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Nandita Dinesh places Kipling's 'six honest serving-men' (Who, What, When, Where, Why, How) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dinesh's personal narrative with the public story of modern conflict. In it Dinesh asks how theatre might intervene in times and places of conflict and how we might reflect on such interventions. In pursuit of answers, Theatre and War adopts the methods of auto-ethnography, positioning the theatrical practitioner at the heart of conflict zones in northern Uganda, Guatemala, Northern Ireland, Mexico, Rwanda, Kenya, Nagaland, and Kashmir. Each chapter approaches the need for a synthesis of theory and practice by way of a term of inquiry ― Why, Where, Who, What, When ― and each is equipped with a set of unflinchingly honest field notes that are designed to reveal some of the 'hows' from the author's own repertoire: questions and issues that were encountered during her own theatrical undertakings, along with first hand reflection on the complexities, potential, and challenges that attended her global work in community theatre. Within these notes are strategies that give the reader a practical insight into how the book's discussion might find its footing on the ground of war. The range and scope of this book make it required reading for those interested in theatre ― practitioners, researchers, and students alike - as well as those seeking to understand the applications of the arts for ethics, politics, and education.

War and theater. --- Theater and war --- Theater --- performances --- ethics --- theatre --- etnography --- war --- community theatre --- Aegean dispute --- Afterlife --- Armenia --- India --- Intentionality --- Kashmir --- Rwanda --- Dinesh, Nandita. --- ethnography

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Participation is the utopian sweet dream that has turned into a nightmare in contemporary neoliberal societies. Yet can the participatory ideal be discarded or merely replaced with another term, just because it has become disemboweled into a tool of pacification? The gestures of participatory art insists that the concept of participation must be re-imagined and shifted onto other registers. Moving from reflections on institutional critique and impact to concrete analyses of moments of unsolicited, delicate participation and refusal, the book examines a range of artistic practices from India, Sudan, Guatemala and El Salvador, the Lebanon, the Netherlands and Germany. It proposes the concept of the gesture as a way of theorising participatory art, situating it between the visual and the performing arts, as both individual and collective, both internal attitude and social habitude.

Community arts projects. --- Interactive art. --- Art projects, Community --- Arts projects, Community --- Community art projects --- Community-based arts projects --- Neighborhood arts projects --- Neighborhood-based arts projects --- Projects, Community arts --- Arts --- Artists and community --- Participatory art --- Performance art --- Social practice (Art) --- Theatrical science --- interactive art --- audience participation. --- civic participation. --- common-sense assumptions. --- community theatre. --- concept of impact. --- contemporary theatre. --- delicate gestures. --- institutional critique. --- participatory art. --- participatory practices. --- performance art. --- vicarious participation. --- visual arts.