Since the 1998 Good Friday/Belfast Agreement, the arts have been promoted as capable of reconciling communities in Northern Ireland. In keeping with cultural policy orthodoxies in Britain and Ireland, practitioners are expected to provide even more information on the contribution of their work to this agenda. However, short-term evaluation…

Recent proliferation of participatory performance forms has prompted debate on the agency of participants. Consideration of agential potential must go beyond the enactment of the work, however, to assess how participatory experiences can be self-documented and how such records may inform artistic pedagogy. Through discussion of a creative learning…

The Phoenix Players Theatre Group (PPTG) was founded in 2009 by incarcerated men at the Auburn Correctional Facility in Upstate New York. This article explores PPTG's work using Nicholas Mirzoeff's (2011) theory of the 'right to look' in order to understand how prison theatre functions within and against the visual regime of carcerality. This…

Improbable Players (IP) has been creating applied theatre for substance use disorder prevention since 1984, training more than 200 sober actor/teaching artists to perform plays and facilitate workshops addressing addiction, alcoholism, and the opioid crisis. The company operates, for its actors, as a long-term arts- integrated peer recovery…

This article addresses the performance of labour in participatory arts projects and considers the implications of such activity on perceptions of the unemployed in the UK. Utilising a combination of biopolitical and necropolitical understandings of governance and drawing on two examples of theatre practice, Tangled Feet's "One Million"…

"Training the peer facilitator: using participatory theatre to promote engagement in peer education" examines the role of participatory theatre in a peer education setting in relation to the goal of young people engaging and empowering their peers to create new knowledge together. Extending research about the use of applied theatre…

In this article, we question the unilateral discourse of benefit of participation in participatory refugee theatre in the context of a growing socio-political climate of polarisation and stigmatisation of refugees in European countries of resettlement. By integrating critical voices from the fields of applied theatre and refugee research, we…

This article details key findings from a longitudinal study conducted in collaboration with Kids Company, funded by the Arts and Humanities Research Council (AHRC). The focus of this article is the role of the "teacher as witness" to the impact of a participatory theatre project with vulnerable young people. This research argues that the…

This article explores the aesthetics and ethics of participatory performance through "The Oh Fuck Moment" by Hannah Jane Walker and Chris Thorpe, a performance that aesthetically explores ethically troubling material and manipulation. Ethical criticism of participatory art in recent years has focused on the way the audience member is…

In both contemporary educational and development discourse, the idea of participation is increasingly being regarded as falsely leading to an erroneous interpretation of the social construction of reality by dominant groups with the people's transformation. The strategies being deployed in the name of participation such as dialogue, giving voice,…

This paper describes The Freedom Theatre's Freedom Bus initiative and its use of Playback Theatre for community mobilisation and cultural activism within Occupied Palestine. Utilising a conflict transformation perspective, conventional dialogue-oriented initiatives are contrasted against interventions that pursue concientisation and alliance…

This paper uses the frame of participation as tyranny to trouble the concept of "participating freely in cultural life and the arts" within Article 31 of the United Nations Convention on the Rights of the Child, especially as it relates to the youngest children: when children's experiences are curated and determined by adults,…

In 2005, the Warwick Arts Centre launched the "Boys Dancing" project through the formation of the West Midlands Boys Dance Alliance. Aimed exclusively at boys and young men, the project has offered a range of performance-making opportunities with male professionals including Liam Steel (DV8, Stan Won't Dance) and David McKenna…

Technological innovations in digital communication technologies offer possibilities for new forms of participation and storytelling in theatre. WildWorks Theatre Company creates work that is discovered and devised with partners, artists and community participants in response to specific cultural and geographical locations. The work includes people…

The Theatre Company Blah Blah Blah (the Blahs) have been working in youth centres since 1985 and over that time the Blahs have experimented with ways to make theatre for young people in this environment. A youth centre can be a hostile place to take a piece of theatre. Many of the youth centres the Blahs have visited have been in areas of social…