Discussion about her work with people with a disability. From: YouTube Accessible Community Theatre Hayley Sherwood Discussion about her work with people with a disability. Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

My introduction to community theatre came through the work of Ann Jellicoe, probably the most influential writer and director working in the field and the woman who is still most closely identified with the notion of the ‘community play’. Indeed Jellicoe’s own book Community Plays: How To Put Them On, published in 1987 is still the only available text that provides any kind of blue print for the creation of community theatre; (I know three of the people in the photograph on the front of this book – Mr Carlyon was the father of one of my best friends and Mrs Hill still works in a shop in my home town of Colyton. I have always been a little bit frustrated by this cover though – for I was standing just behind Alexandra, and yet somehow missed out on being included in the image). From: YouTube Relaxed Performances and Social definition of Disability Paul Brewster McGinley My introduction to community theatre came through the work of Ann Jellicoe, probably the most influential writer and director working in the field and the woman who is still most closely identified with the notion of the ‘community play’. Indeed Jellicoe’s own book Community Plays: How To Put Them On, published in 1987 is still the only available text that provides any kind of blue print for the creation of community theatre; (I know three of the people in the photograph on the front of this book – Mr Carlyon was the father of one of my best friends and Mrs Hill still works in a shop in my home town of Colyton. I have always been a little bit frustrated by this cover though – for I was standing just behind Alexandra, and yet somehow missed out on being included in the image). Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

ISBN 10: 0454014589 / ISBN 13: 9780454014587 From: ReadingList Community Theatre in Australia Richard Fotheringham ISBN 10: 0454014589 / ISBN 13: 9780454014587 Currency Press, Sydney. Published by Methuen Australia, North Ryde,, 1987 Play Video Open Document Paul Maunder

Alex talks about how the show Rent was supported by NYTW From: YouTube Alex talks about how the show Rent was supported by NYTW Alexander Santiago-Jirau Alex talks about how the show Rent was supported by NYTW Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

The power of community theatre From: YouTube The power of community theatre Hayley Sherwood The power of community theatre Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

In development - Click on the Search page below Resources menu item. It looks pretty uncluttered - all pretty uniform. But underneath that simplicity is different types of records - I am going to get the radio buttons to just show particular types of records but that isn't built yet. But the search box also returns Forum posts so that is integrated as well! I have lots of videos to cut up and put in still as well. And good training stuff from YouTube to put into the mix The Resources Menu will contain a searchable database of videos, downloadable documents, links to networks and reading references for you to search and use. Just select from the items on the Resources menu, or open the search page.

Available at https://relaxedperformance.wordpress.com/2021/02/16/relaxed-performance-international-comparative-study-2018-2020/. Between April 2018 and April 2020, French-based organisation Ciné-ma différence commissioned a comparative survey of 16 organisations* delivering Relaxed-style Performances in France, Canada, the United States, the United Kingdom, Sweden, and Switzerland. The resulting report also includes a toolkit with a series of recommendations so that other organisations can implement their own Relaxed Performances. Paul F Cockburn spoke with the survey’s leaders to discuss both the survey’s findings and what happens next. From: ReadingList Relaxed Performances, International Comparative Study - 2018-2020, Marie-Pierre Dupagne Available at https://relaxedperformance.wordpress.com/2021/02/16/relaxed-performance-international-comparative-study-2018-2020/. Between April 2018 and April 2020, French-based organisation Ciné-ma différence commissioned a comparative survey of 16 organisations* delivering Relaxed-style Performances in France, Canada, the United States, the United Kingdom, Sweden, and Switzerland. The resulting report also includes a toolkit with a series of recommendations so that other organisations can implement their own Relaxed Performances. Paul F Cockburn spoke with the survey’s leaders to discuss both the survey’s findings and what happens next. Ciné-ma différence, Paris France. Play Video Open Document Paul Maunder

2013. This unique account of community-based theatre - theatre created by professionals working with communities - challenges the mainstream history of New Zealand theatre. Rebellious Mirrors looks at the early production of theatre in Aotearoa/New Zealand, investigates the experimental period of the 1970s, which is seen as searching for an authentic role, portrays the beginnings of Maori theatre, and gives a comprehensive portrait of a field of work during the period 1990-2010: work that took place within the contradictory framework of neo-liberalism. From: ReadingList Rebellious Mirrors: Community Based Theatre in Aotearoa/new Zealan Paul Maunder 2013. This unique account of community-based theatre - theatre created by professionals working with communities - challenges the mainstream history of New Zealand theatre. Rebellious Mirrors looks at the early production of theatre in Aotearoa/New Zealand, investigates the experimental period of the 1970s, which is seen as searching for an authentic role, portrays the beginnings of Maori theatre, and gives a comprehensive portrait of a field of work during the period 1990-2010: work that took place within the contradictory framework of neo-liberalism. Play Video Open Document Paul Maunder

< Back Zero Carbon World This is placeholder text. To change this content, double-click on the element and click Change Content. This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. Power in Numbers 30 Programs 50 Locations 200 Volunteers Project Gallery Previous Next

Discussing the Values Base of theatre From: YouTube Discussing the Values Base of theatre Alexander Santiago-Jirau Discussing the Values Base of theatre Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

In many ways Ann Jellicoe and ‘community theatre’ have become synonymous, and her work, which had great success during the eighties and into the nineties, became for many the defining notion of what ‘community theatre’ should be (and, for many, still is). Put very simply it was the idea that the play, a play which was produced by a professional production team and written by a professional writer, would be performed entirely by the community. From: YouTube A Personal definition of Theatre Hayley Sherwood In many ways Ann Jellicoe and ‘community theatre’ have become synonymous, and her work, which had great success during the eighties and into the nineties, became for many the defining notion of what ‘community theatre’ should be (and, for many, still is). Put very simply it was the idea that the play, a play which was produced by a professional production team and written by a professional writer, would be performed entirely by the community. Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

The process of making and unmaking community is vividly illuminated in the work of the Cornerstone Theater Company, a Los Angeles-based ensemble founded in 1986. From 1986 to 1991, Cornerstone toured nationwide, working mainly with rural towns to create adaptations of classical texts. A Wild West musical Hamlet was performed with residents of Marmarth, North Dakota (population 190), and The House on Walker River, an adaptation of the Oresteia trilogy, was developed with a Native American reservation in Nevada. Since 1991, Cornerstone has performed with urban communities, developing original shows and adaptations of Western and non-Western texts incorporating local histories and community players. These performances rearticulate distinctions among various urban group and between amateur and professional theater. From: ReadingList Mind the Gap A transatlantic, intergenerational theatre project (2020) Gill Foster The process of making and unmaking community is vividly illuminated in the work of the Cornerstone Theater Company, a Los Angeles-based ensemble founded in 1986. From 1986 to 1991, Cornerstone toured nationwide, working mainly with rural towns to create adaptations of classical texts. A Wild West musical Hamlet was performed with residents of Marmarth, North Dakota (population 190), and The House on Walker River, an adaptation of the Oresteia trilogy, was developed with a Native American reservation in Nevada. Since 1991, Cornerstone has performed with urban communities, developing original shows and adaptations of Western and non-Western texts incorporating local histories and community players. These performances rearticulate distinctions among various urban group and between amateur and professional theater. Youth Theatre Journal, 34:2, 146-157, Play Video Open Document Paul Maunder