Introduction |
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1 | (28) |
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The Development and Practice of the OPOS Project |
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8 | (2) |
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My Professional Practice: Overview |
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10 | (2) |
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Contentious and Dangerous: The Difficulty of Talking Openly About Sexual Health |
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12 | (2) |
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The Moral Pitfalls of Effectiveness: The Impact Question |
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14 | (2) |
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Disrupting Notions of Value: A Responsive, Conscious Research Approach |
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16 | (3) |
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How to Read the Book: A Subtle Something in Practice |
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19 | (4) |
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23 | (6) |
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29 | (106) |
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Chapter 1 HIV/AIDS and the Challenge for Socially Engaged Theatre-Making |
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31 | (46) |
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33 | (3) |
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The Global HIV Context with a Specific Focus on the South African Situation |
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36 | (3) |
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39 | (5) |
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The Potential of Social Communication Around HIV |
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44 | (3) |
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Applied Theatre: Theatre and the Social |
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47 | (5) |
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More Than Transformation: Identifying the Something |
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52 | (5) |
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57 | (3) |
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Reclaiming and Naming Our Own Values: Apertures of Possibility |
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60 | (5) |
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65 | (12) |
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Chapter 2 The Context for Our Place, Our Stage |
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77 | (58) |
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A Lack of Governance: Challenges Facing South Africa Today |
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79 | (3) |
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Impact on Health and Poverty |
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82 | (4) |
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86 | (3) |
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89 | (9) |
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98 | (8) |
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98 | (3) |
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Nyanga: A `Model' Township? |
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101 | (5) |
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106 | (8) |
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106 | (2) |
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Etafeni: `At the Open Space' |
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108 | (2) |
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Our Place, Our Stage (OPOS) |
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110 | (4) |
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`I was so scared when he told me I had a cold vagina': The Impact of the Omnipresent Fear of Crime and Experiences of Crime |
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114 | (8) |
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122 | (13) |
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135 | (130) |
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Chapter 3 Applied Theatre: A Space `Safe Enough' to Take Risks? |
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137 | (44) |
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Sex Is Always About Space: The Challenge of Making the Idea of Safe Sex Tangible |
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140 | (4) |
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Place: Not Necessarily a `Safe Space' |
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144 | (13) |
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Home Is Not a `Safe Space' |
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152 | (5) |
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Moving from Places of Safety to Spaces of Resistance |
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157 | (2) |
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Disharmony: The Outside Space |
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159 | (7) |
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Tangible Connections in the Representational Spaces |
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166 | (10) |
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The First Exercise Sequence |
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167 | (2) |
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The Second Exercise Sequence |
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169 | (7) |
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176 | (5) |
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Chapter 4 `If You Want to Be Safe, You Must Stay at Home': Dialogical Spaces and Repressive Outcomes |
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181 | (40) |
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Brenda and Javas: Risky Characterisations |
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184 | (4) |
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The Impact of Playful Risk-Taking |
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188 | (2) |
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Setting Up a Dialogical Space: A `Risk-Sharing' Community? |
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190 | (7) |
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Contagion and Discipline = A Means of Protection? |
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197 | (3) |
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A Moral Tale or an Extension of Contagion? |
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200 | (3) |
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Tactical Action: An Alternative Outcome |
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203 | (6) |
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The Nudge: The Challenge to Me as an Applied Theatre Practitioner |
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209 | (7) |
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216 | (5) |
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Chapter 5 Apertures of Possibility: A Subtle Form of Resistance? |
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221 | (44) |
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Something More Subtle Than Empowerment? |
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226 | (4) |
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Affective, Circulating Emotions |
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230 | (3) |
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Performing Moments of Hope |
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233 | (6) |
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Scrutinising Moments of Hope |
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239 | (6) |
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245 | (10) |
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Postscript to the Projects |
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255 | (5) |
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260 | (5) |
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265 | (10) |
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Making Spaces Towards Conclusions |
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265 | (4) |
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269 | (1) |
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A Point on Hope and Tactics |
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270 | (2) |
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Postscript: Looking Forward and Revelling in a Shared, Felt History |
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272 | (1) |
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273 | (2) |
Glossary |
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275 | (2) |
References |
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277 | (34) |
Index |
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311 | |