Applied Practice: Evidence and Impact in Theatre, Music and Art (Applied Theatre)

Cover page
Halftitle page
Series page
Title page
Copyright page
Dedication
Contents
Contributors
Acknowledgements
Introduction
	Women, prison and the cultural imagination
	Women in the criminal justice system – who are they?
	Prison theatres
	Theatre with and about women in prison
	The Medea Project: Theater for Incarcerated Women (USA)
	Teatro Yeses (Spain)
	Clean Break (UK)
	International practices and perspectives
	Scope and structure
	Notes from the field
	Notes
	References
Wicked (1991)
1 Interplay: Tracing Personal and Political Transformation through Popular Participatory Theatre in Westville Female Correctional Centre, Durban, South Africa
	Introduction: A transformational politics
	Popular participatory (prison) theatre
	The women of Westville
	Politics of the issue
	Politics of identity
	Politics of human rights
	Notes
	References
‘Four Walls’, Voices from Prison (1987)
2 ‘They Pink Dress Ain’t Done Shit’: Sex, Dress and Quare Activism in a Women’s Gulf Coast Prison
	The pink dress policy
	Drama Club herstory
	Beauty Coming and Going
	Pinky’s Boutique
	The response and the trajectory
	Acknowledgements
	Notes
	References
Decade (1984)
3 Daughters of the Floating Brothel: Engaging Indigenous Australian Women Prisoners through Participatory Radio Drama
	Introduction
	Background
	The trauma trails of indigenous female incarceration
	Blessing and releasing the past
	Representing intergenerational incarceration
	Episode one: The ship and its arrival
	Episode two: Barambah Mission
	Episode three: Old Boggo Road Gaol
	Conclusion
	Acknowledgements
	Notes
	References
‘I am a theatre’, Voices from Prison (1987)
4 What Works: The Affective and Gendered Performance of Prison
	Affect and stigma
	‘What works?’ Applied theatre as intervention
	Affect and aesthetics: HMP Drake Hall
	The work of gender in the project
	Concluding remarks
	Notes
	References
Extract I from Inside Bitch (2019)
5 Possible Fictions: Split Britches, Biography and Fantasy with Women in Prison
	HMP Highpoint. 2 April 2002. Day 1. Morning.
	HMP Highpoint. 2 April 2002. Day 1. Aft ernoon. The creation of fantasy characters.
	HMP Highpoint. 3 April 2002. Day 2.
	HMP Highpoint. 4 April 2002. Day 3. Tammy Whynot.
	HMP Highpoint. 12 April 2002. Final day. Betty No-Boobs changes her mind.
	Note
	References
Extract I from Killers (1980)
6 Theatre as Collective Casework: Clean Break Theatre Company’s Charged (2010)
	Setting the conditions for casework: The Charged poster and structure of the production
	Beginning and ending in risk environments: The basement and studio plays
	Proscenium prisons: Staging custodial settings on the middle level
	Conclusion
	Notes
	References
‘Prison Loves, Prison Hates’, Voices from Prison (1987)
7 Somebody’s Daughter Theatre Company: The Arts – Unapologetically Transcendent
	Where did it all begin?
	Lessons I have learnt
Extract II from Killers (1980)
8 The Meeting Place: Collaborative Learning in a University–Prison Partnership
	I. Sustained weekly drama practice at HMP New Hall: ‘I see myself as a different person now’
	II. Creative writing, song and resettlement at HMP Askham Grange: ‘Wanting a relationship with my family again’
	III. Motherhood and prison: ‘Keeping mum’
	IV. The Donmar Warehouse Shakespeare Trilogy: ‘I feel like I have a voice’
	Conclusion
Extract II from Inside Bitch (2019)
9 Acting Out: An Interview with Sherrin Fitzer
Inside a Cloud (2016)
10 ‘There Is Still Life in Me, Despite What I Have Done’: Assuaging Woundedness through Collective Creativity
	Introduction
	Contexts
	South African prison context
	Theoretical framework
	The practice: Witnessing each other and seeing myself
	Taking careful risks: Seeing the ‘other’
	Conclusion
	Acknowledgements
	Notes
	References
‘Dirty Rule Makers’, Voices from Prison (1987)
11 The Stella Adler Studio Outreach Programme at the Rose M. Singer Center for Women at Rikers Island Correctional Facility: An Interview with Joanne Edelmann and Tom Oppenheim
21.23.6.15 (2018)
12 In Their Shoes: Participation, Social Change and Empathy in Open Clasp’s Key Change
	The work of Open Clasp Theatre and the Key Change project
	Representing the voices of women prisoners
	In their shoes: Debates of representation and appropriation
	Promoting a ‘Key Change’ through the portrayal of women prisoners
	Notes
	References
Index