| List of Illustrations | p. x |
| Acknowledgements | p. xii |
| Preface: Defining the Terms | p. xiv |
| Histories and Contexts | |
| Setting the Scene: Critical and Theoretical Contexts | p. 3 |
| Remembering Brith Gof | p. 4 |
| Affective practice | p. 6 |
| The naming of applied performance | p. 7 |
| Pasts, Pioneers, Politics | p. 15 |
| Avant-garde and radical theatres | p. 15 |
| Bread and Puppet Theatre | p. 21 |
| Welfare State International | p. 23 |
| The problems and politics of intervention | p. 25 |
| Reflections on the present | p. 28 |
| Principles of applying performance | p. 31 |
| Applying performance: principles and a cognitive paradigm of practice | p. 32 |
| Practices | |
| Performing Lives | p. 47 |
| Autobiography and applied performance | p. 47 |
| Acts of recall: memory, identity and post-traumatic performance | p. 58 |
| Touching trauma: Vayu Naidu's rasaesthetics and performance storytelling | p. 61 |
| Remembered lives and the continuous present: applied performance and dementia | p. 68 |
| Remembering to forget: a trip down memory lane | p. 69 |
| Good medicine: multisensory performance and affective science in Spare Tyre's Once Upon a Time | p. 70 |
| Between lives: intergenerational performance | p. 76 |
| Memories, archives and personal performance: The Women's Library and Magic Me | p. 78 |
| Making it real through applying performance | p. 87 |
| Home truths: London Bubble's My Home | p. 89 |
| The true real: Mark Storer's Fat Girl Gets a Haircut and Other Stories | p. 91 |
| Placing Performance | p. 94 |
| Placing applied performance | p. 94 |
| Space and place in applied performance | p. 98 |
| Site and place | p. 102 |
| Problematizing place | p. 104 |
| Changing places: public art and performance in Margate | p. 108 |
| Contesting place: shifting theoretical positions | p. 112 |
| Stan's Cafe: Plague Nation/Of All the People in All the World | p. 116 |
| Remaking museum space: Reckless Sleepers' Creating the Past | p. 129 |
| Creating the Past as post-dramatic museum theatre | p. 135 |
| Perspectives on evaluation | p. 141 |
| Beyond site: Accidental Collective's Pebbles to the Pier | p. 143 |
| Digital Transportations | p. 159 |
| Digital divides, digital natives and C&T | p. 159 |
| Embodying sonic technologies: Melanie Wilson's sound art | p. 176 |
| Participation | |
| Participatory (Syn)Aesthetics | p. 185 |
| Unhappy relations: critiques of collaboration | p. 187 |
| Theme park hells: incarcerations | p. 202 |
| This is Camp X Ray | p. 202 |
| State of Incarceration | p. 206 |
| Participant centred pedagogy and the affective learning environment: LIFT 2011 | p. 209 |
| Performing the Living Archive: And the Winner is… London | p. 211 |
| Through the round window | p. 220 |
| A taste of heaven: (syn)aesthetics and participatory visceral performance | p. 225 |
| Martha Bowers: The Dream Life of Bricks | p. 225 |
| 'Something Moves': (syn)aesthetics, rasaesthetics and the performance of autism | p. 233 |
| 'Making up your mind': engaging with autism | p. 234 |
| Through the looking glass: the autistic consciousness and post-dramatic theatre: Jacqui Russell and Red Kite (Chicago Children's Theatre) | p. 237 |
| Conclusion: Affective Practice | p. 250 |
| Notes | p. 256 |
| Bibliography | p. 263 |
| Index | p. 279 |
| Table of Contents provided by Ingram. All Rights Reserved. |
