By Helen Nicholson

Helen Nicholson examines the ways that drama and theatre were utilized to assorted neighborhood and academic contexts. She presents an summary of the theoretical ideas underpinning perform in utilized drama and theatre and examines a variety of practices within the gentle of up to date theoretical and political issues. utilized drama has an intensive democratic historical past, and this ebook explores how practitioners confront questions of neighborhood, creativity and citizenship in theatre that is oriented in the direction of social switch.

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In the third section I shall consider the relationship between knowledge, creativity and language, and in the conclusion I identify some implications for an embodied pedagogy in applied drama. Taken together, these three central concepts of pedagogy, praxis and performativity provide an opportunity to investigate political constructions of learning and knowledge in applied drama, and to further a theoretical framework with which to analyse learning in the context of uncertain pedagogical journeys in an increasingly globalised world.

In this discussion I am hoping to re-open debates about the triangulation of performativity, praxis and embodied pedagogies, and to consider how this process of learning might enable participants to map new possibilities for meaning-making. 4 You would follow a map in order to undertake a journey, to be transported (in Richard Schechner’s terms) from one place to another. On this journey, paths might collide or your direction might change to take in new vistas and perspectives. You might encounter barriers, dead-ends or summits that force a change of itinerary, a new track or an unexpected route.

Of course, drama does none of these things automatically. Performance is not in itself politically radical, relationships between participants and practitioners are not automatically trusting, and theatre is not necessarily an instrument for change. It depends on the spirit in which these things are used. Political Citizenship and Popular Theatres Political activism is motivated by passion. In articulating this insight, Chantal Mouffe is highly critical of ‘Third Way’ politics which seek to eliminate antagonisms, arguing that its emphasis on political consensus creates apathy and disaffection.

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