Working with Children in Contemporary Performance: Ethics, Agency and Affect

This book explores an innovative 'rights-based model of contemporary performance practice' for working with children and young people, challenging the idea of children as vulnerable and in need of protection and championing their creativity. It draws on research and practitioner experience to analyse Youth Arts pedagogies, inclusive theatre practice, models of participation, and the symbolic potential of the child in performance.

Format: Paperback / softback
Length: 174 pages
Publication date: 13 June 2024
Publisher: Taylor & Francis Ltd

This book presents a groundbreaking ‘rights-based model of contemporary performance practice’ that challenges the notion of children as vulnerable and in need of protection, emphasizes the recognition of their voices, and celebrates their creativity in performance. Drawing on extensive research and practical experience, Sarah Austin explores Youth Arts pedagogies, inclusive theatre practice, models of participation, the symbolic potential of children in performance, and the work of contemporary theatre practitioners creating work for adult audiences. The book offers a fresh and nuanced perspective on children as cultural agents, highlighting the potential for a creative process that prioritizes a deeper understanding of their strengths and capacities.

The book is primarily intended for scholars of theatre and performance studies, particularly those working in applied theatre and theatre for children and young people. Additionally, the practice-based elements of the book will appeal to theatre professionals working in youth arts, theatre for young audiences, or related fields.

The book begins by outlining the rights-based model of contemporary performance practice, which is framed by the United Nations Convention on the Rights of the Child (1989). This model challenges the traditional view of children as vulnerable and in need of protection, arguing that they have the right to express themselves and be heard. It emphasizes the importance of recognizing the child's voice and championing their creativity in performance.

Austin then delves into the research and practitioner experience that informs her analysis. She examines Youth Arts pedagogies, inclusive theatre practice, models of participation, the symbolic potential of the child in performance, and the work of contemporary theatre practitioners making work for adult audiences. The book provides a comprehensive overview of these topics, drawing on a wide range of sources and examples.

One of the key themes of the book is the importance of creating a safe and supportive environment for children to engage in performance. Austin argues that this environment should be characterized by respect, empathy, and understanding, and that it should provide opportunities for children to express themselves creatively. She highlights the role of theatre practitioners in creating such environments and the importance of their training and development.

Another important theme of the book is the recognition of the child's voice in performance. Austin argues that children have unique perspectives and experiences that can be valuable in performance, and that they should be given the opportunity to express themselves in their own words. She provides examples of successful youth arts programs that have embraced the child's voice and have seen positive outcomes for children.

In addition to the theoretical and practical aspects of the book, Austin also provides a number of case studies that illustrate the application of the rights-based model of contemporary performance practice. These case studies include examples of youth arts programs, inclusive theatre practices, and contemporary theatre productions that have engaged children and young people in meaningful and creative ways.

One of the strengths of the book is its ability to bridge the gap between theory and practice. Austin provides a clear and concise explanation of the theoretical concepts that underpin the rights-based model of contemporary performance practice, and then demonstrates how these concepts can be applied in practice. This makes the book accessible to a wide range of readers, including practitioners, students, and researchers.

Another strength of the book is its emphasis on the importance of collaboration and partnership. Austin argues that collaboration and partnership are essential for creating successful youth arts programs and for engaging children and young people in meaningful and creative ways. She provides examples of successful collaborations and partnerships and highlights the benefits of working with other professionals and organizations.

However, the book also has some limitations. One of the main limitations is its focus on the United States and Europe. While the rights-based model of contemporary performance practice is applicable to a wide range of contexts, Austin's analysis is primarily based on examples from these regions. This may limit the book's relevance to practitioners and researchers working in other parts of the world.

Another limitation of the book is its lack of attention to the impact of technology on children's performance. While Austin acknowledges the potential of technology to enhance children's performance, she does not provide a comprehensive analysis of the impact of technology on children's creativity and engagement. This is an important issue that requires further research and attention.

In conclusion, this book presents a groundbreaking ‘rights-based model of contemporary performance practice’ that challenges the notion of children as vulnerable and in need of protection, emphasizes the recognition of their voices, and celebrates their creativity in performance. Drawing on extensive research and practical experience, Sarah Austin explores Youth Arts pedagogies, inclusive theatre practice, models of participation, the symbolic potential of children in performance, and the work of contemporary theatre practitioners creating work for adult audiences. The book offers a fresh and nuanced perspective on children as cultural agents, highlighting the potential for a creative process that prioritizes a deeper understanding of their strengths and capacities. While the book has some limitations, it is a valuable resource for scholars of theatre and performance studies, particularly those working in applied theatre and theatre for children and young people.

Weight: 288g
Dimension: 156 x 234 x 16 (mm)
ISBN-13: 9781032459622