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Journal articles on the topic 'Playwriting'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 September 2024

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1

Chizhik, Alexander Williams. "Literacy for Playwriting or Playwriting for Literacy." Education and Urban Society 41, no. 3 (March 2009): 387–409. http://dx.doi.org/10.1177/0013124508327649.

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2

Thygesen, Mads. "Udvidelse af dramatikerens kampzone." Peripeti 19 (October 11, 2022): 152–59. http://dx.doi.org/10.7146/peri.v19isaernummer2.134033.

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The playwright’s expanded battlefieldThis essay examines some of the main ideas and visions that have formed the basis for the education of playwriting in Denmark. Thygesen describes the development of the national school of playwriting and shows how the curriculum and methodology relates to the expanded field of playwriting in Denmark and abroad.
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3

WHITEMORE, HUGH, and SIMON GRAY. "Playwriting dot com." Critical Quarterly 52, no. 1 (April 2010): 56–65. http://dx.doi.org/10.1111/j.1467-8705.2010.01923.x.

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4

Reynolds, Bianca. "Emergence Through Playwriting." Journal of Jungian Scholarly Studies 14 (June 11, 2019): 73–91. http://dx.doi.org/10.29173/jjs7s.

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Jungian artistic criticism is a thriving field of scholarship, with strong representation in the literature across numerous disciplines. However, there is relatively little Jungian representation in critical studies of dramatic writing. This essay adopts the dual perspectives of playwright and dramatic critic to argue for the utility of a Jungian theoretical framework for the creation and analysis of play texts. Such utility is demonstrated through analysis of a case study genre, termed the “contemporary family homecoming drama.” C. G. Jung’s theories of individuation and the psychological complex provide the theoretical framework for this discussion, along with a post-Jungian understanding of emergence theory. The central argument is substantiated via critical case studies of Tracy Letts’s August: Osage County and Eventide, an original play. This essay proposes a model for a Jungian playwriting methodology, transferable to other playwrights wishing to create drama within a Jungian framework.
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5

Monteleone, Pam. "New Playwriting Strategies: A Language-Based Approach to Playwriting (review)." Theatre Topics 14, no. 1 (2004): 375–76. http://dx.doi.org/10.1353/tt.2004.0007.

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Christophe, Nirav, and Janicke Branth. "Den nøgne skrift." Peripeti 4, no. 8 (June 8, 2021): 97–106. http://dx.doi.org/10.7146/peri.v4i8.110160.

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7

Player, Grace D. "Creating a Context for Girl of Color Ways of Knowing Through Feminist of Color Playwriting." LEARNing Landscapes 12, no. 1 (May 31, 2019): 223–38. http://dx.doi.org/10.36510/learnland.v12i1.989.

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This article investigates how playwriting served three middle school Black girls within a larger practitioner research study seeking to better understand the literate practices of girls of color. It delves into the ways that playwriting provided the girls in an afterschool writing club opportunities to explore both their knowledge and ways of knowing, rooted in their cultural, gendered, and racialized experiences, and, in turn, share these with others, within an academic setting. It points to the necessity for creating writing pedagogies that celebrate experiential, cultural, emotional, and relational knowledge, using playwriting as an example.
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8

Hrvatin, Varja. "New wave of playwriting." Maska 35, no. 200 (June 1, 2020): 53–67. http://dx.doi.org/10.1386/maska_00009_1.

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New Wave of Playwriting is a compilation of two editions of the theatre segment Teritorij teatra (The Territory of Theatre) that were broadcast on Radio Študent. In the play of the introductory drama-radio form of the dialogue between the young female playwright and the young male director, it enters the field of exploring the contemporary playwriting of the youngest generation and its current position. For the starting point of the topical-structural analysis of concrete plays, the author takes the call for the Slavko Grum Award for Young Playwright and dedicates her attention to its recipients up to the year 2018. As a counterpoint, she presents various educational, staging or publication initiatives that open the doors for young playwrights. Through a short review of playwrights and their texts, the contribution offers an insight into the new generation of contemporary playwriting; by treating the topics, styles and forms that are popular among playwrights, the article aims to close the gap in the area of reflective analysis.
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9

Mizusawa, Ken. "Drama-Based Playwriting: Teaching Playwriting Through Drama in the English Literature Classroom." Teaching Artist Journal 17, no. 1-2 (April 3, 2019): 3–10. http://dx.doi.org/10.1080/15411796.2019.1595968.

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10

Ljubić, Lucija, and Martina Petranović. "Poetic Tendencies in Contemporary Croatian Playwriting." Amfiteater 9, no. 2021-2 (June 30, 2022): 94–112. http://dx.doi.org/10.51937/amfiteater-2022-1/94-112.

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The paper offers an overview of the most prominent poetic tendencies in contemporary Croatian playwriting after the year 2000. Focusing on several well-known Croatian playwrights (such as Mate Matišić, Davor Špišić, Ivan Vidić, Nina Mitrović, Elvis Bošnjak, Dubravko Mihanović, Tomislav Zajec, Ivana Sajko, Tena Štivičić, Ivor Martinić, Olja Lozica …) whose plays have been staged, published, studied and/or rewarded over the past two decades in both Croatia and abroad, the paper looks into the features of the subject matter (local or global, public or intimate, popular or provocative concerns), the formal and generic qualities (dramatic structure, narration, poetisation, exploration of the limits of playwriting), the representation of cultural identities (personal and collective), the interest in mass and popular culture, the characteristics of dramatic discourse and language, the relation towards social engagement or criticism, and the effort to appeal to targeted social groups or types of audiences. The paper explores the differences and similarities between the playwriting of the 1990s and playwriting after 2000.
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11

Bil, Olga Nikolaevna, Irina Fedoseevna Zamanova, and Marina Vladimirovna Polovneva. "The “author’s” voice in L. Petrushevskaya’s dramatic discourse." Philology. Issues of Theory and Practice 16, no. 10 (October 2, 2023): 3312–17. http://dx.doi.org/10.30853/phil20230513.

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The author’s attitude, vision in a dramatic work is manifested mainly in the auxiliary text represented by stage directions that possess great potential. In women’s playwriting, the author’s inclusions reflect the atmosphere of the action showing the personality traits of the female playwright in the space of the work. The paper examines the “author’s” voice in L. Petrushevskaya’s playwriting, which is a model expressing the attitude of the female author to the depicted reality. The aim of the study is to determine the features of the linguistic means representing the “author’s” voice in L. Petrushevskaya’s dramatic discourse. The scientific novelty of the study lies in identifying the potential for the active expression of the author’s position in women’s playwriting (lexical richness of stage directions, certain syntactic features). The results of the study showed that the stage directions representing the author’s zone in L. Petrushevskaya’s playwriting are personality-oriented, possess the author’s intonation, reflect the peculiarities of a female playwright’s writing style; they manifest the subjectivity of the author, her attitude to the characters, to events, etc.
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12

Delle, Suzanne. "Taking the Lore Out of Teaching Playwriting: A Pedagogy for Teaching Undergraduates Playwriting." International Journal of Arts Education 19, no. 1 (2023): 23–32. http://dx.doi.org/10.18848/2326-9944/cgp/v19i01/23-32.

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13

Pangallo (book author), Matteo, and Mark Albert Johnston (review author). "Playwriting Playgoers in Shakespeare’s Theater." Renaissance and Reformation 41, no. 2 (June 21, 2018): 205–8. http://dx.doi.org/10.33137/rr.v41i2.29871.

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14

Holder, Heidi J. "Female Performance, Performativity, and Playwriting." Journal of Women's History 23, no. 1 (2011): 166–76. http://dx.doi.org/10.1353/jowh.2011.0009.

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15

Edgar, David. "Playwriting Studies: Twenty Years On." Contemporary Theatre Review 23, no. 2 (May 2013): 99–106. http://dx.doi.org/10.1080/10486801.2013.777056.

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16

Benabu, Joel. "On Shakespeare’s Playwriting: Opening Strategies." Journal of Dramatic Theory and Criticism 30, no. 1 (2015): 65–75. http://dx.doi.org/10.1353/dtc.2015.0033.

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17

Jones, Nesta. "New Playwriting, Ancient Greek Tragedy." New Theatre Quarterly 10, no. 39 (August 1994): 293. http://dx.doi.org/10.1017/s0266464x00008745.

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18

Fallow, Catriona. "New Playwriting at Shakespeare’s Globe." Contemporary Theatre Review 28, no. 4 (October 2, 2018): 543–45. http://dx.doi.org/10.1080/10486801.2018.1528763.

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19

Keenan, Siobhan. "Playwriting Playgoers in Shakespeare’s Theater." Shakespeare 15, no. 1 (November 19, 2018): 104–5. http://dx.doi.org/10.1080/17450918.2018.1543347.

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20

Elgar, A. G. "Student playwriting for language development." ELT Journal 56, no. 1 (January 1, 2002): 22–28. http://dx.doi.org/10.1093/elt/56.1.22.

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21

Wagner, Anton. "Elsie Park Gowan: Distinctively Canadian." Theatre Research in Canada 8, no. 1 (January 1987): 68–82. http://dx.doi.org/10.3138/tric.8.1.68.

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In the history of playwriting in English-Canada, men have most often been considered as the pioneering figures. But just as Charles Heavysege was preceded by the dramatic writing of Eliza Lanesford Cushing in the Montreal Literary Garland in the 1840s, the beginning of contemporary playwriting was not initiated by Robertson Davies' 1948 Overlaid and Fortune My Foe as is commonly thought. Of equal significance were the productions of Gwen Pharis Ringwood's Dark Harvest and The Rainmaker in 1945 and Elsie Park Gowan's The Last Caveman in 1946.
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22

Heard, Elisabeth J., and August Wilson. "August Wilson on Playwriting: An Interview." African American Review 35, no. 1 (2001): 93. http://dx.doi.org/10.2307/2903337.

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23

London, Todd. "American Playwriting and the Now New." Theatre History Studies 36, no. 1 (2017): 286–98. http://dx.doi.org/10.1353/ths.2017.0013.

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24

Svich, Caridad. "Playwriting as Editing: Lines of Memory." Contemporary Theatre Review 25, no. 1 (January 2, 2015): 108–11. http://dx.doi.org/10.1080/10486801.2015.992260.

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25

Bartels, Brian. "Sam Shepard's Master Class in Playwriting." Missouri Review 30, no. 2 (2007): 72–88. http://dx.doi.org/10.1353/mis.2007.0093.

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26

Saldaña, Johnny. "Playwriting with Data: Ethnographic Performance Texts." Youth Theatre Journal 13, no. 1 (May 1999): 60–71. http://dx.doi.org/10.1080/08929092.1999.10012508.

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27

Lill, Wendy, Yvette Nolan, Jason Sherman, Guillermo Verdecchia, and Angela Rebeiro. "The Politics and Business of Playwriting." Canadian Theatre Review 115 (June 2003): 43–46. http://dx.doi.org/10.3138/ctr.115.009.

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This panel discussion took place on 18 October 2002 as part of the Celebrating Canadian Plays and Playwrights Conference at the Studio rehearsal hall in the Avon Theatre complex of the Stratford Festival. It was chaired by Angela Rebeiro and featured Wendy Lill, Yvette Nolan, Jason Sherman and Guillermo Verdecchia. The discussion was transcribed by Jesse Stewart and edited by Ric Knowles.
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28

Hrvatin, Varja, Maša Radi Buh, and Jakob Ribič. "Drama Without a Generation." Amfiteater 9, no. 2021-2 (June 30, 2022): 268–70. http://dx.doi.org/10.51937/amfiteater-2022-1/268-270.

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In this paper, we will concentrate on the playwriting of the so-called young generation. In doing so, we will ask how this generation can be defined, given that the writers are quite individualised and dispersed among themselves, and their texts are quite diverse in terms of content, genre and form. We will argue that being born and growing up concurrently with the development of the internet, social networks and other new technologies, which are nowadays fundamentally inscribed in the social fabric, has significantly defined the young generation. Consequently, the boundaries between the virtual and the reality are constantly being blurred, and the symbiosis between the two, summed up in the term “biovirtual”, is continuously being established. Using examples of four theatre texts (The Thirty Somethings by Eva Mahkovic and Tereza Gregorič, It All Began with the Bunny Rabbit Goulash by Varja Hrvatin, The Interpretation of Sanja by Ela Božič and Work and the Maiden I-V: Serf Dramas by Nika Švab), we will reflect on how young authors are incorporating the post-internet reality, defined by the ubiquity of new technologies, into their playwriting. We will consider whether these writers’ generation generates new playwriting forms and dramaturgical approaches. Finally, we will draw attention to the conditions under which these authors operate, which (from systemic education and the repertory logic of staging to the pervasive precarisation and instability) do not provide economic security. Hence, there is no room for experiment and error. This forces writers to opt for already tested dramatic forms, strategies and themes. How, then, can one define the playwriting of a generation if it lacks a clear break with the tradition that would characterise this generation?
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29

Hamilton, Patricia. "Playing New Words." Canadian Theatre Review 69 (December 1991): 20–24. http://dx.doi.org/10.3138/ctr.69.003.

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I went to Drama School at Carnegie Mellon, then called Carnegie Tech, from 1956 to 1960. On entry we were handed a list of 400 plays from world literature that we were expected to have read by graduation. We were told that if we accomplished this, we would have a working knowledge of theatre history. As I recall, not a single one of these important plays in 3,000 years of world playwriting had been written by a woman. In addition, in four years in that school I never studied, saw or acted in a play by a woman. Playwriting was as firmly a masculine domain as sumo wrestling.
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Jeremy White. "The Blunt Playwright: An Introduction to Playwriting, and: Playwriting, Brief and Brilliant (review)." Theatre Topics 18, no. 2 (2008): 245–46. http://dx.doi.org/10.1353/tt.0.0030.

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31

Zajc, Benjamin. "The Substance of Millennial Playwriting in Slovenia, Croatia and Serbia." Amfiteater 9, no. 2021-2 (June 30, 2022): 284–86. http://dx.doi.org/10.51937/amfiteater-2022-1/284-286.

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In Slovenia, Croatia and Serbia, 21st-century playwriting is strongly marked by the arrival of the millennial generation. If the older generation of playwrights was preoccupied with the memory of wars, questioning of collective guilt and condemnation of past political entities, and if the established contemporary dramatic corpus is expanded by questions of lost identity, feminism and critique of society, the millennial generation further complicates its dramatic construction with apprehension about globalisation and cultural erasure. As argues Stephan Dark, this gives their work a neo-miserabilist character. In millennial playwriting, which is less burdened by the events of the last century and more marked by the recent economic crises, we can observe even less optimism and utopian imagery. Instead, nihilism and cynicism prevail. Their material is self-referential and creates a world that corresponds to their own present. There is a particular focus on the individual’s attitude towards survival in an oppressive, corrupt and dysfunctional system, the individual’s search for meaning, related feelings of alienation and the inability to communicate. Through a selection of plays, this paper reflects on the key themes, the form and the atmosphere of millennial playwriting, which seems to be more marked by the uncertainty of the status quo than any previous generation.
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Barbee, Matthew. "Page to Stage: An Empirical Study of Foreign Language Learning (FLL) and Motivation Through Playwriting, Readers Theatre, and Stage Production." JALT PIE SIG: Mask and Gavel 10, no. 1 (February 7, 2022): 7–33. http://dx.doi.org/10.37546/jaltsig.pie10.1-1.

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This article describes a set of lessons used in a university EFL course and presents empirical, classroom-based research. The set of lessons, Page to Stage, was designed to teach English through the use of drama, dramatic activities, and theatre production—more specifically: dramatic adaptation of Japanese folktales, playwriting, readers theatre, and the rehearsal, memorization, and performance of original, student-written plays. At the end of the lesson and course, students were surveyed on their beliefs regarding the lesson’s effects on their motivation, level of English, use of prosody, and confidence when speaking in public. The students’ enjoyment of certain aspects of the lesson as well as the lesson as a whole was also surveyed. Results showed that the students saw self-improvement along all points, while they feel that their motivation and use of prosody improved most. Regarding enjoyment, students most enjoyed (from most enjoyable to least enjoyable) watching other students perform, working together in groups, using Japanese folktales as reference for the playwriting, the readers theatre, the final performance, and playwriting. Students least enjoyed memorizing the scripts in preparation for the final performances. Based on the results, a case is made for the benefits of drama, readers theatre, and theatre production in the EFL classroom.
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Cornish, Roger, Marshall Cassady, and Louis E. Catron. "Characters in Action: A Guide to Playwriting." Theatre Journal 38, no. 1 (March 1986): 131. http://dx.doi.org/10.2307/3207851.

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34

Moskwa, Emily. "Playwriting 101: Moving play beyond the playground." Journal of Playwork Practice 3, no. 2 (November 29, 2016): 155–63. http://dx.doi.org/10.1332/205316216x14813633813373.

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35

Carson, Neil. "Collaborative Playwriting: The Chettle, Dekker, Heywood Syndicate." Theatre Research International 14, no. 1 (1989): 13–23. http://dx.doi.org/10.1017/s0307883300005526.

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That a large number of Elizabethan plays are the product of dramatic collaboration is well known. Just how this process of ‘collective creation’ operated in the public theatres, however, remains something of a mystery. Attempts to explore the mechanics of collaborative play writing have been of different kinds. The most common have been studies of published plays undertaken in the hope that characteristics of style would reveal the shares of contributing dramatists. In spite of valuable work (notably by Cyrus Hoy), however, too many of these studies suffer from the weaknesses described by Samuel Schoenbaum in his analysis of the limitations of conclusions about authorship based on internal evidence. As a consequence, assertions about patterns of collaboration based on the identification of an author's stylistic characteristics, such as those made in the early 19205 by Dugdale Sykes, are not as fashionable as they once were.
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36

Goldstein, Tara. "Hong Kong, Canada: Playwriting as Critical Ethnography." Qualitative Inquiry 7, no. 3 (June 2001): 279–303. http://dx.doi.org/10.1177/107780040100700303.

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37

Grote, Jason, Caridad Svich, Anne Washburn, and Ken Urban. "Contemporary American Playwriting: The Issue of Legacy." PAJ: A Journal of Performance and Art 28, no. 3 (September 2006): 11–22. http://dx.doi.org/10.1162/pajj.2006.28.3.11.

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38

Dupre, Barbara. "Defusing Difference through Drama." Voices from the Middle 12, no. 1 (September 1, 2004): 32–38. http://dx.doi.org/10.58680/vm20044654.

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39

Belkis, Özlem, and Yunus Emre Gümüş. "Examining usability of the six thinking hats technique in playwriting education: Turkey as a case study." Pegem Eğitim ve Öğretim Dergisi 10, no. 1 (February 2, 2020): 147–68. http://dx.doi.org/10.14527/pegegog.2020.006.

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Efforts to define creativity have started in the 20th century, with the emergence and spread of psychology as a modern discipline. The relationship between creativity and art education is frequently researched globally in the last twenty years, but studies on the relationship between creativity and performing arts education are few in number. Researching the relationship between creativity and dramatic writing education in context of theoretical approaches and practical techniques could develop new ideas and practical tools to be used. The current study aims to examine the usability of the Six Thinking Hats Technique, which is a creative thinking practice, in playwriting education in Turkey. The method of the study is based on a review of available literature and a case study. First, the creativity concept and creative processes were examined; then the Six Thinking Hats Technique was adopted to be implemented in composing a play-text. The study groups consisted of eight sophomore dramatic writing students who have completed their third semester in a public university in Turkey. Lastly, the participant’s opinions were analyzed with a final test. The study concludes that the Six Thinking Hats Technique can be used in group studies, genre determination and final production in playwriting education in Turkey. This technique may also be used to develop new ideas and practice strategies in intra-class group activities during playwriting education.
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Waldschmidt, Eileen Dugan. "Alma’s Unfinished Play: Bilingual Playwriting in a Summer School Program." Language Arts 78, no. 5 (May 1, 2001): 442–48. http://dx.doi.org/10.58680/la2001183.

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In this article, Waldschmidt discusses one fourth-grade student’s attempt to write a bilingual script, based upon a story told to her by her father, within the context of a bilingual playwriting project.
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41

Komljanec, Kim. "Contemporary Slovenian Drama at the Beginning of the Third Decade of the 21st Century – Where Is It and Where Is It Headed?" Amfiteater 10, no. 2 (December 20, 2022): 100–103. http://dx.doi.org/10.51937/amfiteater-2022-2/100-103.

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The article offers insight into various approaches to developing contemporary Slovenian playwriting at the beginning of the third decade of the 21st century. It lists existing formal and informal educational opportunities for playwrights, methods of cultivating new writing and various public presentation formats of new Slovenian dramatic writing and the recent development of its staging in Slovenia. The author presents quantitative data on the percentage of Slovenian scripts staged in government-funded theatres and the variations of this percentage over the last two decades. The author’s analysis is based on an extensive questionnaire which includes both quantitative and qualitative research methods examining the processes and circumstances of writing contemporary Slovenian drama from the viewpoints of its various stakeholders: playwrights, translators, dramaturgs, directors, artistic directors and general managers of government-funded public cultural establishments, NGOs or private theatres, editors, publishers, teachers and the representatives of public funding bodies. The findings show a lack of understanding of the creation processes of contemporary Slovenian playwriting by representatives of its peripheral professions (i.e., non-authors). The research results also reveal the consequences of the field’s long-lasting insufficient funding and lack of an expert workforce. Based on the research results, the author proposes possible future directions for the efficient development of contemporary Slovenian playwriting. These proposals include staging, commissioning and long-term theatre residencies for playwrights, as well as establishing a specialised venue aimed exclusively at staging contemporary Slovenian plays.
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McClelland, Richard. "Between Postdramatic Text and Dramatic Drama: Recent German-Language Playwriting by Lukas Bärfuss and Katja Brunner." Humanities 9, no. 3 (July 9, 2020): 61. http://dx.doi.org/10.3390/h9030061.

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Since 2000 there has been a boom in playwriting in the German-speaking world. This is shaped by a creative tension between two forms of theatre-texts. On the one hand the postdramatic text that exists in a theatre marked by a parataxis of all theatrical elements, as outlined by Hans-Thies Lehmann and Gerda Poschmann; on the other, the ‘dramatic drama’ as identified by Birgit Haas that engages with dramatic representation whilst still questioning the reality being represented on the stage. In this contribution I explore these strands of contemporary playwriting in two texts written since 2000: Lukas Bärfuss’ Die sexuellen Neurosen unserer Eltern (2003) and Katja Brunner’s von den beinen zu kurz (2012). My analysis examines how both playwrights question dramatic conventions of form and character and the implications this has for audience efforts to discern meaning in the plays.
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43

Luu, Thuy Trung. "The features of content and playwriting art in Ho Chi Minh City’s contemporary play." Science and Technology Development Journal 19, no. 1 (March 31, 2016): 96–109. http://dx.doi.org/10.32508/stdj.v19i1.560.

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Since the last decade of the twentieth century, Ho Chi Minh City has become one of the Vietnamese lively dramatic literature and theater centers. During the past twenty years, together with dramatic theater, Ho Chi Minh City’s dramatic literature has built up a professional playwriter force, providing audiences plays which reflect the conflicts between human’s life in the time of Vietnam’s reformation and integration. Besides, these plays have contributed experiences in acquiring and applying the world modern playwriting techniques to suit Vietnamese’s drama reception habits. This paper generally provides content feature (focus on conflicts) and playwriting art feature (focus on plots, characteristics, dialogue language construction and the acquirement of new art techniques in Ho Chi Minh City’s contemporary literary scripts), contributing to the evaluation and summary of Ho Chi Minh City’s dramatic literature during the past.
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44

Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (January 5, 2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scottish, and American) playwriting, however modishly its characters may now be drawn from the underclass rather than the upper; and he identifies a ‘hunger for ideas’ among British audiences which is ill-satisfied by the dystopian despair of many would-be political dramatists.
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45

Jordão, Ada. "Playwriting in Canadian Popular Theatre: Developing Plays with Actors and Ν on-actors." Canadian Theatre Review 115 (June 2003): 62–65. http://dx.doi.org/10.3138/ctr.115.013.

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Playwriting in Canadian Popular Theatre“ is a sweeping title that immediately brings into question the term ”popular theatre“ and its elusive definition. I have to begin by agreeing with Raymond Williams that ”popular“ may be the most ”difficult term in cultural studies“ (Merkin). In this paper I do not seek a definition, but rather, to ”facilitate“ the term by discussing and documenting popular theatre creations that I have participated in as an actor and/or playwright and/or director. My subtitle, ”Developing Plays with Actors and Non-Actors,“ pays homage to the work of Augusto Boal, to his invaluable compendium of popular theatre games, and to the influence of Theatre of the Oppressed techniques in popular theatre playwriting (Boal). It also anticipates the actor/playwright duality that is predominant in popular theatre methodology, and the creation and development of plays.
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Çakırtaş, Önder. "Muslims and Islam in contemporary British theatre and the image of the ‘British Muslim Self’ in Guleraana Mir’s Coconut." Performing Islam 11, no. 1 (December 1, 2022): 35–51. http://dx.doi.org/10.1386/pi_00020_1.

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Despite their deep-seated presence in Britain, Muslims have been mostly excluded from theatre and popular entertainment. Sociopolitical restrictions have had an impact on the development of Muslim playwriting and it has taken longer than expected for Muslims to find their place within British theatre. Due to the expanding presence of Muslims in British and especially London theatres, the early twenty-first century has become a watershed for British Muslims. This article aims to show how British Muslims describe and represent their cultural, social and religious identities in theatrical works in twenty-first century Britain. Through Guleraana Mir’s play Coconut () – an example of British Muslim playwriting and representation – the representation of the relationship between Islam and Britishness will be examined. This article falls in the wider context of Islamic performances and theatre practices of the twenty-first-century Britain.
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Weems, Mary E. "Room 329: Silencing the Voices in the Cleveland School of the Arts." Qualitative Inquiry 25, no. 1 (September 10, 2018): 80–82. http://dx.doi.org/10.1177/1077800418792633.

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Rm. 329 chronicles an unexpected experience during a playwriting residency at a Cleveland, Ohio arts school. It’s an exemplar of what’s possible when student activists organize to protest against institutional racism and for education as the practice of freedom.
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Grills, Sylvia. "Performance as Critical Resistance: Playwriting and Public Sociology." SAGE Open 11, no. 2 (April 2021): 215824402110233. http://dx.doi.org/10.1177/21582440211023398.

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In this article, I argue that playwriting and performance can act as powerful forms of activism that bridge academic work and public engagement. I analyze my experiences writing and producing a stage production that mobilizes knowledge from my research about queer antiracism in Toronto. This methodological discussion is contextualized within the current political moment that positions work in the humanities as irrelevant and elitist. Performance as a method of knowledge mobilization emerged from interviews with queer peoples and community organizers. I found through conversations with participants that academic forms of knowledge mobilization, such as publishing in peer-reviewed journals, would not necessarily be accessible to community members or appropriate for encouraging discussion and social action at the local level. Participants suggested a range of antiracism organizing strategies, most of their suggestions centered on increasing the understanding and the value of the arts. I decided to meet the challenge of engaging in effective knowledge mobilization that would be in service to the community by developing a stage production called We without You that focuses on the opinions and experiences of participants. I found that producing a stage production based on academic research had powerful social effects that are not possible through traditional knowledge dissemination methods. This article encourages academics to broaden their ideas about effective knowledge mobilization; to position their work as useful and relevant to social issues and as a means of critical resistance against polarization within and outside academia.
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Kelly, Katherine E. "Women and Playwriting in Nineteenth-Century Britain (review)." Theatre Journal 52, no. 4 (2000): 581–82. http://dx.doi.org/10.1353/tj.2000.0111.

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Montedoro, Beatrice. "Matteo A. Pangallo, Playwriting Playgoers in Shakespeare’s Theater." Notes and Queries 65, no. 3 (July 11, 2018): 448–49. http://dx.doi.org/10.1093/notesj/gjy120.

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