One of the first titles in this vibrant and eye-catching new series of short, sharp, shots for theater students.

Alan Read asserts that there is no split between the practice and theory of theatre, but a divide between the written and the unwritten. In this revealing book, he sets out to retrieve the theatre of spontaneity and tactics, which grows out of the experience of everyday life. It is a theatre which defines itself in terms of people and places rather than the idealised empty space of avant garde performance. Read examines the relationship between an ethics of performance, a politics of place and a poetics of the urban environment. His book is a persuasive demand for a critical theory of theatre which is as mentally supple as theatre is physically versatile.

This book asks important questions about making performance through the means of collaboration and co-created practice. It argues that we can align ethics and aesthetics with collaborative performance to realise the importance of being in association with one another, and being engaged through our shared imaginations. Evident in the examples of practice visited in this study is the attention given by a number of practitioners to the development of shared, co-operative modes of creation. Here, we can appreciate ethical work as being relational, forged in association with the others as we cultivate ideas that matter. In looking at a range of work from practitioners including Meg Stuart, Rosemary Lee, Deufert&Philschke and Fevered Sleep, Considering Ethics in Dance, Theatre and Performance explores ways that we rehearse by attending to ethics, aesthetics and co-creation. In learning to listen, to observe, to co-operate and to negotiate, these practitioners reveal the ways that they bring their work into existence through the transmission of shared meaning.

What is ethics and what has it got to do with theatre? Drawing on both theoretical material and practical examples, Ridout makes a clear and compelling critical intervention, raising fundamental questions about what theatre is for and how audiences interact with it.

Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Deleuze's philosophy for theatre and performance. Drawing from Goat Island, Butoh, Artaud and Kaprow, as well from Deleuze, Bergson and Laruelle, the book conceives performance as a way of thinking immanence.

Applied Theatre: Ethics explores what it means for applied theatre practice to be conducted in an ethical way and examines how this affects the work done with communities and participants. It considers how practitioners can balance aesthetics and ethics when creating performance, particularly with relatively inexperienced and often vulnerable groups of people who are being asked to both tell and stage their stories. The two sections bring together theoretical and practical ways for theatre-makers to examine the ethics of their applied theatre projects. Part One offers an overview of critical debates and the editors' reflections on their own practice. It introduces readers to ethics in applied theatre, informed by the thinking of philosophers, scholarly literature and the editors' own experience, including Indigenous perspectives on ethics and theatre. For applied theatre practitioners, it provides recommendations for community-based ethical approaches working with principles of voice, agency, care, service, collaboration, presence, relationality and reciprocity. Part Two presents a range of international case studies that explore how the theories and issues are worked out in a variety of diverse practices. It considers ethics from varying critical perspectives and contexts, including projects in Greece, Nigeria, Sri Lanka, Bangladesh, the United States, the United Kingdom, the Philippines and Canada. Covering work with participants of many ages, the case studies include the work of a professional dance theatre company working with people in substance abuse recovery in the UK, interactive drama used in an educational context in Nigeria, and the complexities around an applied theatre project on race in the US.

"This volume explores what it means for applied theatre practice to be conducted in an ethical way and examines how this affects the work done with communities and participants. It considers how practitioners can effectively balance aesthetics and ethics in the process of creating performance, particularly with relatively inexperienced and often vulnerable groups of people who are being asked to both tell and stage their stories. While Part One offers an overview of critical debates and the editors' reflections on their own practice, Part Two presents a range of international case studies that explore how the theories and issues are worked out in a variety of diverse practices. The two sections bring together both theoretical and practical ways for theatre-makers to examine the ethics of their applied theatre projects. In Part One, readers are presented with a critical introduction to ethics in applied theatre practice, informed by the thinking of philosophers, scholarly literature on applied theatre, and the editors' own experience, as they consider the question - What is the good? For practitioners working in the field of applied theatre, it provides recommendations for community-based ethical approaches working with principles of voice, agency, collaboration, relationality and reciprocity. Part Two presents a range of international case studies that consider ethics from varying critical perspectives and contexts, including projects in Australia, Nigeria, Sri Lanka, Bangladesh, the United Kingdom, and Canada. Covering work with participants of many ages, from children to seniors, the case studies include indigenous perspectives on a language revitalization project with the Hul'q'umi'num' people of British Columbia; the work of a professional dance theatre company working with addicts and people in recovery; interactive drama used in an educational context in Nigeria, and applied theatre projects in situations of trauma with refugees on the Greek island of Lesbos, among others"--