Playbuilding As Arts-Based Research Av Joe Norris, Kevin Hobbs, Mirror Theatre

<p>The new edition of <i>Playbuilding as Qualitative Research</i> details how playbuilding (creating an original performative work with a group) as a methodology has developed in qualitative research over the last fifteen years.</p><p> </p><p>The second edition substantially updates the award winning first edition by making connections to current research theories, providing complete scripts with URL links to videos, and including a new section with interviews with colleagues. Chapter 1 provides an in-depth discussion of the epistemological, ontological, axiological, aesthetic, and pedagogic stances that playbuilding takes, applying them to research in general. The value of a playful, trusting atmosphere, choices of style, casting, set, and location in representing the data, and pedagogical theories that guide participatory theatre are highlighted. Chapter 2 discusses how Mirror Theatre generates data, structures dramatic scenes, and conducts live and virtual participatory workshops. C

The new edition ofPlaybuilding as Qualitative Research details how playbuilding (creating an original performative work with a group) as a methodology has developed in qualitative research over the last fifteen years.The second edition substantially updates the award winning first edition by making connections to current research theories, providing complete scripts with URL links to videos, and including a new section with interviews with colleagues. Chapter 1 provides an in-depth discussion of the epistemological, ontological, axiological, aesthetic, and pedagogic stances that playbuilding takes, applying them to research in general. The value of a playful, trusting atmosphere, choices of style, casting, set, and location in representing the data, and pedagogical theories that guide participatory theatre are highlighted. Chapter 2 discusses how Mirror Theatre generates data, structures dramatic scenes, and conducts live and virtual participatory workshops. Chapter 3 is a thematized account of interviews with 23 colleagues who employ variations of playbuilding that show how playbuilding can be applied in a wide range of contemporary contexts and disciplines. Chapters 4 through 9 describe six projects that address topics of drinking choices and mental health issues on campus, person-centred care, homelessness, the transition to university, and co-op placements. They include both a theme and a style analyses and workshop ideas. Chapter 10, new to this edition, concludes with quantitative and qualitative data from audiences attesting to the efficacy of this approach.This is a fascinating resource for qualitative researchers, applied theatre practitioners, drama teachers, and those interested in social justice, who will appreciate how the book adeptly blends theory and practice, providing exemplars for their own projects.