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

Energising communties From: YouTube Energising communties Alexander Santiago-Jirau Energising communties Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

From: YouTube Movement Direction: Creating Character Play Video Open Document

Hayley speaks about community values and process From: YouTube Community values and process Hayley Sherwood Hayley speaks about community values and process Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney

A guide for training youth to write short plays. From: Printables 10 Minute Playwriting Catherine Bush A guide for training youth to write short plays. Play Video Open Document The Barter Theater

Losing oneself, or being present? Acting as an art form From: YouTube Losing oneself, or being present? Acting as an art form Alexander Santiago-Jirau Losing oneself, or being present? Acting as an art form Winston Churchill Foundation Australia Play Video Open Document Michael McSweeney