Offering a roadmap for practicing verbatim theatre (plays created from oral histories), this book outlines theatre processes through the lens of oral history and draws upon oral history scholarship to bring best practices from that discipline to theatre practitioners. This book opens with an overview of oral history and verbatim theatre, considering the ways in which existing oral history debates can inform verbatim theatre processes and highlights necessary ethical considerations within each field, which are especially prevalent when working with narrators from marginalised communities. It provides a step-by-step guide to creating plays from interviews and contains practical guidance for determining the scope of a theatre project: identifying narrators and conducting interviews, developing a script from excerpts of interview transcripts and outlining a variety of ways to create verbatim theatre productions. By bringing together this explicit discussion of oral history in relationship to theatre based on personal testimonies, the reader gains insight into each field and the close relationship between the two. Supported by international case studies that cover a wide range of working methods and productions, including The Laramie Project and Parramatta Girls, this is the perfect guide for oral historians producing dramatic representations of the material they have sourced through interviews, and for writers creating professional theatre productions, community projects or student plays.
This comprehensive international collection reflects on the practice, purpose, and functionality of queer oral history, and in doing so demonstrates the vibrancy and innovation of this rapidly evolving field. Drawing on the roots of oral history’s original commitment to "history from below" queer oral history has become an indispensable methodology at the heart of queer studies. Expanding and extending the existing canon, this book offers up key observations about queer oral history as a methodology, and how it might be advanced through cutting edge approaches. The collection contains a mix of contributions from established scholars, early career researchers, postgraduate students, archivists, and activists, ensuring its accessibility and wide appeal. The go-to reference for queer oral history for scholars, undergraduate and postgraduate students, and community-engaged practitioners, New Directions in Queer Oral History advances rigorous methodological and theoretical debates and constitutes a significant intervention in the world of oral history.
Verbatim Theatre Methodologies for Community-Engaged Practice offers a framework for developing original community-engaged productions using a range of verbatim theatre approaches. This book's methodologies offer an approach to community-engaged productions that fosters collaborative artistry, ethically nuanced practice, and social intentionality. Through research-based discussion, case study analysis, and exercises, it provides a historical context for verbatim theatre; outlines the ethics and methods for community immersion that form the foundation of community-engaged best practice; explores the value of interviews and how to go about them; provides clear pathways for translating gathered data into an artistic product; and offers rehearsal room strategies for playwrights, producers, directors, and actors in managing the specific context of the verbatim theatre form. Based on diverse, real-world practice that spans regional, metropolitan, large-scale, micro, independent, commercial, and curriculum-based work, this is a practical and accessible guide for undergraduates, artists, and researchers alike.
Practicing Oral History with Military and War Veterans focuses predominantly on conducting oral history with men and women of recent wars and military conflicts. The book provides a structured methodology for building interest and trust among veterans to conduct interviews, design oral history projects, and archive and use these oral history interviews. It includes background on the evolution of veterans oral history, the nuts and bolts of interviewing, ethical guidelines, procedures, and the overall value of veterans oral history. The methodology emphasizes how memory evolves over the years - when a veteran becomes more distant from the events of war, the experiences become individualized and personalized for each veteran based on location, time, place, and purpose of their service. The book also aims to improve understanding of the personal, ethical, and psychological issues involved in listening compassionately to veterans’ stories that may contain issues of trauma, gender, socio-economics, race, dis/ability, and ethnicity. Practicing Oral History with Military and War Veterans is an invitation to community scholars, students, oral historians, and families of veterans to actively participate in the oral history process and to embrace methodology that may help with designing and conducting oral history projects and interviewing war veterans.
Family Oral History Across the World presents a process for memorializing family histories, bringing together established oral history standards, exploratory research, and narrative data analysis. Based on and using a prequestionnaire and over 40 recorded interviews with people from across six continents, the analysis system used in the book presents material from these interviews that brings alive the experience of the family history journey. One of the guiding principles is to encourage readers to interview family members, but also others outside the family unit, and to produce a family history in whatever format works. The book illustrates this through the inclusion of many unusual formats and stories uncovered. The book is divided into a number of themes that emerged through the analysis of numerical questionnaire and narrative interview data. Parts I, II, and III cover changing family demography, case studies, and factors such as memory, emotion, and ethics. Part IV offers a pliable process and practice guide with input and examples from interviews. It also discusses developing approaches to presenting oral histories from both oral historians and other interviewers and writers, such as journalists. With case studies as well as example guidelines and templates, this volume is ideal both for academics interested in family history as well as professional genealogists and families themselves.
In his foreword to World Report on Violence and Health, published by the World Health Organization (WHO) in 2002, Nelson Mandela states that “the twentieth century will be remembered as a century marked by violence”. Now we are nearly at the end of the first quarter of the twenty-first century, but violence still permeates in our lives at various levels. Various forms of violence occurring at levels of interpersonal, self-directed, collective, state, warfare, child and youth violence, intimate partner violence, environmental violence, and animal violence lay bare the complexity and pervasiveness of the phenomenon, yet it also brings along the necessity to discuss violence from multiple perspectives. Nelson Mandela Dünya Sağlık Örgütü’nün 2002 yılında yayınladığı Şiddet ve Sağlık Hakkında Dünya Raporu’nun önsözünde “yirminci yüzyılın şiddetle mimlenen bir yüzyıl olarak hatırlanacağını” söyler. Bizler, neredeyse yirmi birinci yüzyılın ilk çeyreğinin sonlarını yaşamaktayız, ancak şiddet hayatımıza hala çeşitli düzeylerde nüfuz ediyor. Kişilerarası, öze yöneltilen, kolektif, devlet, savaş, çocuk ve genç şiddeti, yakın eş şiddeti, çevresel şiddet ve hayvan şiddeti gibi çeşitli düzlemlerde vuku bulan şiddet biçimleri olgunun karmaşıklığını ve yaygınlığını açıkça ortaya koymakla beraber şiddet kavramının farklı açılardan tartışılması gerekliliğini de ortaya koymaktadır. Contents/İçindekiler SECTION 1: Literature Chapter 1: “A Clockwork Orange by Burgess: Revisiting Violence in a Dystopian Fiction” Anushka Ghuin Chapter 2: “The Scrutiny of Violence in Contemporary Period Through The Scar Test” Kadriye Bozkurt Chapter 3: “Nonviolence vs. Non-Ethics in Harry Turtledove’s ‘The Last Article’” Nataliya Krynytska Chapter 4: “Zami: A New Spelling Against Racism” Pulkita Anand Chapter 5: “Son Fısıltının Hakikati: Flannery O’Connor’ın ‘Greenleaf’ Öyküsünde Otoimmünite ve Şiddet” Hivren Demir-Atay SECTION 2: Culture Chapter 6: “Who is Responsible? The Politics of Structural Violence in Selected Films” Trayee Sinha Chapter 7: “Violence in textile: A Closer Look at the Warrior Shawls of Nagaland” Rugmani Venkatadri Chapter 8: "Sanatta Şiddetin Temsili: Bir Kez Daha Guernica ve Diğer Şeyler" Ali Asker Bal Chapter 9: “Şiddetin Mitik Temsilleri Üzerine Karşılaştırmalı bir Değerlendirme” Ülfet Dağ SECTION 3: Gender Chapter 10: “Margaret Atwood’s Testaments: A Portrayal of State Violence Against Women” Elvan Karaman Chapter 11: “Body as a Territory: A Study of Violence Against Women as Portrayed in Partition Literature of India and Pakistan” Adhyeta Mishra Chapter 12: “Revisiting Gendered Violence in Modern Iranian Fiction: Mahmoud Dowlatabadi’s Missing Soluch” Selin Şencan Chapter 13: “Violence Against Women: Actions and New Tools, The 7 Golden Rules of Conduct to Follow” Efstratia Oktapoda
This book explores the affective and relational lives of young people in diverse urban spaces. By following the trajectories of diverse young people as they creatively work through multiple and unfolding global crises, it asks how arts-based methodologies might answer the question: How do we stand in relation to others, those nearby and those at great distances? The research draws on knowledges, research traditions, and artistic practices that span the Global North and Global South, including Athens (Greece), Coventry (England), Lucknow (India), Tainan (Taiwan), and Toronto (Canada) and curates a way of thinking about global research that departs from the comparative model and moves towards a new analytic model of thinking multiple research sites alongside one another as an approach to sustaining dialogue between local contexts and wider global concerns.
The year 1916 witnessed two events that would profoundly shape both politics and commemoration in Ireland over the course of the following century. Although the Easter Rising and the Battle of the Somme were important historical events in their own right, their significance also lay in how they came to be understood as iconic moments in the emergence of Northern Ireland and the Irish Republic. Adopting an interdisciplinary approach drawing on history, politics, anthropology and cultural studies, this volume explores how the memory of these two foundational events has been constructed, mythologised and revised over the course of the past century. The aim is not merely to understand how the Rising and the Somme came to exert a central place in how the past is viewed in Ireland, but to explore wider questions about the relationship between history, commemoration and memory.
Feminist Theatre Then & Now – Celebrating 50 Years of women theatre makers in the UK and Ireland and their battle to make their voices heard, have their work produced professionally, and promote social justice. Here, the pioneers and leading lights of the newly energised feminist theatre movement continue to fight for an equitable, diverse and inclusive theatre which speaks for all. In 30+ essays, covering three generations, the interviews and essays in this book give important insight into the lived experience of women working in theatre and what it takes to rise in an industry where race, gender, class and parenthood can be serious obstacles to success. Interviews and essays by playwrights, directors, producers and actors including: Asian Women’s Theatre in Britain by Rukhsana Ahmad Derby Theatre by Sarah Brigham Interview with Moira Buffini Intersectional Feminism at Work by Kelly Burke The Personal was very Political by Clair Chapwell Behind The Lines by Alison Child How Feminism has Influenced my Playwriting by April de Angelis Interview with Suzanne Gorman Clean Break by Anna Herrmann Interview with Hannah Khalil The Women in Theatre Lab by Polly Kemp and Jennifer Tuckett Persistence, Expression and Evolution by Peta Lily Interview with Roberta Livingston Ecofeminism by Bibi Lucille The Third World of Irish Women by Jaki McCarrick Monstrous Regiment by Mary McCusker Open Clasp Theatre by Catrina McHugh Interview with Suzie Miller Interview with Ann Mitchell Interview with Rebecca Mordan Interview with Amy Ng Untold Stories by Maeve O’Neill Girls’ Night Out by Rachel O’Regan Interview with Kaite O’Reilly Sphinx by Sue Parrish and Susan McGoun Interview with Julia Pascal Out of the Attic – WTW by Cheryl Robson and Anna Birch Scylla’s Bite by Rebekah Smith and Abbie Lowe Interview with Dame Rosemary Squire Women in their own Words by Lucy Stevens Stella Quines & After by Gerda Stevenson Differences Matter by SuAndi Theatre from a Lesbian Perspective by Clare Summerskill Interview with Imy Wyatt Corner Index Reviews “On the 50th anniversary of the first Women’s Theatre festival and the explosion of work by women that has built in quantity, wealth and diversity since then this is an important new book celebrating and giving voice to many of the key contributors to that rich history and exciting present. “ – Susan Croft, Director – Unfinished Histories “Fascinating histories and perspectives from a selection of feminist theatre practitioners fighting to achieve equality over half a century of patriarchy.” – Lisa Goldman, Writer & Director “A necessary read for drama students and anyone interested in our cultural history. Highly recommended.” – Beatie Edney, Actor & Director “The interview and essay structure of the book makes its near 300 pages easily digestible and the editor has quite carefully avoided a chronological structure. The intermingled ‘then’ and ‘now’ approach works remarkably well, a continual reminder of how past, present and future are feeding into one another all the time. While the book is strong on the impacts of earlier feminist theatremakers, the very similar or partially evolved restrictions that today’s women are still facing are given equivalent weight. It becomes a meaningful arrangement in which a wide range of voices are heard without singling out or forgetting eras or areas of the industry, making room for everything from clowning to lesbian theatre, exploring how all forms of feminist theatre from West End platforms to grassroots activism always blends the political and the personal onstage and off.” – Maryam Philpott, The Reviews Hub
This book is the first of its kind to showcase a range of fresh and expert perspectives on decolonising history education in Australia. The research-informed chapters by First Nations and non-Indigenous educators and scholars provide guidance on applying practical strategies for decolonising learning and teaching, and moving beyond the ‘history wars’. History has long been the most contentious area of education in Australia. This book tackles the narrow and overtly politicised ‘history wars’ debates and foregrounds the need to re-examine impacts of settler-colonialism on Australia’s history. First-hand knowledge and much-needed teaching practices are presented, demonstrating how decolonisation can be put into action through Australian history education. The chapters present a range of perspectives from the early years right through to higher education settings and argues that there is an increased need for greater awareness, appreciation, and willingness to explore and engage with multiple narratives of truth-telling that are so often contested. Readers are guided to discover how this translates to classroom practice through unique, provocative, and research-informed strategies that foreground applied decolonising approaches. Combining theoretical perspectives and practical ideas, this book is an essential resource to support pre- and in-service teachers, in all education contexts, in navigating the decolonisation of Australian history education. This makes it an important contribution to local, as well as global, decolonising efforts.
