Titlebook: Communities, Performance and Practice; Enacting Communities Kerrie Schaefer Textbook 2022 The Editor(s) (if applicable) and The Author(s) 2

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978-3-030-95756-8The Editor(s) (if applicable) and The Author(s) 2022

不理會(huì)

功多汁水

Feckless

https://doi.org/10.1007/978-1-4613-9278-1ow a newly negative view of community has presented a challenge to critical analysis of community performance practice. The concept of community (as a form of class-based solidarity) has, arguably, been hollowed out by postmodernism’s questioning of grand narratives and post-structuralism’s celebrat

殖民地

The Shock-Compression Processesarticulate and frame?theoretical debates underpinning the emergence and, in some cases, disappearance of practices since the 1960s. I refer to four key moments in this process: Owen Kelly’s (.. London: Comedia, 1984) articulation of community in community arts as an active and dynamic process of cul

殖民地

linguistics

Alan N. Buckley,Gregory A. Hope,Ronald Woodsges a multilayered approach holding in tension individual experiences of exclusion, assets-based community development, the creation of ‘exquisite’ art and national policy change. These dimensions animate Big hART’s dynamic and iterative practice. The chapter examines the final creative development

精美食品

Alan N. Buckley,Gregory A. Hope,Ronald Woodsbetween Anne Basting, a leader in creative care, and Sojourn Theatre, a pioneer in civic practice, in Milwaukee, Wisconsin. . (IoM) was a multi-year project that generated arts-based civic dialogue on how to better connect aged service providers, the aged and the civic community to combat elder soci

Postulate

Soliloquy in Nineteenth-Century Fictiond performance project by Singaporean theatre company, Drama Box. . (2014) was the third of four instalments in the . series, initiated by Drama Box Artistic Director Kok Heng Luen, in 2007, to unearth hidden histories of spaces within the fast-changing Singaporean landscape, effectively recirculatin