Applied Theatre In Prison

Applied theatre and specifically Theatre in Prison, is a continually adapting field, as it reacts and changes concurrent to political and social climates, and therefore discussing its history is integral to understanding it. Examined by Foucault in Discipline and Punish, Prison, like theatre, began as a form of public spectacle, moving away from physical discipline of the body to discipline creating a ‘docile body’. Prison reformer Jeremy Bentham’s proposed blueprint of the ‘panopticon’ supports this idea creating Foucault’s ‘docile’ body through threat and observation. Another major prison reformer John Howard worked to create a similar environment of self-regulation in the late 1700’s, aiming for rehabilitation through promoting labour in

This sentiment is echoed in David Cameron’s speech in 2016 on prison reform, declaring that to him “punishment – that deprivation of liberty – is not a dirty word.” Nevertheless, the latter half of the twentieth century saw a new interest in rehabilitation, encapsulated in the arts through the umbrella term ‘applied theatre’. With a rising interest in social sciences, applied theatre signalled theatre’s move back into the community and non-theatrical spaces. Encompassing forms such as Theatre in Education, Theatre in Prison, and Theatre for Development, applied theatre ultimately aims towards social change, resonating with the ideals of epic theatre produced by Brecht. However it is Augusto Boal who is often cited as the most influential practitioner, applied theatre professionals drawing on his Theatre of the