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Reading - Socially-Engaged Performance - 2013-14

The Reading List is on the Class Schedule with the readings connected to the day they are due.

Supplementary Reading List for additional information:
(Books with * mention or discuss in some detail many projects not explored in class.)

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and
NY: Verso, 2012.
_____.“The Social Turn: Collaboration and Its Discontents.” Rediscovering Aesthetics:
Transdisciplinary Voices from Art History, Philosophy, and Art Practice (Cultural Memory in the Present). Eds. Francis Halsall. Julia Jansen, and Tony O’Connor. Stanford: Stanford University Press, 2009: 238-55.
Boal, Augusto. Legislative Theatre. Trans. Adrian Jackson. London and New York: Routledge,
1998.
_____. The Rainbow of Desire: The Boal Method of Theatre and Therapy. Trans. Adrian
Jackson. New York: Routledge, 1995.
_____. Theatre of the Oppressed. Trans. Charles A. and Maria Odilia Leal McBride. New
York: Theatre Communications Group, 1985.
*Cohen-Cruz, Jan. Engaging Performance: Theatre as Call and Response. New York:
Routledge, 2010.
Conquergood, Dwight. “Performing as a Moral Act: Ethical Dimensions of the
Ethnography of Performance.” Literature in Performance 5.2 (April 1985): 1-13.
Doherty, Claire, ed. Contemporary Art: From Studio to Situation. London: Black Dog
Publications, 2004.
Freire, Paulo. ‘An Incredible Conversation,’ (last public interview in 1996),
http://www.youtube.com/watch?v=aFWjnkFypFA
_____. Learning to Question: A Pedagogy of Liberation. New York: Continuum, 1989.
_____. Pedagogy of Freedom: Ethics, Democracy and Civic Courage. New York: Rowman &
Littlefield Publishers, Inc., 1998. (Chapter 2 scanned.)
_____. Pedagogy of Hope. Trans. Robert R. Barr. New York: Continuum, 1994.
_____. Pedagogy of the Oppressed. Trans. Myra Bergman Ramos. New York: Continuum,
1989. (Chapter 1 scanned.)
*Frieling, Rudolf, Boris Groys, Robert Atkins, and Lev Manovich. The Art of Participation:
1950 to Now. London: Thames and Hudson, 2009.
Gooch, Steve. All Together Now: An Alternative View of Theatre and the Community.
London: Methuen, 1984.
Harding, James M. and Cindy Rosenthal (eds.). Restaging the Sixties: Radical Theaters and
their Legacies. Ann Arbor: University of Michigan Press, 2007.
Hartley, Jennifer S. Applied Theatre in Action: a Journey. Stoke-on-Trent: Trentham Books,
2012.
*Haedicke, Susan and Tobin Nellhaus, eds. Performing Democracy: International
Perspectives on Community-Based Performance. Ann Arbor, University of Michigan Press, 2001.
Haedicke, Susan. Contemporary Street Arts in Europe: Aesthetics and Politics. Basingstoke:
Palgrave Macmillan, 2013.
_____. ‘The Challenge of Participation: Audiences at Living Stage Theatre Company.’
Audience Participation: Essays on Inclusion in Performance. Ed. Susan Kattwinkel, Praeger Publishers, 2003: 71-87.
_____. ‘The Politics of Performance: Un Voyage Pas Comme Les Autres Sur Les
Chemins De L’Exil.’ Theatre Topics 12.2 (September 2002): 99-118.
Holdsworth, Nadine. Joan Littlewood. London: Routledge, 2006.
_____. Joan Littlewood’s Theatre. Cambridge: Cambridge University Press, 2011.
Hughes, Jenny. ‘Theatre, Performance and the “War on Terror”: Ethical and Political
Questions arising from British Theatrical Responses to War and Terrorism,’ Contemporary Theatre Review 17.2 (2007): 149-64 (available online through the Library)
*Jackson, Shannon. Social Works: Performing Art, Supporting Publics. New York and London:
Routledge, 2011. (See especially ‘Performance, Aesthetics, and Support,’ Chapter 1, pp. 11-42.
Kaprow, Alan. ‘Happenings in the New York Scene (1961),’ in Essays on the Blurring of Art
and Life, pp. 15-26 (scanned)
*Kershaw, Baz. The Politics of Performance: Radical Theatre as Cultural Intervention.
London: Routledge, 1992.
*_____. The Radical in Performance: Between Brecht and Baudrillard. London:
Routledge,1999.
*Kester, Grant H. Conversation Pieces: Community + Communication in Modern Art. Los
Angeles: University of California Press, 2004.
*_____. The One and the Many: Contemporary Collaborative Art in a Global Context.
Durham and London: Duke University Press, 2011.
Kuftinec, Sonja Arsham. Staging America: Cornerstone and Community-Based Theatre.
Southern Illinois University Press, 2003.
_____. Theatre, Facilitation, and Nation Formation in the Balkans and Middle
East. Palgrave Macmillan, 2009.
*Kuppers, Petra, ed. Community Performance: An Introduction. London and New York:
Routledge, 2007.
_____. Disability Culture and Community Performance: Find a Strange and Twisted Shape.
Basingstoke: Palgrave, 2011.
Lacy, Suzanne, ed. Mapping the Terrain: New Genre Public Art. Seattle, WA: Bay Press, 1995.
McGrath, John. The Bone Won’t Break: On Theatre and Hope in Hard Times. London:
Methuen, 1990.
_____. A Good Night Out. Popular Theatre: Audience, Class, and Form. London: Nick Hern
Books, 1981. Nicholson, Helen. Applied Drama. Basingstoke: Palgrave Macmillan, 2005.
_____. Theatre, Education and Performance. Palgrave Macmillan, 2011.
*Prendergast, Monica and Juliana Saxton, eds. Applied Theatre: International Case Studies
and Challenges for Practice. Bristol: Intellect Books, 2009.
*Prentki, Tim and Sheila Preston, eds. Applied Theatre Reader. London and New York:
Routledge, 2009.
Rancière, Jacques. The Emancipated Spectator. Trans. Gregory Elliott. London: Verso, 2009.
Salverson, Julie. "Change on Whose Terms? Testimony and an Erotics of Injury." Theater
31.3 (2001): 119-125.
Schutzman, Mady and Jan Cohen Cruz. Playing Boal: Theatre, Therapy, and Activism.
London: Routledge, 1994.
*Shaughnessy, Nicole. Applying Performance: Live Art, Socially Engaged Theatre and
Affective Practice. Basingstoke: Palgrave Macmillan, 2012.
Snyder-Young, Dani. Theatre of Good Intentions: Challenges and Hopes for Theatre and
Social Change. Basingstoke: Palgrave Macmillan, 2013.
Taylor, Philip. Applied Theatre: Creating Transformative Encounters in the Community. US:
Heinemann Educational Books, 2003.
Thompson, James. Applied Theatre: Bewilderment and Beyond. Oxford: Peter Lang Ltd,
2003.
_____. Digging Up Stories: Applied Theatre, Performance and War. Manchester: Manchester
University Press, 2005.
_____. Performance Affects: Applied Theatre and the End of Effect. Basingstoke: Palgrave
Macmillan, 2009.
*Thompson, Nato. Living as Form: Socially-Engaged Art from 1991-2011. Cambridge, MA:
The MIT Press, 2012.
*Van Erven, Eugene. Community Theatre: Global Perspectives. London: Routledge, 2000.
_____. The Playful Revolution: Theatre and Liberation in Asia. Bloomington: Indiana
University Press, 1992.
Yes Men, http://theyesmen.org/ (especially the Hijinks section of website).
_____. The Yes Men Save the World (DVD).

Journals:
Research in Drama Education: The Journal of Applied Theatre and Performance, from 1996-present. Each year, there is at least one ‘themed’ issue on a particular topic like gender and sexuality (2013), innovation and technology (2012), environmentalism (2012), urban contexts (2011), aesthetics (2010), disability (2009), asylum (2008), or ethics (2005).

Websites:
http://greenmuseum.org/ (esp. http://greenmuseum.org/generic_content.php?ct_id=210 )
• Community Arts Network Reading Room: http://wayback.archive-it.org/2077/20100906194826/http://www.communityarts.net/readingroom/index.php or http://wayback.archive-it.org/2077/20100906202247/http://www.communityarts.net/readingroom/