Applied Theatre: Voice is a unique exploration of the conceptual and practical understandings of voice in relation to applied theatre. Voice is fundamental to much practice that takes place in applied and community performance and is regularly the go-to word to articulate community involvement and engagement, be that in terms of creativity, or social, cultural and political activity. Yet often in these references, the preciseness of what we mean by voice is lost. Is voice in applied theatre simply another word for representation, as in ''finding'' or ''giving'' voice? Or is voice also referring to the material, sonic and embodied phenomenon of human communication, when we consider the relationship between voice, performance and social justice? In this book, voice in applied theatre is critically examined in a range of practical case studies, discussing both its symbolic and material function, demonstrating the necessity of considering both when working in applied and community spaces. In Part One, voice as a concept is introduced, discussing recent theorizations of voice and why they are significant to applied theatre. Part Two introduces the case studies, exploring divergent understandings of why the voice matters in community practice.

Autorentext
Sarah Weston is Lecturer in Applied Theatre at Queen's University Belfast, UK. She specializes in applied theatre, voice, and political communication. She has published in journals such as Research in Drama and Education and Theatre Dance and Performance Training.

Klappentext

Applied Theatre: Voice is a unique exploration of the conceptual and practical understandings of voice in relation to applied theatre.

Voice is fundamental to much practice that takes place in applied and community performance and is regularly the go-to word to articulate community involvement and engagement, be that in terms of creativity, or social, cultural and political activity. Yet often in these references, the preciseness of what we mean by voice is lost. Is voice in applied theatre simply another word for representation, as in 'finding' or 'giving' voice? Or is voice also referring to the material, sonic and embodied phenomenon of human communication, when we consider the relationship between voice, performance and social justice?

In this book, voice in applied theatre is critically examined in a range of practical case studies, discussing both its symbolic and material function, demonstrating the necessity of considering both when working in applied and community spaces. In Part One, voice as a concept is introduced, discussing recent theorizations of voice and why they are significant to applied theatre. Part Two introduces the case studies, exploring divergent understandings of why the voice matters in community practice.

Inhalt

List of Illustrations
Notes on Contributors
Acknowledgements

Part One

1. Introduction (Sarah Weston, University of Manchester, UK)

   2. Voice is Ordinary (Sarah Weston, University of Manchester, UK)
   3. Vocal Justice (Sarah Weston, University of Manchester, UK)

   Part Two

   4. Exploring the Notion of Voice and the Ethics of Voicing in Applied Performance: Reflections. (Taiwo Afolabi and Shannon Holmes, University of Regina, Canada)
2. 'People aren't going to show up to the revolution if it isn't fun' Theatre of the Oppressed and Disrupting the Tone of Voice within Deliberative Democracy. (Malaika Cunningham, Arts Admin, Katy Rubin and Sarah Woods, Freelance Practitioners, UK)
3. Resonant Tails: Creating Inter-sensory Theatre with Children through Non-normative Voicing, or Can the Voice Without Words be Enabled to Exert Political Agency? (Yvon Bonenfant, University College Cork, Ireland)
4. The Politics of Voice and Visibility in the Performing Justice Project (Megan Alrutz, University of Texas, USA)
5. 'It's about taking what we understand musically as a kind of metaphor for other moments in our lives'. Discussing Singing as Life Practice - In Conversation with Emma Bonnici (Sarah Weston, University of Manchester and Emma Bonnici, Freelance Practitioner, UK)

6. Theatre of the Oppressed as a Transnational Voice: Building Bridges Beyond Languages (Clara de Andrade and Gustavo Guenzburger, University of the State of Rio de Janeiro, Brazil)

   Index