Theatre for Social Change Programming in the High School Theatre Classroom

2020 ◽  
Author(s):  
Mary Leigh Filippone
2010 ◽  
Vol 4 (1) ◽  
pp. 239-253
Author(s):  
Sean Wiebe

In this paper I explore the connection between a/r/tography and poetic inquiry, and how together they cultivate multiple ways of understanding. I further claim that classroom situations are most provocative of thoughtfulness and critical consciousness when each student participates in the classroom conversation from his or her lived situations. While difficult, teachers who can facilitate rich interchanges of dialogue within a plurality of voices are genuinely creating communities of difference and thus imagining real possibilities for social change.


Diva Nation ◽  
2018 ◽  
pp. 133-150
Author(s):  
Jan Bardsley

This chapter explores how Ikko, transgender celebrity make-up artist and lifestyle-guide author, uses her personal story and beauty expertise to encourage all women to find self-confidence. The chapter analyzes Ikko's performances in diverse venues: music videos; high school visits; the promotion of beauty tourism to Korea; cameo film appearances; lifestyle guides; and television appearances. It is shown that in all venues, Ikko openly discusses her own history of overcoming personal adversity, offering her life as what Eva Illouz has termed a therapeutic biography and employing a language of recovery to inspire others. It is argued that this call to a personal aesthetics of virtue, beauty, and self-cultivation can lead to social change, even when the diva does not seek political action.


2020 ◽  
Vol 21 (3) ◽  
pp. 371-383
Author(s):  
Elizabeth Brendel Horn ◽  
B. Caine ◽  
M. Katsadouros ◽  
E. Freeman

2021 ◽  
Vol 31 (2) ◽  
pp. 212-252
Author(s):  
Erin Buzuvis ◽  
Sarah Litwin ◽  
Warren Zola

Sport is a vehicle for social change and should be leveraged as such in 2021 and beyond to address matters of equality. In recent years, the public has paid greater attention to transgender athletes participating in sport at all levels—high school, collegiate, professional, and Olympic—despite the fact that transgender athletes have been competing in sports for decades. Backlash has arisen in general but also more specifically in response to several recent Supreme Court cases that have both solidified and extended rights of lesbian, gay, bisexual, transgender, and other gender and sexual minorities. In turn, state laws that seek to limit the rights of transgender students to participate in sports have been drafted around the country. To be sure, these laws are often built on erroneous data, a misunderstanding of facts, and ignorance, but their existence continues to fuel the public debate on whether transgender athletes should be allowed to participate based on their gender identity or their sex as determined at birth.


Author(s):  
Jessica Litwak

This report from the field describes some of the author’s methods of audience engagement as a means of social engagement, discussing the implications for practice. The report invites dialogue with the reader about the usefulness of audience engagement and ways it can be manifested before, during and after performance. Theatre is a vibrant and valuable tool for sparking dialogue and inspiring action around challenging social topics. Audiences who are engaged in the process of the performance beyond the standard role of passive spectator are more likely to be motivated to deliverable endeavors post performance. This report from the field offers four brief case studies as examples of audience engagement and includes pragmatic techniques for using theatre as a vehicle for personal and social change through audience engagement. It explores how artists can galvanize and empower audiences by creating experiential communities pre, during, and post-show. Drawing upon examples from high-quality international theatre projects written and directed by the author, the essay investigates and describes the work of The H.E.A.T. Collective including My Heart is in the East (U.S., U.K. and Europe), The FEAR Project (produced in the US, India and Czech Republic), Emma Goldman Day (U.S.).


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