Gareth White lectures in applied theatre and community performance at Central School of Speech and Drama, University of London, UK. He is also a director, performer and facilitator, with a particular interest in processes and theories of participation and collaborative processes.

• Introduction Chapter 1 - Aesthetics and the Aesthetic (Gareth White) Chapter 2 - Aesthetic Autonomy and Heteronomous Aesthetics (Gareth White) Chapter 3 - Dancing With Difference: Moving Towards a New Aesthetics (Nicola Shaughnessy, University of Kent, UK) Chapter 4 - Revolutionary Beauty Out of Homophobic Hate (Mojisola Adebayo, Queen Mary, University of London, UK) Chapter 5 - Competing International Players and their Aesthetic Imperatives:The Future of Internationalised Applied Theatre Practice? (Kirsten Sadeghi-Yekta) Chapter 6 - Aesthetic Play: Between Performance and Justice (Ananda Breed, University of East London, UK) Chapter 7 - The Political Imagination and Contemporary Theatre for Youth (Anna Hickey-Moody, Goldsmiths, University of London, UK) Chapter 8 - The Aesthetics of Becoming; Applied Theatre and the Quest for Cultural Certitude (Brian Heap, University of West Indies)Epilogue (Gareth White)NotesIndex

Part theory and part case studies in practical application, Applied Theatre: Aesthetics offers a valuable perspective on the significance of beauty within the context of theatre engaged in social change. White’s edited book is a well-written, well-formatted collection of essays offering conflicting, yet complementary views on these diverging notions of what a revolutionary aesthetic must resemble. … Each case study is vastly different regarding context, methodology, scope, purpose, and space, yet each in its own unique way addresses the issue of aesthetics within applied theatre. … White has cultivated an eloquent and yet successful argument for the use of beauty to encourage change. Collectively, these scholars and theatre practitioners have initiated a thoughtful and intriguing dialogue on the nature of aesthetics, particularly the potential inclusion of participatory aesthetics within the context of theatre in general and applied theatre specifically.

Gareth White lectures in applied theatre and community performance at Central School of Speech and Drama, University of London, UK. He is also a director, performer and facilitator, with a particular interest in processes and theories of participation and collaborative processes.

• Introduction Chapter 1 - Aesthetics and the Aesthetic (Gareth White) Chapter 2 - Aesthetic Autonomy and Heteronomous Aesthetics (Gareth White) Chapter 3 - Dancing With Difference: Moving Towards a New Aesthetics (Nicola Shaughnessy, University of Kent, UK) Chapter 4 - Revolutionary Beauty Out of Homophobic Hate (Mojisola Adebayo, Queen Mary, University of London, UK) Chapter 5 - Competing International Players and their Aesthetic Imperatives:The Future of Internationalised Applied Theatre Practice? (Kirsten Sadeghi-Yekta) Chapter 6 - Aesthetic Play: Between Performance and Justice (Ananda Breed, University of East London, UK) Chapter 7 - The Political Imagination and Contemporary Theatre for Youth (Anna Hickey-Moody, Goldsmiths, University of London, UK) Chapter 8 - The Aesthetics of Becoming; Applied Theatre and the Quest for Cultural Certitude (Brian Heap, University of West Indies)Epilogue (Gareth White)NotesIndex

Part theory and part case studies in practical application, Applied Theatre: Aesthetics offers a valuable perspective on the significance of beauty within the context of theatre engaged in social change. White’s edited book is a well-written, well-formatted collection of essays offering conflicting, yet complementary views on these diverging notions of what a revolutionary aesthetic must resemble. … Each case study is vastly different regarding context, methodology, scope, purpose, and space, yet each in its own unique way addresses the issue of aesthetics within applied theatre. … White has cultivated an eloquent and yet successful argument for the use of beauty to encourage change. Collectively, these scholars and theatre practitioners have initiated a thoughtful and intriguing dialogue on the nature of aesthetics, particularly the potential inclusion of participatory aesthetics within the context of theatre in general and applied theatre specifically.

Gareth White lectures in applied theatre and community performance at Central School of Speech and Drama, University of London, UK. He is also a director, performer and facilitator, with a particular interest in processes and theories of participation and collaborative processes.

• Introduction Chapter 1 - Aesthetics and the Aesthetic (Gareth White) Chapter 2 - Aesthetic Autonomy and Heteronomous Aesthetics (Gareth White) Chapter 3 - Dancing With Difference: Moving Towards a New Aesthetics (Nicola Shaughnessy, University of Kent, UK) Chapter 4 - Revolutionary Beauty Out of Homophobic Hate (Mojisola Adebayo, Queen Mary, University of London, UK) Chapter 5 - Competing International Players and their Aesthetic Imperatives:The Future of Internationalised Applied Theatre Practice? (Kirsten Sadeghi-Yekta) Chapter 6 - Aesthetic Play: Between Performance and Justice (Ananda Breed, University of East London, UK) Chapter 7 - The Political Imagination and Contemporary Theatre for Youth (Anna Hickey-Moody, Goldsmiths, University of London, UK) Chapter 8 - The Aesthetics of Becoming; Applied Theatre and the Quest for Cultural Certitude (Brian Heap, University of West Indies)Epilogue (Gareth White)NotesIndex

Part theory and part case studies in practical application, Applied Theatre: Aesthetics offers a valuable perspective on the significance of beauty within the context of theatre engaged in social change. White’s edited book is a well-written, well-formatted collection of essays offering conflicting, yet complementary views on these diverging notions of what a revolutionary aesthetic must resemble. … Each case study is vastly different regarding context, methodology, scope, purpose, and space, yet each in its own unique way addresses the issue of aesthetics within applied theatre. … White has cultivated an eloquent and yet successful argument for the use of beauty to encourage change. Collectively, these scholars and theatre practitioners have initiated a thoughtful and intriguing dialogue on the nature of aesthetics, particularly the potential inclusion of participatory aesthetics within the context of theatre in general and applied theatre specifically.