from nine participants, altered by the researcher to protect identities and to tease out issues…

Producing an animation requires extensive labor, time, and money. Experienced directors and screenwriters are required to design scenes using standard props and actors in position. This study structurally analyzes the script and defines scenes, characters, positions, dialogue, etc., according to their dramatic attributes. These are entered into a…

When the lights come up on College of Menominee Nation's theater productions they illuminate the stories that students want to tell. These stories have traveled from the campfires, to classrooms, and then to the stage. They are original in execution but build on a long tradition of Indigenous storytelling. The stories are specific to the students,…

People who do not know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere "interpreters" of the dramatist's vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading…

My privileged opportunity to work with renowned Drama theorist, Dorothy Heathcote, in Melbourne in the 1970s, set a foundation for what I now call Theatre as Education research. Formerly a teacher of Secondary Drama, I became very experienced at creating plays with my students, based on their own ideas, or inspired by the stories of the community.…

This article discusses the successes and vulnerabilities associated with combining the pedagogical methods of Theater, Composition, and Community Literacy in the Composition classroom. It examines how the ideas of Augusto Boal's "Theatre of the Oppressed" and Paulo Freire's "Pedagogy of the Oppressed" can be combined to support…