‘The Production of Space’, in: Frans Jacobi, Imagine, Space Poetry, Copenhagen, 1996, unpaginated.

The Production of Space

After virtue, a study in moral theory

basic research and clinical data in an attempt to derive a cohesive model which explains the behavioral effects of the drug. Johnson is an experimental psychologist, and his work underlies many of the chapters which suggest that lithium decreases the behavioral response to novel external stimuli. He then utilizes this foundation to propose a cognitive model for lithium's anti-manic action, its inhibition of violent impulsivity, and its prophylactic effects in recurrent depression. Previous formulations which were clinically based, such as that of Mabel Blake Cohen and her associates, stressed the primacy of depression and noted the \"manic defense\" as an attempt to ward off intolerable depression. In direct contrast, Johnson views mania as the primary disturbance in bipolar disorder. He considers depression in bipolar disease as an over-zealous homeostatic inhibitory responsf to a maniaassociated cognitive overload. Consistent with this, he believes, lit lum exerts its anti-manic effect by decreasing cognitive processing in a manner analogous to his animal studies. Johnson also suggests that lithium exerts its prophylactic effect in recurrent depressions by treating subclinical mania. These concepts are supported by the work of Johnson's associate, Kukopulos, to whom the book is dedicated. The bulk of the research which describes the cognitive disturbance in mania is complex, however, and uncomfortably open to multiple interpretations. Recognized as a preliminary effort, Johnson's formulation may help to guide further research. Although Johnson clearly traces lithium actions through a broad range of subjects, his discussion of the neurophysiological aspects of this drug is notably spotty. In particular, Johnson ignores the work of Svensson, DeMontigny, Aghajanian, and others who suggest that serotonergic systems may play an important role in the antidepressant actions of lithium. As a result, he fails to discuss one of the most important current uses of lithium: as an agent used in conjunction with antidepressant medications to increase treatment response in medication-resistant forms of depression. Lithium augmentation of antidepressant medication also challenges the formulation presented by Johnson. This formulation suggests that lithium should have no therapeutic value in patients, such as those with endogenous depression, who already \"under-process\" cognitive information. The omission of lithium augmentation in depression is clearly unfortunate in this text. Overall, this volume demonstrates the benefits of a single-authored text. It it clearly organized and readable. The bibliography is also broad and useful. In this book, Johnson primarily addresses a research audience, and his model seems designed to stimulate thought rather than to improve clinical technique. In this capacity, his book will be of most interest to behavioral psychologists. Other books, focusing purely on clinical data, may be more useful to clinicians. Nevertheless, the clear organization, the large bibliography, and the thoughtful presentation may make this text a useful addition to a clinical library as well.

The Body in Pain: The Making and Unmaking of the World.

Theatre of the Oppressed

Unmarked: The Politics of Performance, Peggy Phelan. London: Routtedge, 1993. xi + 207 pp., figures, notes, bibliography, index.

Unmarked: The Politics of Performance

This introductory article for a themed edition on environmentalism provides a particular context for those articles that follow, each of which engages with different aspects of environmentalism and performance in community-related settings. Responding to the proposition of Bottoms that there is a lacuna in the field of applied drama and environmentalism, we suggest that the more significant lack is that of ecocriticism. As the articles in this journal testify, there are many examples of applied theatre practice; what is required is sustained and rigorous critical engagement. It is to the gap of ecocriticism that we address this issue, signalling what we hope is the emergence of a critical field. One response to the multiple challenges of climate change is to more transparently locate the human animal within the environment, as one agent amongst many. Here, we seek to transparently locate the critic, intertwining the personal – ourselves, human actants – with global environmental concerns. This tactic mirr...

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Environmentalism, performance and applications: uncertainties and emancipations

As the twenty-first century moves towards its third decade, applied theatre is being shaped by contemporary economic and environmental concerns and is contributing to new conceptual paradigms that influence the ways in which socially engaged art is produced and understood. This collection offers fresh perspectives on the aesthetics, politics and histories of applied theatre. With contributions from leading scholars in the field, the book illuminates theatre in a diverse range of global contexts and regions. Divided into three sections - histories and cultural memories; place, community and environment; and poetics and participation - the chapters interweave cutting-edge theoretical insights with examples of innovative creative practice that traverse different places, spaces and times. Essential reading for researchers and artists working within applied theatre, this collection will also be of interest to those in theatre and performance studies, education, cultural policy, social history and cultural geography.

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Performing Location: Place and Applied Theatre

An introductory editorial on the articles included in this special issue of Research in Drama Education, which has as its theme, 'On site and place'.

/pdf/taking-place-some-reflections-on-site-performance-and-3m7oy4i3gl.pdf

Taking place: some reflections on site, performance and community

Applied theatre practice as research might be perceived as a curious conflation. Not greatly foregrounded in the literature on applied theatre or performance practice as research, this article engages with the particularities of such a pairing. Beginning with identifying why a consideration is timely, ‘the practice as research’ and ‘social’ turns are invoked and analysed as relevant contexts to consider applied theatre practice as research. Two projects are offered, providing specific examples for discussion. Revealed by increased scrutiny, some broader epistemological questions emerge concerning power, hierarchy of knowledge and research ‘authoring’. A metaphor of polyphonic conversations is offered as an amplification of the applied theatre practical research methodological terrain. Encouraging the basis of many sets of voices contributing to research and potentially negotiating concerns about power hierarchies and knowledge production, the metaphor provokes a fluidity of epistemology, including...

https://www.tandfonline.com/doi/pdf/10.1080/13569783.2016.1220250

Applied theatre and practice as research: polyphonic conversations

Theatre Applications was an international conference convened by the Central School of Speech and Drama, London, in April 2010. Framed by the subheading ‘Performance with a purpose’, the call for p...

Sally Mackey

Papers

Environmentalism, performance and applications: uncertainties and emancipations

Performing Location: Place and Applied Theatre

Taking place: some reflections on site, performance and community

Applied theatre and practice as research: polyphonic conversations

Introduction to Rustom Bharucha's keynote lecture: Problematising applied theatre: a search for alternative paradigms