Applied Theatre Second Edition

Dr. Monica Prendergast is an associate professor of drama/theatre education in the Department of Curriculum & Instruction at the University of Victoria, Canada. Her research interests are varied and include drama-based curriculum and pedagogy, drama/theatre in community contexts, and arts-based qualitative research methods. Dr. Prendergast’s books include Applied Theatre and Applied Drama (both with Juliana Saxton), Teaching Spectatorship, Poetic Inquiry, Staging the Not-yet, Drama, Theatre and Performance Education in Canada and Poetic Inquiry II. Her CV includes over 50 peer reviewed journal contributions, numerous chapters, book reviews and professional contributions. Monica also reviews theatre for CBC Radio Canada and writes a column on theatre for Focus Magazine.Juliana Saxton is professor emerita in the Department of Theatre at the University of Victoria and the recipient of a Lifetime Achievement Award from the American Alliance for Theatre and Education. She is also one of the authors of Into the Story 2. Together, they are coauthors of Applied Theatre, also published by Intellect and selected as the American Alliance for Theatre and Education's 2009 Book of the Year.

• Chapter 1Theories and History of Applied Theatre Chapter 2Practices of Applied Theatre Chapter 3Story, Storytelling and Applied Theatre Chapter 4Popular Theatre Chapter 5Documentary Theatre Chapter 6Theatre in Education (TIE) Chapter 7Theatre of the Oppressed (TO) Chapter 8Theatre in Health Education (THE) Chapter 9Theatre for Development (TfD) Chapter 10Prison Theatre Chapter 11Community-Based Theatre Chapter 12Museum Theatre Chapter 13Reminiscence Theatre Chapter 14Challenges for Practice Afterword: Reflection

'Editors Monica Prendergast and Juliana Saxton have, in their second edition of Applied Theatre: International Case Studies and Challenges for Practice, created an invaluable repository of examples of various types of Applied Theatre from all over the world. Prendergast and Saxton purposefully offer readers the opportunity to pull back the curtain and learn from the successes, mistakes, and sometime failures of seasoned Applied Theatre practitioners. [...] The succinct and concise method Prendergast and Saxton use to define terms, methodologies, models, and motifs would be of significant use to the new practitioner looking to learn more about, and starting to facilitate Applied Theatre. For the more seasoned practitioner it acts as a refresher in the core concepts in our field, and an inspiration regarding the work our colleagues around world are doing, using theatre to make their communities and the world more compassionate, just, and critically-engaged.'