Applied Theatre Research
Applied Theatre Research (Journal)
Applied Theatre Research profiles contemporary, innovative, unorthodox and radical practice of drama and theatre. Topics explored in this global, peer-reviewed journal include theatre in political debate, social action and dissent; theatre for development; youth theatre; theatre in schools and educational settings; theatre in therapeutic settings; theatre in prisons; theatre in health education and awareness; theatre in human services, such as aged care and hospitals; and theatre in business, commerce and conferences.
Co-Editor
Peter O'Connor
The University of Auckland
p.oconnor@auckland.ac.nz
John O'Toole
The University of Auckland
j.otoole@unimelb.edu.au
Special Issue Editor
Michael Balfour
UNSW, Australia
m.balfour@unsw.edu.au
Reviews Editors
Selina Busby
Royal Central School of Speech and Drama University of London
selina.busby@cssd.ac.uk
Editorial Assistant
Caitlin Kennedy
University of Auckland
c.kennedy@auckland.ac.nz
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.
Co-Editor
Peter O'Connor
The University of Auckland
p.oconnor@auckland.ac.nz
John O'Toole
The University of Auckland
j.otoole@unimelb.edu.au
Special Issue Editor
Michael Balfour
UNSW, Australia
m.balfour@unsw.edu.au
Reviews Editors
Selina Busby
Royal Central School of Speech and Drama University of London
selina.busby@cssd.ac.uk
Editorial Assistant
Caitlin Kennedy
University of Auckland
c.kennedy@auckland.ac.nz
Co-Editor
Peter O'Connor
The University of Auckland
p.oconnor@auckland.ac.nz
John O'Toole
The University of Auckland
j.otoole@unimelb.edu.au
Special Issue Editor
Michael Balfour
UNSW, Australia
m.balfour@unsw.edu.au
Reviews Editors
Selina Busby
Royal Central School of Speech and Drama University of London
selina.busby@cssd.ac.uk
Editorial Assistant
Caitlin Kennedy
University of Auckland
c.kennedy@auckland.ac.nz
Co-Editor
Peter O'Connor
The University of Auckland
p.oconnor@auckland.ac.nz
John O'Toole
The University of Auckland
j.otoole@unimelb.edu.au
Special Issue Editor
Michael Balfour
UNSW, Australia
m.balfour@unsw.edu.au
Reviews Editors
Selina Busby
Royal Central School of Speech and Drama University of London
selina.busby@cssd.ac.uk
Editorial Assistant
Caitlin Kennedy
University of Auckland
c.kennedy@auckland.ac.nz
The editors are dedicated to keeping the journal responsive to authors and to matters of current interest and concern. However, authors should be advised that, as with most journals, the review and, if necessary, rewriting and re-submission processes can take some months, and the editing and publishing timeline adds to that. Moreover, while we endeavour to be sensitive to the research publication deadlines of universities in countries like the UK and Australia, as an international journal we cannot arrange our timelines around them; instead we expect our authors to take them into account in their own submission timing.
Applied Theatre Research seeks articles that chronicle and analyse any drama and theatre applied to non-conventional contexts and purposes. Educational uses of theatre are an important part of the journal's brief, encompassing lifelong education through drama and theatre, including adults and communities, informal educational contexts as well as schools, colleges, universities and other formal institutions of learning. The journal documents, examines and disseminates scholarly accounts and critiques of research and praxis in a variety of applied theatre contexts including: theatre in political debate, social action and dissent; theatre for development; youth theatre; theatre in therapeutic settings; theatre in prisons; theatre in health education and awareness; theatre in human services such as aged care and hospitals; and theatre in business, commerce and conferences.
The journal also profiles and critically reflects on contemporary, innovative, unorthodox and radical practice of drama and theatre; drama and theatre in training contexts; performance work in multiple and cross-art forms including visual arts, music, storytelling, film and television, computer-generated graphic and narrative forms; performative events in community and public life; inter-cultural and cross-cultural drama and theatre forms; the political and ideological implications of theatre and drama; other implications of drama and theatre in applied and educational contexts, such as spiritual, metaphysical, therapeutic or playful.
Applied Theatre Research encourages articles that are contextualized, grounded in coherent and imaginative theory, and reflect or are illustrative of excellent practice. The journal recognises that all participants in theatrical and dramatic events can be seen as fully participant, and incorporates points of view of theatre workers (actors, directors, playwrights), spectators and other stakeholders such as educators and social policy makers.
The Board of Review assesses material for the quality of praxis where appropriate, as well as scholarly and critical content. The principal language is English; however, the journal will consider articles in other languages for which reviewers can be accessed, with abstracts in English. Editorial assistance may be given to those whose work is worthy of inclusion, but for whom the language of the article is not their first, or for whom the written word is not their forte. There is an explicit policy of making the articles stylistically accessible and readable to the range of readership. The journal encourages a range of presentational forms.
To submit work for consideration please contact the editors or or use our article submission platform.
All articles submitted should be original work and must not be under consideration by other publications.
Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.
Co-Editor
Peter O'Connor
The University of Auckland
p.oconnor@auckland.ac.nz
John O'Toole
The University of Auckland
j.otoole@unimelb.edu.au
Special Issue Editor
Michael Balfour
UNSW, Australia
m.balfour@unsw.edu.au
Reviews Editors
Selina Busby
Royal Central School of Speech and Drama University of London
selina.busby@cssd.ac.uk
Editorial Assistant
Caitlin Kennedy
University of Auckland
c.kennedy@auckland.ac.nz
Review & Advisory Board
Judith Ackroyd
Regent’s University, London, UK
Vivienne Aitken
Eastern Institute of Technology, Napier, New Zealand
Michael Anderson
University of Sydney, Australia
Hazel Barnes
University of KwaZulu, Natal, South Africa
George Belliveau
University of British Columbia
Beatriz Cabral
Universidade Federal de Santa Catarina, Brazil
Helen Cahill
University of Melbourne, Australia
Chan Yuk Lan
The Hong Kong Art School, Hong Kong
Jan Cohen Cruz
Syracuse University, New York, USA
Kennedy Chinyowa
Tshwane University of Technology, Pretoria, South Africa
Robert Colby
Emerson College, Boston, USA
Peter Duffy
University of South Carolina, USA
Stig A. Eriksson
Western Norway University of Applied Sciences, Campus Bergen, Norway
Michael Finneran
University of Limerick, Ireland
Kelly Freebody
University of Sydney, Australia
Brad Haseman
Queensland University of Technology, Australia
Marina Henriques Coutinho
Universidade Federal do Estado do Rio de Janeiro, Brazil
Anthony Jackson
University of Manchester, UK
Joan Lazarus
University of Texas, Austin, USA
Margret Lepp
University of Gothenburg, Sweden
Lin Mei Chun
National University of Tainan, Taiwan
Sally Mackey
Central School of Speech & Drama, University of London, United Kingdom
Patrick Mangeni
Makerere University, Kampala, Uganda
Carole Miller
Victoria University, British Columbia, Canada
Laura McCammon
University of Arizona, USA
Helen Nicholson
University of London, UK
Christopher Odhiambo
Moi University, Eldoret, Kenya
Anna-Lena Østern
Norwegian University of Technology and Science, Norway
Carmel O'Sullivan
Trinity College, Dublin, Eire
Allan Owens
University of Chester
Erika Piazzoli
Erika Piazzoli
Marcia Pompeo Nogueira
State University of Santa Catarina, Brazil
Tim Prentki
University of Winchester, United Kingdom
Bjørn Rasmussen
Norwegian University of Science and Technology, Norway
Richard Sallis
University of Melbourne, Australia
Juliana Saxton
Victoria University, British Columbia
Shifra Schonmann
University of Haifa, Israel
Owen Seda
Tshwane University of Technology, Pretoria South Africa
Persephone Sextou
Newman University, Birmingham, United Kingdom
Dani Snyder-Young
Northeastern University, Boston, USA
Philip Taylor
New York University
James Thompson
University of Manchester, UK
Wan-Jung Wang
National University of Tainan, Taiwan
Gustave Weltsek
University of Indiana, Bloomington, USA nchester
Penny Bundy
Griffith University, Brisbane, Australia
Co-Editor
Peter O'Connor
The University of Auckland
p.oconnor@auckland.ac.nz
John O'Toole
The University of Auckland
j.otoole@unimelb.edu.au
Special Issue Editor
Michael Balfour
UNSW, Australia
m.balfour@unsw.edu.au
Reviews Editors
Selina Busby
Royal Central School of Speech and Drama University of London
selina.busby@cssd.ac.uk
Editorial Assistant
Caitlin Kennedy
University of Auckland
c.kennedy@auckland.ac.nz
Contents
- Volume (6): Issue (1)
- Cover date: 2018
Contents
- Volume (6): Issue (2)
- Cover date: 2018
Contents
- Volume (5): Issue (1)
- Cover date: 2017
Contents
- Volume (5): Issue (2)
- Cover date: 2017
Contents
- Volume (5): Issue (3)
- Cover date: 2017
Contents
- Volume (4): Issue (1)
- Cover date: 2016
Contents
- Volume (4): Issue (2)
- Cover date: 2016
Contents
- Volume (4): Issue (3)
- Cover date: 2016
Contents
- Volume (3): Issue (1)
- Cover date: 2015
Contents
- Volume (3): Issue (2)
- Cover date: 2015
Contents
- Volume (3): Issue (3)
- Cover date: 2015
Contents
- Volume (2): Issue (1)
- Cover date: 2014
Contents
- Volume (2): Issue (2)
- Cover date: 2014
Contents
- Volume (1): Issue (1)
- Cover date: 2013
Contents
- Volume (1): Issue (2)
- Cover date: 2013
Co-Editor
Peter O'Connor
The University of Auckland
p.oconnor@auckland.ac.nz
John O'Toole
The University of Auckland
j.otoole@unimelb.edu.au
Special Issue Editor
Michael Balfour
UNSW, Australia
m.balfour@unsw.edu.au
Reviews Editors
Selina Busby
Royal Central School of Speech and Drama University of London
selina.busby@cssd.ac.uk
Editorial Assistant
Caitlin Kennedy
University of Auckland
c.kennedy@auckland.ac.nz
