This book is the first definitive publication to consider the intersections of applied theatre and the Sustainable Development Goals (SDGs) – a series of goals which have shaped development and social justice initiatives from 2015 to 2030. It brings together emerging and leading scholars and practitioners engaged in creative and community contexts globally. In so doing, the book offers critical insights to explore the convergences, complexities, and tensions of working within development frameworks, through theatre. Divided into three thematic areas, it maps out the ways in which applied theatre has related to the SDGs, examines issues with global collaborations, and, as 2030 approaches and the SDG era draws to a close, interrogates such practices, envisioning what the role of applied theatre might be in the post-SDG era. The book provokes reflection about this specific era of applied theatre and global development, as well as discussion regarding what comes next. This volume will be of importance to students, artists, scholars, practitioners, and policymakers working in applied theatre and the field of development.

Though development researchers have proven that the participation of women is necessary for effective sustainable development, development practitioners still largely lack culturally appropriate, gender-sensitive tools for including women, especially women living in poverty. Current tools used in the development approach often favour the skill set of the development practitioner and are a mismatch with the traditional, gendered knowledge and skills many women who are living in poverty do have. This study explores three case studies from India, Ethiopia, and the Guatemala that have successfully used applied theatre for women’s participation in sustainable development. This interdisciplinary book has the opportunity to be the first to bring together the theory, scholarship and practice of theatre for women’s participation in sustainable development in an international context. This work will be of great interest to scholars and practitioners in a wide variety of fields who are looking for creative solutions for utilizing the contributions of women for solving our global goals to live in a sustainable way on this one planet in a just and equitable manner.

Applied Theatre: Performing Health and Wellbeing is the first volume in the field to address the role that theatre, drama and performance have in relation to promoting, developing and sustaining health and wellbeing in diverse communities. Challenging concepts and understanding of health, wellbeing and illness, it offers insight into different approaches to major health issues through applied performance. With a strong emphasis on the artistry involved in performance-based health responses, situated within a history of the field of practice, the volume is divided into two sections: Part One examines some of the key questions around research and practice in applied performance in health and wellbeing, specifically addressing the different regional challenges that dominate the provision of health care and influence wellbeing: how the ageing population of the global north creates pressure on lifetime healthcare provision, while the global south is dominated by a higher birth rate and a larger population under 15 years old. Part Two comprises case studies and interviews from international practitioners that reflect the diversity of practices across the world and in particular differences between work in the northern and southern hemispheres. These case studies include a sanitation project in a Hmong refugee camp in Thailand in the 1980s, and the sanitation and rural development projects initiated by the travelling theatre troupes of a number of University theatre departments in Africa – Makerere in Kampala, Uganda; Botswana; Lesotho and Dar es Salaam, Tanzania – which began in the 1960s. It considers the emergence of Theatre for Development's use as a health approach, considering the work of Laedza Batanani and the influences of Augusto Boal's Theatre of the Oppressed.

The Theatre for Development (TFD) is a learning strategy in which theatre is used to encourage communities to express their own concerns and think about the causes of their problems and possible solutions. This overview contributes to both the theory and practice of Theatre for Development. The author contextualises it historically within the evolving range of development theories, strategies and practices, notably including the now widely accepted notion of participatory approaches to achieving social change.

This book sheds light on the important and mostly neglected role that gender plays in achieving the UN Sustainable Development Goals, doing so by investigating three key problem areas: empowerment, education, and infrastructure. Starting with a theoretical and methodological framework, this edited collection contains 12 chapters from scholars and researchers from around the world. The book includes numerous case studies discussing the current status of gender equality relating to the SDGs. It reinforces the significance of gender for sustainable and just development, highlighting how women play a major role in work organization, disaster management, income, household maintenance, and mediation of knowledge. "Women" as a classification encompasses much diversity with many intersecting axes of difference; this book focuses on the excluded and disadvantaged majority social group, without imposing homogeneity on that categorization. Many chapters focus on critical situations occurring in the Global South, where these issues are highly prominent, and importantly, these contributions are written by local scholars. Finally, the volume provides pathways for basic and professional gender responsive education and innovation in the field. The book will generate important discussions in interdisciplinary research and higher education settings focusing on sustainable development, gender, equality, human rights, and education.

Designing an Innovative Pedagogy for Sustainable Development in Higher Education This book develops a "green pedagogy" and an innovation mindset in higher education by using approaches based on innovative design thinking, arts-based practices, digital transformation, and entrepreneurship for sustainable development. New pedagogical methods and educational solutions are developed throughout this book to offer pedagogical support to both students and university/college-level instructors. This book leads students as well as their instructors, through an artful and experimental way of thinking and doing, to take the ownership of the co-creation process. This is the basis for increasing social responsibility, motivation and commitment, and fostering creativity and innovation. An educational toolkit, including human-centric design methods, digital tools, creative and arts-based practices, innovation-related skills, and nascent and social entrepreneurship competencies, is provided for higher education instructors. This method kit will help instructors support students in the process of creating new knowledge for addressing real-world problems and enhance their societal involvement, foster entrepreneurial spirit, and reach opportunities for a sustainable future. Features Discusses arts-based education and entrepreneurship-based skills. Presents digital transformation and innovation-related skills for sustainable development. Proposes an experimental culture of thinking and doing. Provides agile and collaborative development methodology. Leads students to be much more creative and innovative. Offers a method kit for instructors to respond to 21st-century requirements in the field of higher education.

Is the mind like a theatrical performance? This comparison has often been used as a conceptual tool by neuroscientists, philosophers, and psychologists in trying to understand what constitutes the human mind, and in particular how the comings and goings and the character transformations on the stage and in the scripted text give us visible access to the hidden workings of the human mind. Performing Human Consciousness makes use of this metaphor to explore the variety of ways in which the private thoughts and feelings we all have bring into play many aspects of persistent philosophical questions over how the essentially private world of personal experiences can relate to and communicate with the common public world. To investigate this generalisation in more detail, the author brings into play her own conscious experiences by making use of an auto-inscribed play Being Me. Through this dramatic medium she seeks to show in detail how phenomenal consciousness is captured through the dramatic play text and thereby made known to others through performance of that text. Broadening out her argument further, the author then embarks on an enquiry into a selection of play texts from an historical variety of perspectives, from the early Greek and Mediaeval dramas, through to the Symbolist period and onwards to the present day, demonstrating the variety of ways in which they illustrate her argument. This book will be of great interest to students and scholars of theatre & performance and scriptwriting.

This book focuses on the complex relationship between education and the Sustainable Development Goals (SDGs) and highlights how important context is for both critiquing and achieving the Goals though education, given the critical role teachers, schools and curriculum play in young people’s lives. Readers will find examples of thinking and practice across the spectrum of education and training sectors, both formal and informal. The book adds to the increasing body of literature that recognises that education is, and must be, in its praxis, at the heart of all the SDGs. As we enter the third decade of the 21st century, we have a clear understanding of the wicked and complex crises regarding the health of life on our planet, and we cannot ignore the high levels of anxiety our young people are experiencing about their future. Continuing in the direction of unsustainable exploitation of people and nature is no longer an option if life is to have a flourishing future. The book illustrates how SDGs are supported in and by education and training, showcasing the conditions necessary to ensure SDGs are fore fronted in policy reform. It includes real-world examples of SDGs in education and training contexts, as well as novel critiques of the SDGs in regard to their privileging of anthropocentrism and neoliberalism. This book is beneficial to academics, researchers, post graduate and tertiary students from all fields relating to education and training. It is also of interest to policy developers from across disciplines and government agencies who are interested in how the SDGs relate to education.

Dancing Shakespeare is the first history of ballets based on William Shakespeare’s works from the birth of the dramatic story ballet in the eighteenth century to the present. It focuses on two main questions: "How can Shakespeare be danced?" and "How can dance shed new light on Shakespeare?" The book explores how librettists and choreographers have transposed Shakespeare’s complex storylines, multifaceted protagonists, rhetoric and humour into non-verbal means of expression, often going beyond the texts in order to comment on them or use them as raw material for their own creative purposes. One aim of the monograph is to demonstrate that the study of wordless performances allows us to gain a deeper understanding of Shakespeare’s texts. It argues that ballets based on Shakespeare’s works direct the audience’s attention to the "bare bones" of the plays: their situations, their characters, and the evolution of both. Moreover, they reveal and develop the "choreographies" that are written into the texts and highlight the importance of movements and gestures as signifiers in Shakespeare’s plays. This book will be of interest to students and scholars of literature, dance, and music, as well as to an international readership of lovers of Shakespeare, ballet, and the arts.