This book is a journey into the dual territory of educational and theatrical settings. It advances the knowledge in these settings by touching upon provocative questions, by dealing with the limitations and challenging the new possibilities of theatre for young people. It is an attempt to bring intellectual rigor and some theoretical perspectives drawn from recent theatre and aesthetic theory to the field of theatre for young people.

Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.

This companion interrogates the relationship between theatre and youth from a global perspective, taking in performances and theatre made by, for, and about young people. These different but interrelated forms of theatre are addressed through four critical themes that underpin the ways in which analysis of contemporary theatre in relation to young people can be framed: political utterances – exploring the varied ways theatre becomes a platform for political utterance as a process of dialogic thinking and critical imagining; critical positioning – examining youth theatre work that navigates the sensitive, dynamic, and complex terrains in which young people live and perform; pedagogic frames – outlining a range of contexts and programmes in which young people learn to make and understand theatre that reflects their artistic capacities and aesthetic strategies; applying performance – discussing a range of projects and companies whose work has been influential in the development of youth theatre within specific contexts. Providing critical, research-informed, and research-based discussions on the intersection between young people, their representation, and their participation in theatre, this is a landmark text for students, scholars, and practitioners whose work and thinking involves theatre and young people.

Drama as a process-centred form is a popular and valued methodology used to develop thinking and learning in children, while theatre provides a greater focus on the element of performance. In recent years, offering drama and theatre as a shared experience is increasingly used to engage children and to facilitate learning in a drama classroom. Using drama and theatre as a central component with children, this book is an amalgamation of theory, research and practice from across the globe offering insights into differing educational contexts. Chapters provide an exploration of the methodologies and techniques used to improve drama in the curriculum, and highlight the beneficial impact drama has in a variety of classrooms, enriching learning and communication. Contributions from 17 authors, ranging from teachers in schools or universities, to researchers and drama practitioners, examine a variety of perspectives related to drama and children in an attempt to bridge gaps and move ahead collectively as educators, practitioners and researchers in drama and theatre. Divided into two parts, Part I reflects on the use of drama in its varied forms with children, while Part II focuses on projects and experiments with children using theatre in order to draw links between drama, theatre and pedagogy. Drama and Theatre with Children will be key reading for researchers, academics and postgraduate students in the fields of drama education, theatre education, curriculum studies and child development. The book will also be of interest to drama practitioners, school teachers and teacher training leaders.

There is a complex relationship between performance, youth, and the shifting material circumstances (social, cultural, economic, ideological, and political) under which theatre for children and youth is generated and perceived. This book explores different aspect of theatre for young audiences using examples from theatrical events globally.

This text explores how performers offer conscious-and unconscious-portrayals of the spectrum of age to their audiences. It considers a variety of media, including theatre, film, dance, advertising, and television, and offers critical foundations for research and course design, sound pedagogical approaches, and analyses.

The search to find engaging and inspiring ways to introduce children and young adults to Shakespeare has resulted in a rich variety of approaches to producing and adapting Shakespeare's plays and the stories and characters at their heart. Shakespeare for Young People is the only comprehensive overview of such productions and adaptations, and engages with a wide range of genres, including both British and American examples. Abigail Rokison covers stage and screen productions, shortened versions, prose narratives and picture books (including Manga), animations and original novels. The book combines an informative guide to these interpretations of Shakespeare, discussed with critical analysis of their relative strengths. It also includes extensive interviews with directors, actors and writers involved in the projects discussed'.

Key Concepts in Theatre Drama Education provides the first comprehensive survey of contemporary research trends in theatre/drama education. It is an intriguing rainbow of thought, celebrating a journey across three fields of scholarship: theatre, education and modes of knowing. Hitherto no other collection of key concepts has been published in theatre /drama education. Fifty seven entries, written by sixty scholars from across the world aim to convey the zeitgeist of the field. The book’s key innovation lies in its method of writing, through collaborative networking, an open peer-review process, and meaning-making involving all contributors. Within the framework of key-concept entries, readers will find valuable judgments and the viewpoints of researchers from North and South America, Europe, Asia, Africa, New Zealand and Australia. The volume clearly shows that drama/theatre educators and researchers have created a language, with its own grammar and lucid syntax. The concepts outlined convey the current knowledge of scholars, highlighting what they consider significant. Entries cover interdependent topics on teaching and learning, aesthetics and ethics, curricula and history, culture and community, various populations and their needs, theatre for young people, digital technology, narrative and pedagogy, research methods, Shakespeare and Brecht, other various modes of theatre and the education of theatre teachers. It aims to serve as the standard reference book for theatre/drama education researchers, policymakers, practitioners and students around the world. A basic companion for researchers, students, and teachers, this sourcebook outlines the key concepts that make the field prominent in the sphere of Arts Education.

Building on earlier discourse, the current yearbook volume continues to focus on questions of research in the field of cultural and arts education from a global perspective. This year's volume opens with a review of important contributions to the World Summit in Arts Education held in Wildbad Kreuth, Germany in 2013. It continues with the topics of evaluation, mapping and monitoring introduced in the first volume. Theoretical and practical applications of the key foundations of work in the International Network for Research in Arts Education (INRAE) are also explored at length. Most notably, new approaches aimed at linking arts education to peace education and the application of these approaches to education for sustainable development (ESD) are introduced and explored.

Through an examination of children's and youth plays and performances about the Holocaust from Germany, Israel, and the United States, this book offers an entirely new way of looking at the vital role of youth performance in coping with the legacy of historical tragedy. As the first book-length critical examination of this subject, Holocaust Memory and Youth Performance considers plays that are produced by major theatre companies alongside performances written by young authors and pieces taken from the diaries and memoirs of those who experienced the Holocaust as children or adolescents. While youth-focused plays about the Holocaust have been in the repertories of top professional companies throughout the world for decades and continue to be performed in theatres, schools, and community centers, they are often neglected in concentrated and comparative studies of Holocaust theatre. Erika Hughes fills this gap by examining plays (including The Diary of Anne Frank and Ab heure heißt Du Sara), musicals, performances, scripts, a rock concert, a performance on Instagram, and pedagogically-focused works of applied theatre – a diverse collection of performances for young audiences that tell the stories of young people who experienced the Holocaust. Adopting Hannah Arendt's notion of natality as a powerful framework, this study examines the ways in which youth-theatre performances make a vital contribution to intergenerational witnessing and the collective memory of the Holocaust.