Methuen Drama Handbook of Performance and Social Action

Andrew Martínez teaches humanities-based writing courses at UCLA, USA. A scholar and artist, he received his PhD in Culture and Performance from UCLA and was a 2018 fellow at The Mellon School of Theater and Performance Research at Harvard University. He regularly collaborates with opera and theater director, Peter Sellars.

• List of ContributorsAcknowledgmentsIntroduction by Andrew Martinez (University of California, Los Angeles, USA)Part I: Documenting Overlooked Histories and Communities1.1 Section Introduction by Andrew Martinez (University of California, Los Angeles, USA)1.2 How Sweet It Is: E. Patrick Johnson’s Play Sweet Tea and Queer Black Communities in Performance by Ashley E. Lucas (University of Michigan, Ann Arbor, USA)1.3 Queering Movimientos: Gregg Barrios’ New Historicist Queer Chicano Teatro de Concientización, circa 1976-2021 by Ben Olguín (University of California, Santa Barbara, USA)1.4 An Invitation to the Song of the World Sung by Poets. Théâtres d’Outre-Mer en Avignon by Hanna Huber (University of Vienna, Austria)1.5 Towards an Overview of Prison Theater in Brazil by Vicente Concilio (Santa Catarina State University, UDESC, Brazil)1.6 Over the Rainbow: Reflections on the Challenges and Opportunities of Mounting a Queer, Female-centered Outdoor Production of The Wizard of Oz in Rural Appalachia during the Covid-19 Pandemic by Jordan Campbell (Creative Generation)Part II: Theorizing a Better World2.1 Section Introduction by Andrew Martinez (University of California, Los Angeles, USA)2.2 The Politics of Performing Water by Anna Street (Le Mans Université, France)2.3 Still Rehearsing Revolution: Towards an Abolitionist Futurism and how American Cinema Authenticates Mass-Incarceration by Clint Terrell (University of California, Santa Barbara, USA)2.4 Care-based Dramaturgy: Reflecting Terrorism Crisis through Performance Presentation, not Representation by Dominique La Victoria (Ateneo de Manila University and Meridian International Business Arts and Technology College, Philippines)2.5 Performing Politics: An Analysis of the Adaption of Antigone to Aneeka by Varsha Ramachandran (University of Southern California, USA)2.6 Adaptive Digital Media Experimentation in Calcutta during the COVID-19 Lockdown by Hazael Gomes (St. Xaviers College, Park Street-Kolkata, India)2.7 Laughter as Social Action by Joseph Richards (University of North Carolina, Chapel Hill, USA)Part III: Performing Activism Beyond the Stage3.1 Section Introduction by Andrew Martinez3.2 Street for Social Action: A Study on the Theatricality of Impromptu Performances by Eldhose A. Y. (Mar Athanasius College, India)3.3 “I May be Old but I’m not Dead”: How Applied Theatre Can Tackle Ageism and Develop Shame Resilience Among Adults Aged 65+ by Georgia Bowers (University of Chichester and the University of Portsmouth, UK)3.4 Concerted Action: Aesthetic Activism and Social Protest in the Theatre Uncut Project by José Ramón Prado-Pérez (Universitat Jaume I, Spain)3.5 “We Are Not gGay!” Challenging Perceptions of ‘a Homophobic Zimbabwe’ through Popular Participatory Theatre with LGBTIQ+ Zimbabwean Youth by Miranda Young (University of KwaZulu-Natal, South Africa) and Princess Sibanda (University of KwaZulu-Natal, South Africa)3.6 How Online Forums Could Affect the Theatrical "Power" Structures by Jonathan Rolhf (Robert Morris University, Pennsylvania, USA)3.7 Performance Activism or Conspiracy Theory? by Aletia Badenhorst (Rose Bruford College and The University of Chichester, UK)Work CitedIndex