Explains the thinking behind the Geese Theatre Company's approach to applied drama with offenders and people at risk of offending, including young people. It also contains over 100 exercises with explanations, instructions, and suggestions to help practitioners develop their own style and approach. The materials can be readily adapted to other settings including conflict resolution, restorative justice and interpersonal skills training.
Explains the thinking behind the company's approach to applied drama with offenders and people at risk of offending, including young people. Contains 100+ exercises with explanations, instructions and suggestions.
At age 14, author Justin Rollins went from being a bullied child to the leader of The Warriorz, a group of London street kids involved in graffiti tagging and other crimes, including a series of violent encounters. Eventually given a substantial custodial sentence for an attack with a meat cleaver in the London Underground, Rollins became determined to steer other young people away from such a life. The Lost Boyz tells the story of Rollins' descent into a form of madness, in which self-destruction, anger, wanton behavior, and fear reside at the core. Never has a book taken the reader so far inside the minds of troubled youths who gradually realize that there is no easy escape from their chaotic lifestyle. Their need - to gain respect from and stay credible with each other - stems from offending, alienation, living on the margins of society, and crazy behavior, all of which serve as barriers to rejoining the normal world and going straight. The book contains countless lessons for young
A book for anyone concerned about the level of literacy amongst prisoners. Behind The Lines is the product of some 15 years of working with offenders and people at risk in prison and in the community. It is based on the author's extensive experience of using creative writing to change and improve thinking and behaviour to prevent crime. It includes: Easy to read explanations of the method; Dozens of practical exercises and ideas for discussion; Advice about the different approaches; Samples of writing by offenders, inside and outside of prison; The author's views about what works to engage and encourage (often) wary participants. Behind the Lines represents a major contribution to rehabilitative work (in one sense it is the prison-writing equivalent of the highly successful Waterside Press publication, The Geese Theatre Handbook). A Key Resource For: Writers in residence; Offending behaviour group workers; Youth workers; Youth offending teams; Community workers; Psychotherapists, therapists and counsellors; Special needs workers and teachers; Anyone tackling literacy levels of risk groups... and people training or studying in these and related fields. Reviews 'A very useful resource for those working in difficult environments, with students who generally have low levels of traditional educational attainment, negative learning experiences and who, due to cultural and class barriers, are not accustomed to engaging with the arts, either in institutions or outside': Cormac Behan, Lecturer in Criminology, University of Sheffield. 'Essential reading for anyone interested in the real challenges of rehabilitation': Pat Jones, Director of the Prisoners Education Trust (2008-12). 'Shows how you can turn the lead of anger and despair in prisoners into the gold of insight and creativity': Oliver James, author. 'Shows a sceptical world that [young offenders] are capable of reflection, of understanding what led them into the acts they have committed and the effects on other people and on themselves': Alicia Stubbersfield, Poet and Koestler Award Judge. 'A wake-up call to the educational system, which allows so many young people to leave school in the parlous position that he describes, and which creative writers up and down the country are devoting so much time and effort to mitigate': David Ramsbotham. Author Michael Crowley is a youth justice worker and writer. His works as a playwright include 'Beyond Omarska', 'The Man They Couldn't Hang' (published by Waterside Press 2010), and 'A Warning against Idle Gossip'. He has written for youth theatre and been writer in residence at a young offenders' institution for the last five years. He lives in West Yorkshire.
A play in two Acts with an Introduction by the author. The story of John 'Babbacombe' Lee is one of the most bizarre in English criminal history. Lee is the only person to have been reprieved by a Home Secretary after standing on a gallows trap which failed to open. This happened at Exeter Prison in 1885 when the notoriously inept public hangman James Berry gave up after three abortive attempts. Lee spent 22 years in prison before being released. On retirement, Berry from Heckmondwike, Yorkshire, who carried out 134 executions, was the first executioner to write about his experiences in My Experiences As An Executioner. His resulting celebrity led to him taking to the boards, spinning gruesome tales of his former trade and showing audiences his dark souvenirs. Michael Crowley's imaginative play is set in a down-at-heel northern music hall where the proprietor is bent on reviving the venue's glory days by persuading the now released Lee to team up with Berry in a double act. Did John Lee commit the murder for which he was due to hang? Did poetic justice intervene on that fateful day in Exeter to prevent a miscarriage of justice? Will Lee stand on the scaffold once again with the noose around his neck, on stage and for the paying public? And will the truth come out or not as Lee begins to confide in the woman designated as leading lady during rehearsals? 'The Man They Couldn't Hang' by prison writer in residence Michael Crowley is an ideal vehicle for raising issues of crime and punishment. It will be particularly useful for drama groups in and out of prison, and tutors or group leaders seeking innovative ways of involving those they work with in issues of criminal justice and crime and punishment. The play is also suitable for full-scale drama productions.
The Applied Theatre Reader is the first book to bring together new case studies of practice by leading practitioners and academics in the field and beyond, with classic source texts from writers such as Noam Chomsky, bell hooks, Mikhail Bakhtin, Augusto Boal, and Chantal Mouffe. This book divides the field into key themes, inviting critical interrogation of issues in applied theatre whilst also acknowledging the multi-disciplinary nature of its subject. It crosses fields such as: theatre in educational settings prison theatre community performance theatre in conflict resolution and reconciliation interventionist theatre theatre for development. This collection of critical thought and practice is essential to those studying or participating in the performing arts as a means for positive change.
Theatre and Prison investigates how theatre-makers stage critical questions about the use of prison in society. Using examples from popular culture, dramatic texts and applied theatre it analyses how theatre and performance reveals economies of punishment, affects penal reform and both challenges and participates in narratives of reformation.
An explanation of the way in which the study of art can act as a trigger for change in prisoners. This stimulating work is based on conversations with artists - including people in prison or who were once imprisoned. It charts the importance of creative activity as an instrument of personal change. As the author is compelled to say: Individuals can, and do, change. If there is a message in these stories, this is it: we need to listen, understand and act upon it. The physical walls around prisons must not become mental walls keeping us from understanding the worlds of those within. We are all members of the society that builds the prison walls.
Drawing on new paradigms and evidence-based discoveries in neuroscience, narrative psychology, and creativity theory, this text explores the beneficial role of expressive arts within a recovery perspective. A framework of practice principles for the visual arts, creative writing, music, drama, dance, and digital storytelling is addressed across a number of settings and populations, providing readers with an accessible overview of techniques taught in counseling programs in the U.S. and abroad.
Original critical engagements at the intersection of the biomedical sciences, arts, humanities and social sciencesIn this landmark Companion, expert contributors from around the world map out the field of the critical medical humanities. This is the first volume to comprehensively introduce the ways in which interdisciplinary thinking across the humanities and social sciences might contribute to, critique and develop medical understanding of the human individually and collectively. The thirty-six newly commissioned chapters range widely within and across disciplinary fields, always alert to the intersections between medicine, as broadly defined, and critical thinking. Each chapter offers suggestions for further reading on the issues raised, and each section concludes with an Afterword, written by a leading critic, outlining future possibilities for cutting-edge work in this area.Key FeaturesOffers an introduction to the second wave of the field of the medical humanitiesPositions the humanities not as additive to medicine but as making a decisive intervention into how health, medicine and clinical care might think about individual, subjective and embodied experienceExemplifies the commitment of the critical medical humanities to genuinely interdisciplinary thinking by stimulating multi-disciplinary dialogue around key areas of debate within the fieldPresents thirty-six original chapters from leading and emergent scholars in the field, who are defining its new critical edge
