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Focus Groups T-W: Theatre and Social Change
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Theatre and Social Change

For more information about the Theatre and Social Change focus group, click here to send an e-mail to the focus group leadership.

Theatre and Social Change has long been a mainstay in ATHE, home to many scholars and practitioners who are both university affiliated and non-affiliated, and those who are in as well as out of the United States. While of particular interest over the last few years has been the work being done to address Theatre of the Oppressed - scholarship, practice, ethics, and more - the range of interests is quite long: prisons, cross-culture, health, politics, and anywhere a bit of pressure for change might apply. The nature of TASC has long been interdisciplinary even for theatre, and hopes that the TASC community continues to challenge the status quo.

View TASC meeting minutes here.


Focus Group Representative (2018-2019)
Beliza Torres Narváez                                                                      

Conference Planner (2017-2018)
Theresa R. Dudeck

Conference Planner Elect (2019-2020)

Michelle Hayford

Secretary/Treasurer (2018-2019)

 Inga Meieri

Members at Large

Christine Iaderosa

Andrew Gaines

Jacqueline Viskup

Graduate Student Representatives
Simonita Simkins

Kathryn Farley

Pre-Conference Organizers (2018)                          
Michael Mufson

Amanda Dawson


Group Feed
Jean O'Hara joined the group Focus Groups T-W: Theatre and Social Change.
Posted Wednesday, October 25, 2017
Farrah Crane joined the group Focus Groups T-W: Theatre and Social Change.
Posted Tuesday, October 17, 2017
University of New Hampshire posted a new entry in the Theatre and Social Change blog in the group Focus Groups T-W: Theatre and Social Change.
Posted Friday, October 13, 2017
Ruth Hellier-Tinoco, University of California Santa Barbara wrote on the Focus Groups T-W: Theatre and Social Change wall: Professor seeking other panelists: Ruth Hellier-Tinoco, Ph.D. University of California, Santa Barbara, USA 805 284 7399 Performing Bodies of Postmemory through the Body of a Revolutionary: Zapata, Death without End On a tiny stage in a small theatre in the north of Mexico City, about a hundred and fifty public and performers co-mingle in the performance space. Row after row of velvet seats are empty, provocatively emphasizing the mixings of bodies on stage. Using a fluid yet structured framework of collective participation—fully-rehearsed scenarios, improvisational scenarios, and deliberately inclusive scenarios with the public—the charged space is re-formed time and again. This is the culmination of a year-long laboratory performance project titled Zapata: Death Without End (by La Máquina de Teatro) in which five theatre groups from five different states engaging five deeply diverse aesthetics used embodied inquiries to explore complexities of collective and personal memories, histories, and temporalities. They worked collaboratively through in-person workshops, at-distance virtual technologies and live performance, with the final public performance taking place in El Chopo, National Autonomous University of Mexico (UNAM). The project used the postmemory of iconic revolutionary leader Emiliano Zapata as the key to diverse body-based explorations. Zapata, a rural worker turned leader of the Mexican Revolution (1910-20), embodies activism for human rights, struggles for land and freedom, resistance, and community through heterogeneity. Through liminal and postdramatic theatre devising strategies, the five ensembles generated powerful re-visions of stereotypes and prejudices. Focusing on the idea of performing postmemory (Hirsch) I discuss the particular processes used throughout this project, suggesting that this model of theatre practice offers effective strategies for facilitating dialogues for social engagement with diverse groups, through an open- and multi-layered structure of playfulness and community creativity.
Posted Wednesday, October 11, 2017
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