Caoimhe McAvinchey is Professor of Socially Engaged and Contemporary Performance at Queen Mary University of London, UK.

• Acknowledgements Notes on ContributorsIntroductionWicked (1991) by Bryony Lavery 1. Interplay: Tracing Personal and Political Transformation Through Popular Participatory Theatre in Westville Female Correctional Centre, Durban South Africa – Miranda Young-Jahangeer (University of Kwazulu-Natal, South Africa).‘Four Walls’, Voices from Prison (1987), by Lynn 2. ‘They Pink Dress Ain’t Done Shit’: Performing Black Quare Activism at a Women’s Gulf Coast Prison – Lisa L. Biggs (Brown University, USA)Decade (1984) by Jacqueline Holborough3. Daughters of the Floating Brothel: Engaging Indigenous Australian women prisoners through participatory radio drama - Sarah Woodland (Queensland Conservatorium Research Centre Griffith University, Australia) ‘I am a theatre’, Voices from Prison (1987), by Abigail4. What Works: The Affective and Gendered Performance of Prison - Aylwyn Walsh (University of Leeds, UK)Inside Bitch (2019) – Extract I - conceived by Stacey Gregg and Deborah Pearson, devised with Lucy Edkins, Jennifer Joseph, TerriAnn Oudjar and Jade Small5. Possible Fictions: Split Britches, Biography and Fantasy with Women in Prison - Caoimhe McAvinchey (Queen Mary University of London, UK)Killers (1980) – Extract I - by Jacqueline Holborough6. Theatre as Collective Casework: Clean Break Theatre Company’s Charged (2010) - Molly McPhee (University of Melbourne, Australia)‘Prison Loves, Prison Hates’, Voices from Prison (1987), by Bonni7. Somebody’s Daughter Theatre Company: The Arts: Unapologetically Transcendent – Maud Clark AM (Director, Australia)Killers (1980) – Extract II - by Jacqueline Holborough8. The Meeting Place: Collaborative Learning in a University-Prison Partnership - Rachel Conlon (York St. John University, UK)Inside Bitch (2019) – Extract II - conceived by Stacey Gregg and Deborah Pearson, devised with Lucy Edkins, Jennifer Joseph, TerriAnn Oudjar and Jade Small9. Acting Out: And Interview with Sherrin Fitzer by Ashley Lucas (University of Michigan, USA) Inside a Cloud (2016) by Sabrina Mahfouz10. ‘There is Still Life in me, Despite What I Have Done’ – Assuaging Woundedness Through Collective Creativity – Katharine Low (Royal Central School of Speech and Drama, UK) and Clara Vaughan (Market Theatre Laboratory, South Africa)‘Dirty Rule Makers’, Voices from Prison (1987), by Lynn11. The Stella Adler Studio Outreach Programme at the Rose M. Singer Centre for Women at Rikers Island Correctional Facility. Interview with Joanne Edelmann and Tom Oppenheim by Caoimhe McAvinchey (Queen Mary University of London, UK)21.23.6.15 (2018) by Sandrine Uwayo. 12. In Their Shoes: Participation, Social Change and Empathy in Open Clasp’s Key Change – Kay Hepplewhite (Northumbria University, UK)Index

Select Guide Rating

Caoimhe McAvinchey is Professor of Socially Engaged and Contemporary Performance at Queen Mary University of London, UK.

• Acknowledgements Notes on ContributorsIntroductionWicked (1991) by Bryony Lavery 1. Interplay: Tracing Personal and Political Transformation Through Popular Participatory Theatre in Westville Female Correctional Centre, Durban South Africa – Miranda Young-Jahangeer (University of Kwazulu-Natal, South Africa).‘Four Walls’, Voices from Prison (1987), by Lynn 2. ‘They Pink Dress Ain’t Done Shit’: Performing Black Quare Activism at a Women’s Gulf Coast Prison – Lisa L. Biggs (Brown University, USA)Decade (1984) by Jacqueline Holborough3. Daughters of the Floating Brothel: Engaging Indigenous Australian women prisoners through participatory radio drama - Sarah Woodland (Queensland Conservatorium Research Centre Griffith University, Australia) ‘I am a theatre’, Voices from Prison (1987), by Abigail4. What Works: The Affective and Gendered Performance of Prison - Aylwyn Walsh (University of Leeds, UK)Inside Bitch (2019) – Extract I - conceived by Stacey Gregg and Deborah Pearson, devised with Lucy Edkins, Jennifer Joseph, TerriAnn Oudjar and Jade Small5. Possible Fictions: Split Britches, Biography and Fantasy with Women in Prison - Caoimhe McAvinchey (Queen Mary University of London, UK)Killers (1980) – Extract I - by Jacqueline Holborough6. Theatre as Collective Casework: Clean Break Theatre Company’s Charged (2010) - Molly McPhee (University of Melbourne, Australia)‘Prison Loves, Prison Hates’, Voices from Prison (1987), by Bonni7. Somebody’s Daughter Theatre Company: The Arts: Unapologetically Transcendent – Maud Clark AM (Director, Australia)Killers (1980) – Extract II - by Jacqueline Holborough8. The Meeting Place: Collaborative Learning in a University-Prison Partnership - Rachel Conlon (York St. John University, UK)Inside Bitch (2019) – Extract II - conceived by Stacey Gregg and Deborah Pearson, devised with Lucy Edkins, Jennifer Joseph, TerriAnn Oudjar and Jade Small9. Acting Out: And Interview with Sherrin Fitzer by Ashley Lucas (University of Michigan, USA) Inside a Cloud (2016) by Sabrina Mahfouz10. ‘There is Still Life in me, Despite What I Have Done’ – Assuaging Woundedness Through Collective Creativity – Katharine Low (Royal Central School of Speech and Drama, UK) and Clara Vaughan (Market Theatre Laboratory, South Africa)‘Dirty Rule Makers’, Voices from Prison (1987), by Lynn11. The Stella Adler Studio Outreach Programme at the Rose M. Singer Centre for Women at Rikers Island Correctional Facility. Interview with Joanne Edelmann and Tom Oppenheim by Caoimhe McAvinchey (Queen Mary University of London, UK)21.23.6.15 (2018) by Sandrine Uwayo. 12. In Their Shoes: Participation, Social Change and Empathy in Open Clasp’s Key Change – Kay Hepplewhite (Northumbria University, UK)Index

Select Guide Rating

Caoimhe McAvinchey is Professor of Socially Engaged and Contemporary Performance at Queen Mary University of London, UK.

• Acknowledgements Notes on ContributorsIntroductionWicked (1991) by Bryony Lavery 1. Interplay: Tracing Personal and Political Transformation Through Popular Participatory Theatre in Westville Female Correctional Centre, Durban South Africa – Miranda Young-Jahangeer (University of Kwazulu-Natal, South Africa).‘Four Walls’, Voices from Prison (1987), by Lynn 2. ‘They Pink Dress Ain’t Done Shit’: Performing Black Quare Activism at a Women’s Gulf Coast Prison – Lisa L. Biggs (Brown University, USA)Decade (1984) by Jacqueline Holborough3. Daughters of the Floating Brothel: Engaging Indigenous Australian women prisoners through participatory radio drama - Sarah Woodland (Queensland Conservatorium Research Centre Griffith University, Australia) ‘I am a theatre’, Voices from Prison (1987), by Abigail4. What Works: The Affective and Gendered Performance of Prison - Aylwyn Walsh (University of Leeds, UK)Inside Bitch (2019) – Extract I - conceived by Stacey Gregg and Deborah Pearson, devised with Lucy Edkins, Jennifer Joseph, TerriAnn Oudjar and Jade Small5. Possible Fictions: Split Britches, Biography and Fantasy with Women in Prison - Caoimhe McAvinchey (Queen Mary University of London, UK)Killers (1980) – Extract I - by Jacqueline Holborough6. Theatre as Collective Casework: Clean Break Theatre Company’s Charged (2010) - Molly McPhee (University of Melbourne, Australia)‘Prison Loves, Prison Hates’, Voices from Prison (1987), by Bonni7. Somebody’s Daughter Theatre Company: The Arts: Unapologetically Transcendent – Maud Clark AM (Director, Australia)Killers (1980) – Extract II - by Jacqueline Holborough8. The Meeting Place: Collaborative Learning in a University-Prison Partnership - Rachel Conlon (York St. John University, UK)Inside Bitch (2019) – Extract II - conceived by Stacey Gregg and Deborah Pearson, devised with Lucy Edkins, Jennifer Joseph, TerriAnn Oudjar and Jade Small9. Acting Out: And Interview with Sherrin Fitzer by Ashley Lucas (University of Michigan, USA) Inside a Cloud (2016) by Sabrina Mahfouz10. ‘There is Still Life in me, Despite What I Have Done’ – Assuaging Woundedness Through Collective Creativity – Katharine Low (Royal Central School of Speech and Drama, UK) and Clara Vaughan (Market Theatre Laboratory, South Africa)‘Dirty Rule Makers’, Voices from Prison (1987), by Lynn11. The Stella Adler Studio Outreach Programme at the Rose M. Singer Centre for Women at Rikers Island Correctional Facility. Interview with Joanne Edelmann and Tom Oppenheim by Caoimhe McAvinchey (Queen Mary University of London, UK)21.23.6.15 (2018) by Sandrine Uwayo. 12. In Their Shoes: Participation, Social Change and Empathy in Open Clasp’s Key Change – Kay Hepplewhite (Northumbria University, UK)Index

Select Guide Rating