On Access in Applied Theatre and Drama Education

Colette Conroy is an Associate Dean at the University of Hull, UK. She was a theatre director before becoming an academic. She is the author of Theatre & The Body (2010), and has published work on disability culture, performance, and sport in journals and books. She is the Joint Editor of the journal RiDE: The Journal of Applied Theatre and Performance and is co-editing a collection of essays about the philosopher Jacques Rancière.Adelina Ong completed her PhD at the Royal Central School of Speech and Drama, UK. Her thesis proposed a theory for compassionately negotiated living inspired by parkour, art du déplacement, breakin’ (breakdancing), and graffiti. Her research focuses on young people from low-income families who struggle with mental wellbeing.Dirk J. Rodricks is a PhD Candidate at the Ontario Institute for Studies in Education (OISE) at the University of Toronto, Canada. Committed to learning across difference through critical, creative, anti-racist, and de/colonial pedagogies, his research interests include multiply-marginalized young adult identity formations in transnational contexts, inter-generational ethno-racial and queer inheritances, and de/colonizing qualitative methodologies.

• Introduction 1. ‘Talking back, talking out, talking otherwise’: dementia, access and autobiographical performance 2. Streets, bridges, cul-de-sacs, and dreams: does inviting shelter dwelling youth to work with culture industry professionals engender a sense of ‘cruel optimism’? 3. Homegrown censored voices and the discursive British Muslim representation 4. Access through the shadows: lessons from applied performance practice research at the borderlands 5. Enhancing relaxed performance: evaluating the Autism Arts Festival 6. Creating welcoming spaces in the city: exploring the theory and practice of ‘hospitality’ in two regional theatres 7. Invited hauntings in site-specific performance and poetry: The Asylum Project 8. Interrogating wholeness through access aesthetics: Kaite O’Reilly’s In Water I’m Weightless 9. The limits of access: the messy temporalities of hope and the negotiation of place

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