Key Concepts in Theatre Drama Education provides the first comprehensive survey of contemporary research trends in theatre/drama education. It is an intriguing rainbow of thought, celebrating a journey across three fields of scholarship: theatre, education and modes of knowing. Hitherto no other collection of key concepts has been published in theatre /drama education. Fifty seven entries, written by sixty scholars from across the world aim to convey the zeitgeist of the field. The book’s key innovation lies in its method of writing, through collaborative networking, an open peer-review process, and meaning-making involving all contributors. Within the framework of key-concept entries, readers will find valuable judgments and the viewpoints of researchers from North and South America, Europe, Asia, Africa, New Zealand and Australia. The volume clearly shows that drama/theatre educators and researchers have created a language, with its own grammar and lucid syntax. The concepts outlined convey the current knowledge of scholars, highlighting what they consider significant. Entries cover interdependent topics on teaching and learning, aesthetics and ethics, curricula and history, culture and community, various populations and their needs, theatre for young people, digital technology, narrative and pedagogy, research methods, Shakespeare and Brecht, other various modes of theatre and the education of theatre teachers. It aims to serve as the standard reference book for theatre/drama education researchers, policymakers, practitioners and students around the world. A basic companion for researchers, students, and teachers, this sourcebook outlines the key concepts that make the field prominent in the sphere of Arts Education.

Excerpts from and citations to reviews of more than 8,000 books each year, drawn from coverage of 109 publications. Book Review Digest provides citations to and excerpts of reviews of current juvenile and adult fiction and nonfiction in the English language. Reviews of the following types of books are excluded: government publications, textbooks, and technical books in the sciences and law. Reviews of books on science for the general reader, however, are included. The reviews originate in a group of selected periodicals in the humanities, social sciences, and general science published in the United States, Canada, and Great Britain. - Publisher.

"Applied Theatre is the first study to assist practitioners and students to develop critical frameworks for planning and implementing their own theatrical projects. This reader-friendly text considers an international range of case studies in applied theatre through discussion questions, practical activities and detailed analysis of specific theatre projects globally."--Provided by the publisher.

This newly-updated second edition explores Pina Bausch’s work and methods by combining interviews, first-hand accounts, and practical exercises from her developmental process for students of both dance and theatre. This comprehensive overview of her work offers new and exciting insight into the theatrical approach of a singular performance practitioner. This is an essential introduction to the life and work of one of the most significant choreographers/directors of the twentieth and twenty-first centuries. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today’s student.

Shortlisted for the 2022 TaPRA David Bradby Monograph Prize Applied Theatre: A Pedagogy of Utopia offers a critical consideration of long-term applied and participatory theatre projects. In doing so, it provides a timely analysis of concepts that inform applied theatre and outlines a new way of thinking about making theatre with differing groups of participants. The book problematizes key concepts including safe spaces, voice, ethical practice and resistance. Selina Busby analyses applied theatre projects in India, the USA and the UK, in youth theatres, homeless shelters, prisons and with those living in informal housing settlements to consider her key question: what might a pedagogy of utopia look like? Drawing on 20 years of practice in a range of contexts, this book focuses on long-term interventions that raise troubling questions about applied theatre, cultural colonialism and power, while arguing that community or participatory theatre conversely has the potential to generate a resilient sense of optimism, or what Busby terms, a 'nebulous utopia'.

One of the first titles in this vibrant and eye-catching new series of short, sharp, shots for theatre students.

Drama-Based Pedagogy examines the mutually beneficial relationship between drama and education, championing the versatility of drama-based teaching and learning designed in conjunction with the classroom curriculum. Written by seasoned educators and based upon their own extensive experience in diverse learning contexts, this book bridges the gap between theories of drama in education and classroom practice.

Research-based Theatre aims to construct a theoretical analysis of the field and offer critical reflections on how the methodology can now be applied. The book shares twelve examples of contemporary research-based theatre scripts and commentaries, selected to represent different approaches that come from a variety of disciplinary areas.

Ben Iden Payne spent more than seventy years in the theatre in England and America. On his retirement at the age of ninety it was a very different theatre from the one he entered at nineteen on joining Frank Benson's touring Shakespeare company. That change was due in no small part to his own efforts. Payne could point to many experiences that would have guaranteed him a place in theatre annals: He was a director of the Abbey Theatre in Dublin. He staged plays for such stars as John Drew, William Gillette, John and Ethel Barrymore, Otis Skinner, and Helen Hayes. And for eight years he was general director of the Shakespeare Memorial Theatre at Stratford-upon-Avon. Though Payne's career fills three columns in Who's Who in the Theatre, two unique achievements stand out from the others. In 1907, as director of Miss Horniman's Gaiety Theatre company in Manchester, he initiated the repertory movement in England. In four years he brought it to a peak of excellence that has never been surpassed. Later, in America, he began a career in educational theatre that would span half a century. At the Carnegie Institute of Technology he developed his "modified Elizabethan staging" - a technique that has left an indelible mark on the production of Shakespeare's plays. In this memoir Payne recalls the English theatre at the turn of the century with wit and affection. His accounts of the popular actor-managers, the fit-up companies, the Playboy riots, and of Yeats, Miss Horniman, and William Poel vividly depict an era. He captures the spirit of the American theatre of the teens, twenties, and thirties - the flamboyance of its producers, the foibles of its stars, and the casting practices that reduced able actors to types. Above all, Payne tells of his consuming desire to recreate the basic conditions of Shakespeare's own theatre in order to present his plays most effectively. No antiquarian, he does not quibble over structural details of the "wooden O's" that housed Elizabethan stages. Instead he writes as a practical theatre man determined to achieve the continuous and fluid movement needed to preserve the "melodic line" of Shakespeare's plays. The success with which he pursued this ambition has influenced theatre design and inspired others to carry on his work. Yet, in spite of the distinction of his long career, Payne recalls it with the modest simplicity that endeared him to generations of actors and students.