List of Figures Notes on Contributors Foreword Acknowledgements Introduction Part 1 1 A narrowing sphere: Economization and applied theatre 2 Tangled webs: Applied theatre and the economy 3 The economies of applied theatre 4 Applied theatre and new cultural economies Part 2 5 Autogestion, conviction, collectivity and Plans A to Z: Colectivo Sustento in continuous resistance Penelope Glass, Colectivo Sustento, Chile 6 Foundation funding: The pedagogies of applied theatre projects in two Toronto theatres Anne Wessels, Director of Education, Tarragon Theatre, Canada, and Lois Adamson, Director of Education, Stratford Festival, Canada 7 Waiting on a miracle: The precarious state of the everyday in applied theatre Peter O'Connor, University of Auckland, NZ, and Briar O'Connor, Managing Director of ATCo, UK 8 A difficult fit: The economic actions of FM Theatre Power in Hong Kong Molly Mullen, University of Auckland, NZ, and Bonnie Y. Y. Chan, FM Theatre Power, China 9 The Long Tail/Tale: Seven thought-provoking mind-sets to reframe your applied theatre practices Paul Sutton, Artistic Director of C&T, UK 10 The ROOTS of US applied theatre economies Paul Bonin-Rodriguez, University of Texas, USA 11 The theatre dividend: Reflecting on the value of a theatre and social housing partnership in Bolton (UK) Ben Dunn, University of Manchester, UK, and Jenny Hughes, University of Manchester, UK Afterword Endnotes Select Bibliography
Applied Theatre: Economies examines applied theatre's relationship to its economic contexts and the ways in which socially committed theatre-makers fund, finance or otherwise resource their work. It features six international case studies that illuminate different ways of resourcing applied theatre.
Molly Mullen is a Senior Lecturer in Applied Theatre at the University of Auckland's Faculty of Education and Social Work. She has produced theatre education, youth theatre and community arts projects in the UK and New Zealand.
Molly Mullen's Applied Theatre: Economies is an insightful contribution that further troubles simplistic binaries framing socially engaged theatre and the ways in which it might negotiate the neoliberal economy while maintaining ethical, intellectual and aesthetic integrity. This book provides inspiring examples of how artists and companies can successfully negotiate the dichotomies of self-interest vs altruism. * Australian Drama Studies *