Selina Busby is professor of applied and social theatre at The Royal Central School of Speech and Drama. Her research and practice focuses on theatre that invites the possibility of change. She is a researcher who uses participatory and emancipatory research methods with people living in adverse conditions, both in the UK and internationally. Recent publications include Applied Theatre: A Pedagogy of Utopia (2021).Kelly Freebody is an associate professor in the Faculty of Arts and Social Sciences at the University of Sydney. Her research focuses on drama, applied theatre, social justice, creativity in education, and school-community relationships. Her teaching interests include drama pedagogy and critical perspectives in education. She is co-editor of the Applied Theatre Research Journal, and co-editor of the Routledge Learning Through Theatre series.Charlene Rajendran is an associate professor at the National Institute of Education – Nanyang Technological University, Singapore. She is a theatre educator, researcher, and dramaturg whose interests include contemporary performance, play-based pedagogy, and arts leadership. She is currently the co-director of the Asian Dramaturgs’ Network.

• 1. Introduction Selina Busby, Kelly Freebody and Charlene RajendranPart 1: Political Utterances 2. Bodyliness in European applied theatre projects. Reflecting on the importance of inviting the body to the Workshop’s RoomGabriel Vivas-MartínezReflection 1: On the Importance of Big Umbrellas: Applied Theatre as a Hopeful Practice in Precarious TimesKathleen Gallagher. 3. Becoming Giants: Towards Oceania Through Mastery of Bodily Skills and Techniques.Peilin Liang4. Navigating Adultism in Critical Youth Theatre PracticeMatthew ElliotReflection 2: We are Still Here and Why We Do Theatre Mardin Mahmoudpour5. The Manipulation of Mowgli: Performing Youth, Deconstructing Racialization, and Tracing Imperialism in The Jungle Book.Asif Majid6. Shakespeare Youth Performance Festivals as Spaces for Postcolonial RestoryingJennifer KitchenReflection 3: What defines the dramaturgy of Young Peoples Theatre (YPYT) And who defines it?Janet Pillai7. Performing Violence, devising Futures? Performance with and by Young People in Rwanda and UgandaHope Azeda, Lillian Mbabazi, and Bobby SmithReflection 4: Theatre to Raise a Village. Patrick Alesana, Irene Folau, Agnes Milford, et al.8. Scotland’s Youth Theatre and Drama Sector. William D Barlow and Douglas IrvinePart 2: Critical Positioning 9. Arena Theatre Company: Making theatre with young people as a methodology for making theatre for young peopleMeg Upton, Richard Sallis, Christian Leavesley, et al. Reflection 5: Theatre Makes Me Think Again Kirubael Alebachew.10. ‘Home Grown' Productions for Their Own Young People: Researching Community Theatre Groups in KwaZulu Natal, South AfricaEmma Durden11. Re-thinking "theatre" during social distancing: How Cosmic Kids Yoga got us through a pandemic. Dani Snyder-Young, with Des Bennett, Anna Birnholz et al.12. Theatre of Hope: PaGaSa in the Praxis of Youth Advocates Through Theatre Arts (YATTA)Dessa Quesada Palm and Jazmin Llana13. Trials and Tribulations: Creating Theatre for Young Audiences With or Without Youth David Montgomery, Gina L. Grandi, Teresa A. Fisher et al. Reflection 6: At the Water’s Edge: Theatre as a Space for Reflection Theo Chen. 14. Between Past and Future: Edward Bond and he Representation of Adolescent CrisisMartin Heaney15. The Imagined Child Onstage: Theatrical Depictions of Parental Grief during Transition for Youth on the Autism SpectrumMolly MattainiReflection 7: Theatre: the humanizing social metaphor. Sanjoy Ganguly16. Access to Theatre for Young People in India: Thespo’s Journey through Change and Challenge from 1999 to 2021Srishti Ray and Srividya17. Verbatim Formula: Affect, Agency and Participatory Performance with Care-experienced Young PeopleMaggie Inchley and Sylvan BakerPart 3: Pedagogic Frames 18. "Writing What Matters to me": Voicing Latinx Youth Concerns Through Theatre ScriptwritingClaudia G. Pineda, Rossella Santagata, and Joseph Jenkins.19. Let Them Speak: Devised Theatre as a Culturally Responsive Methodology for Secondary StudentsJonathan P. Jones.Reflection 8: A Chain of Creative Bombs Tom Anderson20. The Artistic and Pedagogical Experience at The Casa Do Teatro, BrazilLígia Cortez.21. Botanical Drama- Theatre for Young People Justine Marie Bruyère.Reflection 9: "But damn it, without the illusion, what would man have been then?" Stig A. Eriksson.22. To the syllabus and Beyond: Yong People learning Through Theatre Making in Australian Schools.Katy Walsh and Christine Hatton23. A Dialogue Across the Cricle: Creating 'Authentic' Theatre for Achievement Standards in New Zealand Secondary SchoolsJane Isobel Luton and Holly Charlotte Luton.Reflection 10: What’s it like your youth theatre like? Ella Sutton and Kate Sutton24. Artist and teacher supported extra-curricular theatre in secondary schools: Exploring the benefits of a ‘betwixt and between’ youth theatre formJennifer Penton, Julie Dunn, Linda Hassall, et al.25. Making Space: a community-engaged youth theatre practice grounded in care. Alysha Herrmann, Claire Glenn and Sarah Peters.Part 4: Applying Performance Reflection 11: Dancing towards Dreams Helen Nicholson26. ‘What does transformative justice look like?’: Clean Break Theatre Company and the Young Artists Development ProgrammeSarah Bartley27. SExT: Sex Education by Theatre — Empowering youth from a community where sex is culturally taboo to take centre stageShira B. TaylorReflection 12: Theatre for Learning Expression and Empathy from the Margins Kisan Salbul and Sana Shaikh28. ‘I do the story I tell’ – Theatre-making for children living on the margins in Singapore.Jennifer Wong29. United we stand? Devised Theatre for Social Change with youth in a tumultuous AmericaElizabeth Brendel Horn and Tonya Hays30. All the Stage is a World: Prospects for Virtual Reality Theatre with Young PeoplePaul Rae and Jennifer BeckettReflection 13: A Life Changing Journey in the Karoo, South Africa Adrian Tony 31. Young People’s Theatre in Thailand: A Performance Ecology Approach Pornrat Damrhung32. Imagining Alternative Futures for Marginalised Communities in Taiwan Through Devised Theatre with University Students in Educational and Community SettingsWan-Jung WangReflection 14: Moments of Truth John O’TooleReflection 15: An Open Letter to Young Theatre Practitioners Syed Jamil Ahmed

Selina Busby is professor of applied and social theatre at The Royal Central School of Speech and Drama. Her research and practice focuses on theatre that invites the possibility of change. She is a researcher who uses participatory and emancipatory research methods with people living in adverse conditions, both in the UK and internationally. Recent publications include Applied Theatre: A Pedagogy of Utopia (2021).Kelly Freebody is an associate professor in the Faculty of Arts and Social Sciences at the University of Sydney. Her research focuses on drama, applied theatre, social justice, creativity in education, and school-community relationships. Her teaching interests include drama pedagogy and critical perspectives in education. She is co-editor of the Applied Theatre Research Journal, and co-editor of the Routledge Learning Through Theatre series.Charlene Rajendran is an associate professor at the National Institute of Education – Nanyang Technological University, Singapore. She is a theatre educator, researcher, and dramaturg whose interests include contemporary performance, play-based pedagogy, and arts leadership. She is currently the co-director of the Asian Dramaturgs’ Network.

• 1. Introduction Selina Busby, Kelly Freebody and Charlene RajendranPart 1: Political Utterances 2. Bodyliness in European applied theatre projects. Reflecting on the importance of inviting the body to the Workshop’s RoomGabriel Vivas-MartínezReflection 1: On the Importance of Big Umbrellas: Applied Theatre as a Hopeful Practice in Precarious TimesKathleen Gallagher. 3. Becoming Giants: Towards Oceania Through Mastery of Bodily Skills and Techniques.Peilin Liang4. Navigating Adultism in Critical Youth Theatre PracticeMatthew ElliotReflection 2: We are Still Here and Why We Do Theatre Mardin Mahmoudpour5. The Manipulation of Mowgli: Performing Youth, Deconstructing Racialization, and Tracing Imperialism in The Jungle Book.Asif Majid6. Shakespeare Youth Performance Festivals as Spaces for Postcolonial RestoryingJennifer KitchenReflection 3: What defines the dramaturgy of Young Peoples Theatre (YPYT) And who defines it?Janet Pillai7. Performing Violence, devising Futures? Performance with and by Young People in Rwanda and UgandaHope Azeda, Lillian Mbabazi, and Bobby SmithReflection 4: Theatre to Raise a Village. Patrick Alesana, Irene Folau, Agnes Milford, et al.8. Scotland’s Youth Theatre and Drama Sector. William D Barlow and Douglas IrvinePart 2: Critical Positioning 9. Arena Theatre Company: Making theatre with young people as a methodology for making theatre for young peopleMeg Upton, Richard Sallis, Christian Leavesley, et al. Reflection 5: Theatre Makes Me Think Again Kirubael Alebachew.10. ‘Home Grown' Productions for Their Own Young People: Researching Community Theatre Groups in KwaZulu Natal, South AfricaEmma Durden11. Re-thinking "theatre" during social distancing: How Cosmic Kids Yoga got us through a pandemic. Dani Snyder-Young, with Des Bennett, Anna Birnholz et al.12. Theatre of Hope: PaGaSa in the Praxis of Youth Advocates Through Theatre Arts (YATTA)Dessa Quesada Palm and Jazmin Llana13. Trials and Tribulations: Creating Theatre for Young Audiences With or Without Youth David Montgomery, Gina L. Grandi, Teresa A. Fisher et al. Reflection 6: At the Water’s Edge: Theatre as a Space for Reflection Theo Chen. 14. Between Past and Future: Edward Bond and he Representation of Adolescent CrisisMartin Heaney15. The Imagined Child Onstage: Theatrical Depictions of Parental Grief during Transition for Youth on the Autism SpectrumMolly MattainiReflection 7: Theatre: the humanizing social metaphor. Sanjoy Ganguly16. Access to Theatre for Young People in India: Thespo’s Journey through Change and Challenge from 1999 to 2021Srishti Ray and Srividya17. Verbatim Formula: Affect, Agency and Participatory Performance with Care-experienced Young PeopleMaggie Inchley and Sylvan BakerPart 3: Pedagogic Frames 18. "Writing What Matters to me": Voicing Latinx Youth Concerns Through Theatre ScriptwritingClaudia G. Pineda, Rossella Santagata, and Joseph Jenkins.19. Let Them Speak: Devised Theatre as a Culturally Responsive Methodology for Secondary StudentsJonathan P. Jones.Reflection 8: A Chain of Creative Bombs Tom Anderson20. The Artistic and Pedagogical Experience at The Casa Do Teatro, BrazilLígia Cortez.21. Botanical Drama- Theatre for Young People Justine Marie Bruyère.Reflection 9: "But damn it, without the illusion, what would man have been then?" Stig A. Eriksson.22. To the syllabus and Beyond: Yong People learning Through Theatre Making in Australian Schools.Katy Walsh and Christine Hatton23. A Dialogue Across the Cricle: Creating 'Authentic' Theatre for Achievement Standards in New Zealand Secondary SchoolsJane Isobel Luton and Holly Charlotte Luton.Reflection 10: What’s it like your youth theatre like? Ella Sutton and Kate Sutton24. Artist and teacher supported extra-curricular theatre in secondary schools: Exploring the benefits of a ‘betwixt and between’ youth theatre formJennifer Penton, Julie Dunn, Linda Hassall, et al.25. Making Space: a community-engaged youth theatre practice grounded in care. Alysha Herrmann, Claire Glenn and Sarah Peters.Part 4: Applying Performance Reflection 11: Dancing towards Dreams Helen Nicholson26. ‘What does transformative justice look like?’: Clean Break Theatre Company and the Young Artists Development ProgrammeSarah Bartley27. SExT: Sex Education by Theatre — Empowering youth from a community where sex is culturally taboo to take centre stageShira B. TaylorReflection 12: Theatre for Learning Expression and Empathy from the Margins Kisan Salbul and Sana Shaikh28. ‘I do the story I tell’ – Theatre-making for children living on the margins in Singapore.Jennifer Wong29. United we stand? Devised Theatre for Social Change with youth in a tumultuous AmericaElizabeth Brendel Horn and Tonya Hays30. All the Stage is a World: Prospects for Virtual Reality Theatre with Young PeoplePaul Rae and Jennifer BeckettReflection 13: A Life Changing Journey in the Karoo, South Africa Adrian Tony 31. Young People’s Theatre in Thailand: A Performance Ecology Approach Pornrat Damrhung32. Imagining Alternative Futures for Marginalised Communities in Taiwan Through Devised Theatre with University Students in Educational and Community SettingsWan-Jung WangReflection 14: Moments of Truth John O’TooleReflection 15: An Open Letter to Young Theatre Practitioners Syed Jamil Ahmed

Selina Busby is professor of applied and social theatre at The Royal Central School of Speech and Drama. Her research and practice focuses on theatre that invites the possibility of change. She is a researcher who uses participatory and emancipatory research methods with people living in adverse conditions, both in the UK and internationally. Recent publications include Applied Theatre: A Pedagogy of Utopia (2021).Kelly Freebody is an associate professor in the Faculty of Arts and Social Sciences at the University of Sydney. Her research focuses on drama, applied theatre, social justice, creativity in education, and school-community relationships. Her teaching interests include drama pedagogy and critical perspectives in education. She is co-editor of the Applied Theatre Research Journal, and co-editor of the Routledge Learning Through Theatre series.Charlene Rajendran is an associate professor at the National Institute of Education – Nanyang Technological University, Singapore. She is a theatre educator, researcher, and dramaturg whose interests include contemporary performance, play-based pedagogy, and arts leadership. She is currently the co-director of the Asian Dramaturgs’ Network.

• 1. Introduction Selina Busby, Kelly Freebody and Charlene RajendranPart 1: Political Utterances 2. Bodyliness in European applied theatre projects. Reflecting on the importance of inviting the body to the Workshop’s RoomGabriel Vivas-MartínezReflection 1: On the Importance of Big Umbrellas: Applied Theatre as a Hopeful Practice in Precarious TimesKathleen Gallagher. 3. Becoming Giants: Towards Oceania Through Mastery of Bodily Skills and Techniques.Peilin Liang4. Navigating Adultism in Critical Youth Theatre PracticeMatthew ElliotReflection 2: We are Still Here and Why We Do Theatre Mardin Mahmoudpour5. The Manipulation of Mowgli: Performing Youth, Deconstructing Racialization, and Tracing Imperialism in The Jungle Book.Asif Majid6. Shakespeare Youth Performance Festivals as Spaces for Postcolonial RestoryingJennifer KitchenReflection 3: What defines the dramaturgy of Young Peoples Theatre (YPYT) And who defines it?Janet Pillai7. Performing Violence, devising Futures? Performance with and by Young People in Rwanda and UgandaHope Azeda, Lillian Mbabazi, and Bobby SmithReflection 4: Theatre to Raise a Village. Patrick Alesana, Irene Folau, Agnes Milford, et al.8. Scotland’s Youth Theatre and Drama Sector. William D Barlow and Douglas IrvinePart 2: Critical Positioning 9. Arena Theatre Company: Making theatre with young people as a methodology for making theatre for young peopleMeg Upton, Richard Sallis, Christian Leavesley, et al. Reflection 5: Theatre Makes Me Think Again Kirubael Alebachew.10. ‘Home Grown' Productions for Their Own Young People: Researching Community Theatre Groups in KwaZulu Natal, South AfricaEmma Durden11. Re-thinking "theatre" during social distancing: How Cosmic Kids Yoga got us through a pandemic. Dani Snyder-Young, with Des Bennett, Anna Birnholz et al.12. Theatre of Hope: PaGaSa in the Praxis of Youth Advocates Through Theatre Arts (YATTA)Dessa Quesada Palm and Jazmin Llana13. Trials and Tribulations: Creating Theatre for Young Audiences With or Without Youth David Montgomery, Gina L. Grandi, Teresa A. Fisher et al. Reflection 6: At the Water’s Edge: Theatre as a Space for Reflection Theo Chen. 14. Between Past and Future: Edward Bond and he Representation of Adolescent CrisisMartin Heaney15. The Imagined Child Onstage: Theatrical Depictions of Parental Grief during Transition for Youth on the Autism SpectrumMolly MattainiReflection 7: Theatre: the humanizing social metaphor. Sanjoy Ganguly16. Access to Theatre for Young People in India: Thespo’s Journey through Change and Challenge from 1999 to 2021Srishti Ray and Srividya17. Verbatim Formula: Affect, Agency and Participatory Performance with Care-experienced Young PeopleMaggie Inchley and Sylvan BakerPart 3: Pedagogic Frames 18. "Writing What Matters to me": Voicing Latinx Youth Concerns Through Theatre ScriptwritingClaudia G. Pineda, Rossella Santagata, and Joseph Jenkins.19. Let Them Speak: Devised Theatre as a Culturally Responsive Methodology for Secondary StudentsJonathan P. Jones.Reflection 8: A Chain of Creative Bombs Tom Anderson20. The Artistic and Pedagogical Experience at The Casa Do Teatro, BrazilLígia Cortez.21. Botanical Drama- Theatre for Young People Justine Marie Bruyère.Reflection 9: "But damn it, without the illusion, what would man have been then?" Stig A. Eriksson.22. To the syllabus and Beyond: Yong People learning Through Theatre Making in Australian Schools.Katy Walsh and Christine Hatton23. A Dialogue Across the Cricle: Creating 'Authentic' Theatre for Achievement Standards in New Zealand Secondary SchoolsJane Isobel Luton and Holly Charlotte Luton.Reflection 10: What’s it like your youth theatre like? Ella Sutton and Kate Sutton24. Artist and teacher supported extra-curricular theatre in secondary schools: Exploring the benefits of a ‘betwixt and between’ youth theatre formJennifer Penton, Julie Dunn, Linda Hassall, et al.25. Making Space: a community-engaged youth theatre practice grounded in care. Alysha Herrmann, Claire Glenn and Sarah Peters.Part 4: Applying Performance Reflection 11: Dancing towards Dreams Helen Nicholson26. ‘What does transformative justice look like?’: Clean Break Theatre Company and the Young Artists Development ProgrammeSarah Bartley27. SExT: Sex Education by Theatre — Empowering youth from a community where sex is culturally taboo to take centre stageShira B. TaylorReflection 12: Theatre for Learning Expression and Empathy from the Margins Kisan Salbul and Sana Shaikh28. ‘I do the story I tell’ – Theatre-making for children living on the margins in Singapore.Jennifer Wong29. United we stand? Devised Theatre for Social Change with youth in a tumultuous AmericaElizabeth Brendel Horn and Tonya Hays30. All the Stage is a World: Prospects for Virtual Reality Theatre with Young PeoplePaul Rae and Jennifer BeckettReflection 13: A Life Changing Journey in the Karoo, South Africa Adrian Tony 31. Young People’s Theatre in Thailand: A Performance Ecology Approach Pornrat Damrhung32. Imagining Alternative Futures for Marginalised Communities in Taiwan Through Devised Theatre with University Students in Educational and Community SettingsWan-Jung WangReflection 14: Moments of Truth John O’TooleReflection 15: An Open Letter to Young Theatre Practitioners Syed Jamil Ahmed