How does protest engage with theatre? What does theatre have to gain from protest? Theatre and protest are often closely interlinked in the contemporary cultural and political landscape, and the line between protest and performance is often difficult to draw. Yet this relationship is also beset with doubts about theatre's capacity to intervene in the social world. This fresh and insightful text thinks through the intersections and tensions between theatre and protest. Exploring the cross-fertilization of international theatre and protest across the 12th and 21st centuries, Lara Shalson illuminates how and why these two are mutually influencing and enriching forms.

How does protest engage with theatre? What does theatre have to gain from protest? Theatre and protest are often closely interlinked in the contemporary cultural and political landscape, and the line between protest and performance is often difficult to draw. Yet this relationship is also beset with doubts about theatre’s capacity to intervene in the social world. This fresh and insightful text thinks through the intersections and tensions between theatre and protest. Exploring the cross-fertilization of international theatre and protest across the twentieth and twenty-first centuries, Lara Shalson illuminates how and why these two are mutually influencing and enriching forms.

"... a thoughtful and important treatment of the international tensions of the period as they were embodied in theatre practice. It is the only book of its kind on the subject, and a valuable source of production information." -- Theatre Journal "... an excellent discussion of the aesthetics of theater." -- Choice The escalation of the war in Vietnam in the mid-1960s unleashed worldwide protest. Playwrights grappled with the complexities of post-imperialist politics and with the problems of creating effective political theatre in the television age. The ephemeral theatre these writers created, today little-known and rarely studied, provides an important window on a complex moment in culture and history.

The rich history of African-American theatre has often been overlooked, both in theoretical discourse and in practice. This volume seeks a critical engagement with black theatre artists and theorists of the twentieth century. It reveals a comprehensive view of the Art or Propaganda debate that dominated twentieth century African-American dramatic theory. Among others, this text addresses the writings of Langston Hughes, W.E.B. DuBois, Alain Locke, Lorraine Hansberry, Amiri Baraka, Adrienne Kennedy, Sidney Poitier, and August Wilson. Of particular note is the manner in which black theory collides or intersects with canonical theorists, including Aristotle, Keats, Ibsen, Nietzsche, Shaw, and O'Neill.

This collection documents and examines political and protest theatre produced between the 9/11 attacks in 2001 and Obama’s election in 2008 by British and American artists responding to their own governments’ actions and policies during this time. The plays take up topics such as the ongoing wars on terror, Blair’s support of U.S. policies, the flawed intelligence that led to the Iraq war, and illegal detentions and torture at Abu Ghraib. The authors argue that engaged artists faced a radically different sociopolitical context for their work after 9/11 compared to earlier social protest movements and new forms of theatre, and different emotional strategies were necessary to meet the challenges. The subtitle Patriotic Dissent suggests the double stance of many artists-- influenced by patriotic expressions of national solidarity, yet critical of the ways that patriotic language was put to use against others. The articles represent a broad range of theatre: Broadway musicals, documentary theatre, adaptations of classical theatre, new plays by British playwrights, street performances and installations, and musical concerts. The contributors’ case studies evaluate the effectiveness of important instances of political theatre and protest from this decade, arguing for the significance, relevance, and continuing necessity for evolving forms of political theatre today.

An original and valuable assessment of American political theater in the 1960s and 1970s

A Cruel Theatre of Self-Immolations investigates contemporary protest self-burnings and their echoes across culture. The book provides a conceptual frame for the phenomenon and an annotated, comprehensive timeline of suicide protests by fire, supplemented with notes on artworks inspired by or devoted to individual cases. The core of the publication consists of six case studies of these ultimate acts, augmented with analyses and interpretations hailing from the visual arts, film, theatre, architecture, and literature. By examining responses to these events within an interdisciplinary frame, Ziółkowski highlights the phenomenon’s global reach and creates a broad, yet in-depth, exploration of the problems that most often prompt these self-burnings, such as religious discrimination and harassment, war and its horrors, the brutality and indoctrination of authoritarian regimes and the apathy they produce, as well as the exploitation of the so-called "subalterns" and their exclusion from mainstream economic systems. Of interest to scholars from an array of fields, from theatre and performance, to visual art, to religion and politics, A Cruel Theatre of Self-Immolations offers a unique look at voluntary, demonstrative, and radical performances of shock and subversion.

Occupying the Stage: the Theater of May '68 tells the story of student and worker uprisings in France through the lens of theater history, and the story of French theater through the lens of May '68. Based on detailed archival research and original translations, close readings of plays and historical documents, and a rigorous assessment of avant-garde theater history and theory, Occupying the Stage proposes that the French theater of 1959–71 forms a standalone paradigm called "The Theater of May '68." The book shows how French theater artists during this period used a strategy of occupation-occupying buildings, streets, language, words, traditions, and artistic processes-as their central tactic of protest and transformation. It further proposes that the Theater of May '68 has left imprints on contemporary artists and activists, and that this theater offers a scaffolding on which to build a meaningful analysis of contemporary protest and performance in France, North America, and beyond. At the book's heart is an inquiry into how artists of the period used theater as a way to engage in political work and, concurrently, questioned and overhauled traditional theater practices so their art would better reflect the way they wanted the world to be. Occupying the Stage embraces the utopic vision of May '68 while probing the period's many contradictions. It thus affirms the vital role theater can play in the ongoing work of social change.

An inspiring and timely illustrated history of peaceful protests from around the world - from 1170 BCE to the present day. Protest has changed the planet - from Roman times to today, ordinary people have stood up for what they believe in and made the world a better place. Children are more likely now than ever before to make a peaceful stand against what they believe is wrong in the world. The time is right for a book that sets out the history of protest and how it has changed our society. Illustrated by award-winner Emily Haworth-Booth, and written by Emily and her sister Alice, this book covers the global history of protest from 1170 BCE, when workers on the pyramids in Egypt went on strike for more food, to the present day, with the school strikes for climate. From the women's march in Rome, through the peasants' revolt, the abolitionist movement and the suffragette movement right through to Extinction Rebellion and Black Lives Matter. Also included are the Native American Ghost Dance, the Abolitionist Movement, Women's Suffrage Movement, anti-nuclear movement, the Stonewall riots, the fall of the Berlin Wall, the Arab Spring, Hong Kong umbrella protests and much more. The book covers civil rights, women's rights, LGBTQI+ rights, anti-apartheid, environmental campaigns and more. It also looks at creative ways of protesting - theatrical interventions, singing protests, guerrilla gardening, tree-sitting, noisy protests and surreal happenings.

The right to demonstrate is considered fundamental to any democratic system of government, yet in recent years it has received little academic attention. However, events following the recent G20 protests in April 2009 make this a particularly timely work. Setting out and explaining in detail the domestic legal framework that surrounds the right of peaceful protest, the book provides the first extensive analysis of the Strasbourg jurisprudence under Articles 10 and 11 of the European Convention on Human Rights, offering a critical look at recent cases such as Öllinger, Vajnai, Bukta, Oya Ataman, Patyi and Ziliberberg, as well as the older cases that form its bedrock. The principles drawn from this case-law are then synthesised into the remainder of the book to see how the right of protest enshrined in the Human Rights Act 1998 now operates. The five central chapters show how the right is defined: the restrictions on the choice of location of a protest; the constraints imposed on peaceful, persuasive protest; the near total intolerance of any form of obstructive or disruptive protest; the scope of preventive action by the police; and the extent to which commercial targets can avail themselves of private law remedies. This contemporary landscape is highlighted by critical analysis of the principles and case law -- including the leading decisions in Laporte, Austin, Jones and Lloyd and Kay. The book also highlights and develops themes that are currently under-theorised or ignored, including the interplay of the public and the private in regulating protest; the pivotal role played by land ownership rules; and the disjuncture between the law in the books and the law in action. While the book will appeal primarily to scholars, students and practitioners of law – as well as to campaigners and interest groups – it also offers political and socio-legal insights, which will be of interest equally to non-specialists.