Jamie Hipp

Bio: Jamie Hipp is an academic researcher from East Baton Rouge Parish School System. The author has contributed to research in topics: Timeline & Drama. The author has an hindex of 1, co-authored 1 publications receiving 3 citations.

Three decade drama/theatre and (for/with/by/about) youth crowd-sourced timeline

Abstract: What events, patterns, or people have shaped the field or marked its milestones since Youth Theatre Journal’s (YTJ’s) first issue in 1986? We put the call out to YTJ readers, this rich array of ent...

Casting youth/Developing identity: Casting and racial and ethnic identity development

Abstract: This essay explores how casting in youth-based applied theatre coincides with an important period of racial and ethnic identity development for adolescents and young adults. Using theory from devel...

Applied Theatre: International Case Studies and Challenges for Practice, 2nd Edition

Abstract: Applied Theatre: International Case Studies and Challenges for Practice, 2nd edition Monica Prendergast and Juliana Saxton, Eds. [Bristol: Intellect, 2016. 270 pp.]Edited by Monica Prendergast and Juliana Saxton, Applied Theatre is an introductory volume of international case studies in applied theatre. Including edited versions of over 30 case studies reprinted from a variety of journals and books, this text provides readers with a broad overview of different types of applied theatre. The first edition of Applied Theatre won the American Alliance for Theatre and Education's Distinguished Book Award in 2010, and the second edition has built on this and kept true to its subtitle by adding two new chapters (one on story and storytelling, and the other on documentary theatre) as well as 17 new case studies. The book is intended to be an introduction, so Prendergast and Saxton take a similar approach to other introductory works on applied theatre-like Tim Prentki and Sheila Preston's The Applied Theatre Reader-by dividing the book into four parts: "Theories, History, and Practices of Applied Theatre," "The Landscape of Applied Theatre," "The Locations of Applied Theatre," and "Challenges for Practice." Across the four parts, readers can expect to find chapters on ten different areas of applied theatre practice: popular theatre, documentary theatre, theatre in education, theatre of the oppressed (TO), theatre in health education, theatre for development, prison theatre, community-based theatre, museum theatre, and reminiscence theatre. This breadth facilitates Prendergast and Saxton's goal of assembling "the diversity of applied theatre practices," particularly for those who are "new to the field or seeking examples of experience" (p. xx). Each chapter begins with an introduction to the relevant area of applied theatre practice and concludes with practical activity and internet resource suggestions, useful for instructors and students alike.In Part 1, "Theories, History, and Practices of Applied Theatre," Prendergast and Saxton begin with a brief outline of what they mean by each of the aforementioned ten types of practice. There is also a short history of applied theatre, a practice they characterize as "inclusive" and "not carry[ing] any limited fixed agendas" (p. 6). Furthermore, the first chapter highlights a list of some essential threads of applied theatre, including a "focus on multiple perspectives" and "endings that remain open for questioning" (p. 11). The next chapter considers the role of the facilitator and scripting, with a brief consideration of the interaction between the two. It also offers four key areas for effective applied theatre, including participation, aesthetics, ethics/safety, and assessment. The interrelationship between these is at the heart of applied theatre, issues that Prendergast and Saxton return to in Part 4. Part 1 concludes with a chapter new to the 2016 edition that focuses on story and storytelling. Effective storytelling reflects challenges of engagement, shape, tension, voice, and gesture. Helpfully, the chapter on storytelling also considers some of the Part 2, "The Landscape of Applied Theatre," begins the examination of case studies that serves as the heart of this text. It features four forms of applied theatre: popular theatre, documentary theatre, theatre in education, and theatre of the oppressed. First, the chapter on what Prendergast and Saxton call popular theatre-also referred to as "grassroots theatre" that "draws on mythologies and folk tales" (p. 43)-considers it as spectacle in the UK, puppetry with at-risk indigenous youth in Australia, comic performance in Bangkok, and street theatre seeking to reduce mercury pollution among artisanal gold miners in Zimbabwe. Second, the chapter on documentary theatre-a practice that seeks "to inform audiences and to provoke community discussion or action on a wide range of issues" (p. 63)- draws examples from the post-colonial context of Angola, a fascinating project involving translators serving South Africa's Truth and Reconciliation Commission, a verbatim project with British mothers of sexually abused children, and testimonial theatre with asylum seekers in Australia. …