A Different Kind of Community Theatre: Performance Projects with GLBT Adolescents

2007 ◽  
Vol 5 (4) ◽  
pp. 243-252 ◽  
Author(s):  
Michelle Ebert Freire
1996 ◽  
Vol 12 (48) ◽  
pp. 356-366
Author(s):  
Eugene van Erven

Playscript development programmes have been a significant breeding ground for new American drama since the mid'sixties, and in 1986 the Chicano playwright and director José Cruz González started a playwright development workshop specifically for the Latino community. Here, Eugene van Erven provides a bipolar view of the current Latino theatre scene in southern California by documenting the tenth anniversary session of González' Hispanic Playwrights Project at South Coast Rep, and at the same takes a wider look at grassroots community theatre initiatives in the Chicano neighbourhoods of Los Angeles. Eugene van Erven teaches in the American Studies programme at Utrecht University. Author of The Playful Revolution (Indiana University Press, 1992) and Radical People's Theatre (Indiana UP, 1988), he also designs and produces intercultural theatre projects.


Author(s):  
Kerrie Reading

The cultural revolution of 1968 paved the way for many artists to reconsider how and where theatre was made. Community theatre gained currency and one company who became prominent during this cultural shift was Welfare State, later Welfare State International. They were one of the theatre companies who focused not only on a community theatre aesthetic but a grassroot one. I examine the radicality of community theatre and consider the efficacy of the historical approaches to engaging with communities in a (Post-)Covid world. I acknowledge and explore the shifting understanding of communities and assert that a deeper engagement is needed to foster collectivity (Tannahill 2016; Fişek 2019; Weston 2020; Bartley 2021). To reconsider the role that theatre may play in the future, I focus on a grassroot approach to community-led work and posit that location will be a key component to how theatre is made as we emerge from a pandemic.


2022 ◽  
Vol 79 (1) ◽  
Author(s):  
Melonie B. Murray ◽  
Steven Ross Murray

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.


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