{"title":"Review","authors":"M. Balfour","doi":"10.1386/atr.6.1.77_5","DOIUrl":null,"url":null,"abstract":"Chris Johnston (1951–2017) was a restless theatre maverick who invented and experimented with form and approach, but always with a commitment to social justice. In prisons, schools and a wide range of communities, he was a forensic listener – critical and probing, but always creative and compassionate. Disobedient Theatre is a characteristically thorough book that divides itself between scrutinizing the impulse and spirit of subversive play and providing a hands-on guide that includes games and exercises for like-minded creatives. Johnston seeks to define cultural disobedience as the ‘unbridled spirit of impulsiveness’ (2017: xv), not because he is interested in rephrasing practice into a new movement, but because he is interested in exploring eclectic examples of theatre practice that he sees as fuelled by a concoction of imagination, political passion and creative innovation.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Applied Theatre Research","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/atr.6.1.77_5","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 2
Abstract
Chris Johnston (1951–2017) was a restless theatre maverick who invented and experimented with form and approach, but always with a commitment to social justice. In prisons, schools and a wide range of communities, he was a forensic listener – critical and probing, but always creative and compassionate. Disobedient Theatre is a characteristically thorough book that divides itself between scrutinizing the impulse and spirit of subversive play and providing a hands-on guide that includes games and exercises for like-minded creatives. Johnston seeks to define cultural disobedience as the ‘unbridled spirit of impulsiveness’ (2017: xv), not because he is interested in rephrasing practice into a new movement, but because he is interested in exploring eclectic examples of theatre practice that he sees as fuelled by a concoction of imagination, political passion and creative innovation.
期刊介绍：
Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.
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