Into Abolitionist Theatre

Seeking to transform community-based theatre-making, this book explores the transformative potential of abolitionist theatre, as theatre artists and teachers collaborate with marginalized communities to challenge systems of oppression and inspire profound societal change. Focusing on the idea of bringing people together to demand collective care and community-led practice, this collection works to define theatre's role in the goals of abolition. Abolitionist theatre-making is a theatre that is connected to the practice of decolonization, intersectional feminism, climate justice, social justice, and liberation struggles. Exploring these ideas and offering a direct exploration of the questions that theatre artists and teachers should ask themselves when evaluating the abolitionist impact of their work, the volume provides accessible and practical tools for theatre-makers with perspectives from working practitioners throughout. Through real-life stories and experiences shared by theatre practitioners, the book provides a rich and diverse tapestry of examples that highlight the ways in which community-based theatre can contribute to transformational change. Readers will benefit from practical frameworks, thought-provoking perspectives, and thoughtfully crafted insights that inspire them to reimagine their own theatre practices and empower them to create theatre that challenges and dismantles oppressive systems while uplifting marginalized voices. Ideal for undergraduate and graduate students with an interest in utilizing theatre-making for social change, this book offers new and practical insights into how the path to abolition might be laid and theatre's key role in it. This book will also be of great interest to theatre artists and activist practitioners who are involved in community-based theatre projects with marginalized populations.

Rivka Eckert is an Assistant Professor in the Theatre and Dance Department at SUNY Potsdam, USA. Eckert is a community cultural development theatre-maker using performing arts as a means of cross-cultural communication. She has taught Theatre and English in prisons, high schools, and middle schools and worked with the Peace Corps in Samoa and Liberia.

Introduction Rivka Eckert SECTION I: Prison Industrial Complex/Capitalism 1. Interlude 1 2. Holding Ourselves Accountable and Holding Out for the Horizon: Facilitating the Arts in Prisons Julie Rada 3.Redefining Stereotypes: Abolitionist Theatre and Correctional Officers Rivka Eckert 4. Staging Student Resistance: A Case Study in Campus Abolitionist Theatre Misty Saribal 5. Amplifying Undocumented Stories: On Resisting the "Crimmigration" Regime at Albany Park Theater Project Devika Ranjan 6. Reflections on Section I SECTION II: No Reforms 7. Interlude 2 8. Radical Values in Reflection: Navigating Arts and Abolition with Incarcerated Youth Julie Rada and Maya Osterman-Van Grack 9. Abolition in Prisons and Teacher Education through Theatre of the Oppressed: A Conversation between Practitioners and Participants Rachael Rhoades and Lori Pitts 10. Disrupting Hierarchies: Theatre for Social Change as Rehearsal for Liberation in Secondary Education Aubrey Helene Neumann 11. Reflection on Section II Section III: Building Community 12. Interlude 3 13. The Takers' Tower Will Fall: Epic Lessons in Co-Creation Mariana Green and Alyssa Vera Ramos 14. Impact: A Conversation among Katherine Nigh, Robert Villanueva, and Brandon de Santiago Katherine Nigh 15. Creating a Supernova Elizabeth Hawes 16. The Power of Difference: Solidarity on the Path Sarah K. Chalmers 17. Reflections on Section III Section IV: Interconnection/Future Dreaming 18. Interlude 4 19. Spiritual Gifts for Changing Times/Paradigms Tyrell Blacquemoss 20. Gaining Freedom and Healing Through Theatre Lynn Baker-Nauman, MA, LMFT, RDT and Spoon Jackson 21. A Play Is a Vehicle to Incite: An Interview with Playwright Erika Dickerson-Despenza Nicholas Fesette 22. A Queer Jail-Time: Disclosure Art and Transformative Justice in Los Angeles Men's Central Jail Joey Martinez 23. Reflection on Section IV