Theatre information : searched and recorded once, manifold extended and used

Düsseldorf is the capital of North Rhine-Westphalia, the state with the highest number of inhabitants in Germany. The city has a rich cultural history: The theatre history started in 1585 (the festivities in the context of a princely marriage at Düsseldorf). Theatre historiography marks three great periods for Düsseldorf (Immermann, 1834-1837; Dumont-Lindemann, 1905-1933; Gründgens, 1947-1955). In 2005 and 2006 we celebrate many anniversaries within the theatrical context: 100 years Schauspielhaus Dumont-Lindemann in 2005, 50 years theatre community Düsseldorf-Duisburg (Deutsche Oper am Rhein Düsseldorf-Duisburg), 50 years puppet theatre (Düsseldorfer Marionettentheater), 30 years children and youth theatre (Kinder- und Jugendtheater im Düsseldorfer Schauspielhaus), 10 years Capitol (musical theatre) beside other cultural events, for example the anniversaries of Heine and Schumann

The use of theatre for development in the prevention of HIV/AIDS : a dissertation presented in partial fulfilment of the requirements for the degree Master of Philosophy in Development Studies at Massey University

Over the last three decades development practitioners have begun to search for new theoretical approaches to the problems of underdevelopment. This has given rise to approaches that focus on the participation of people and their culture in development programs. The teachings of Paulo Freire, latterly developed by Augusto Boal, gave voice to theatre that is participatory, provides two-way communication and aims to raise the critical awareness of spectators. This form of theatre is known as Theatre for Development. It aims to promote awareness of political, social and economic issues. Theatre for Development goes beyond the theatrical event giving people skills to confront problems and solve them. The AIDS pandemic is a human tragedy that is threatening development in the world's poorest countries. In fact, 95 per cent of people with HIV or AIDS live in developing countries. HIV accentuates inadequacies that exist in health care infrastructures and highlights social and economic inequalities. There is no known cure for this disease but through systematic national programs that focus on preventing HIV transmission it is possible to significantly lower infection rates. Theatre should be part of any national HIV/AIDS program. Theatre for Development is effective in communicating HIV/AIDS related information and promoting attitude changes. Theatre has many advantages as an educational technique; it engages participants, is appropriate to the local situation, adapts to indigenous cultures, assists with skill development and encourages discussion about sensitive issues. In Vanuatu, Wan Smolbag theatre uses Theatre for Development to provide people with the knowledge and skills required to prevent HIV/AIDS infection. The mainstay of this Non Governmental Organisations' (NGO) work is short interactive theatre pieces of 20 to 50 minutes. In addition, WSB has created videos, radio dramas and educational materials. WSB's HIV/AIDS theatre is based on the Freiran concepts of participation and dialogue. As a consequence, the group's theatre reflects the lives of its participants and is proving that theatre can be a powerful tool for improving people's knowledge of HIV/AIDS

The experience of immediacy: emotion and enlistment in fact-based theatre

This article discusses emotion as a strategy of political agency in post-Thatcherite documentary theatre. The 1990s saw a renaissance in theatre writing based in directness and immediacy but based in two quite different forms of drama, In-Yer-Face theatre and fact-based drama. There are clear distinctions between these forms: the new brutalist writing was aggressively provocative; documentary theatre engaged the audience by revealing an urgent truth. Both claimed a kind of realism that confronted actuality, be that of situation or experience, through forms of theatre that cultivated emotional engagement. In-Yer-Face theatre used emotional shock to penetrate the numb cynicism that its creators perceived. Documentary theatre used observation and the cultivation of sympathy to enlist its audience in a shared understanding of what was hidden, not understood or not noticed. The article analyses the functioning of emotional enlistment to engage the audience politically in two examples of documentary theatre, Black Watch and Guantanam

The Cripple of Inishmaan Poster

Providence College Department of Theatre, Dance & Film Angell Blackfriars Theatre The Cripple of Inishmaan by Martin McDonagh Oct. 28-30 & Nov. 4-6, 2011https://digitalcommons.providence.edu/cripple_pubs/1000/thumbnail.jp

Blackfriars Dance Concert 2012 Poster

Providence College Department of Theatre, Dance & Film Angell Blackfriars Theatre Blackfriars Dance Concert 2012 November 16 & 17, Fri. 8pm & Sat. 2pmhttps://digitalcommons.providence.edu/bdc_2012_pubs/1000/thumbnail.jp

Back to Back Theatre’s ‘Ganesh versus the Third Reich’: Politics, representation and response

This panel considers the work of the Australian contemporary performance company Back to Back Theatre within the context of the conference theme of ‘cultural articulations’. We will address the ways in which religious objections to Ganesh versus the Third Reich were entwined with questions about the economic impact of these objections in attempts to censor and control the work. Helena Grehan’s paper will analyse the production Ganesh versus the Third Reich in terms of the ethical, political and social questions the work engenders. Peter Eckersall’s 'Theatre Love' The paper considers some of the possible ways that reading Back to Back’s theatre might respond to the current wave of a politics where opposition is an end in itself, whereas the idea of ‘taking sides’ requires a radical appreciation of the other. The third element is a roundtable discussion/interview with Bruce Gladwin (Director of Back to Back Theatre) and Alice Nash (Executive Producer Back to Back Theatre

Theatre Reviews

The Tempest. Dir. Silviu Purcarete. The National Theatre “Marin Sorescu” of Craiova, Romania. 16th Shakespeare Festival, Gdansk, Poland   Richard III. Dir. Gabriel Villela. Blanes Museum Garden, Montevideo, Uruguay Henry V. Dir. Des McAnuff. Stratford Shakespeare Festival, Ontario, Canada Julius Caesar. Dir. Gregory Doran. Royal Shakespeare Company A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups _2 and 4Frontal, Theatro tou Neou Kosmou, Greece Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Studio, Greec