审查

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2018-07-01 DOI:10.1386/atr.6.1.77_5

M. Balfour

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引用次数: 2

摘要

克里斯·约翰斯顿（1951–2017）是一位不安分的戏剧特立独行者，他发明并尝试了形式和方法，但始终致力于社会正义。在监狱、学校和广泛的社区中，他是一个法医听众——批判性和探究性，但总是富有创造力和同情心。《不听话的剧院》是一本典型的彻底的书，它在审视颠覆性戏剧的冲动和精神和为志同道合的创意人士提供包括游戏和练习在内的动手指南之间进行了区分。约翰斯顿试图将文化抗命定义为“肆无忌惮的冲动精神”（2017:xv），这并不是因为他对将实践重新表述为一场新的运动感兴趣，而是因为他对探索戏剧实践的折衷例子感兴趣，他认为这些例子是由想象力、政治激情和创造性创新的混合物推动的。

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Review

Chris Johnston (1951–2017) was a restless theatre maverick who invented and experimented with form and approach, but always with a commitment to social justice. In prisons, schools and a wide range of communities, he was a forensic listener – critical and probing, but always creative and compassionate. Disobedient Theatre is a characteristically thorough book that divides itself between scrutinizing the impulse and spirit of subversive play and providing a hands-on guide that includes games and exercises for like-minded creatives. Johnston seeks to define cultural disobedience as the ‘unbridled spirit of impulsiveness’ (2017: xv), not because he is interested in rephrasing practice into a new movement, but because he is interested in exploring eclectic examples of theatre practice that he sees as fuelled by a concoction of imagination, political passion and creative innovation.

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.