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Teatro comunitário refere-se à performance tearal feita em relação a determinadas comunidades, seu uso inclui teatro feito por, com e para a comunidade. Pode referir-se ao teatro que é feito inteiramente por uma comunidade sem ajuda externa, ou para a colaboração entre os membros da comunidade e artistas de teatro profissional, ou à performance total de profissionais que se dirige a uma comunidade em particular. Teatros comunitários variam em tamanho desde pequenos grupos liderados por indivíduos isolados que realizam em espaços emprestados até grandes companhias permanentes com instalações próprias bem equipadas. Muitos teatros da comunidade são bem-sucedidas empresas, sem fins lucrativos , com uma grande participação ativa e , muitas vezes , uma equipe de profissionais em tempo integral. Teatro da comunidade é muitas vezes concebido e pode recorrer a formas populares de teatro , como o carnaval, circo, e desfiles , bem como os modos de desempenho de teatro comercial . Teatro comunitário é entendida como contribuem para o capital social de uma comunidade , na medida em que desenvolve as habilidades , o espírito comunitário e sensibilidades artísticas de quem participa , seja como produtores ou público - membros .

Community theatres range in size from small groups led by single individuals that perform in borrowed spaces to large permanent companies with well-equipped facilities of their own. Many community theatres are successful, non-profit businesses with a large active membership and, often, a full-time professional staff. Community theatre is often devised and may draw on popular theatrical forms, such as carnival, circus, and parades, as well as performance modes from commercial theatre. Community theatre is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members.

Community theatre in Latin America

Partly inspired by Antonio Gramsci's interpretation of culture, the seminal theatre practitioner Augusto Boal developed a series of techniques known as the Theatre of the Oppressed from his work developing community theatre in Latin America.

Community theatre in the UK

In Britain the term "community theatre" is sometimes used to distinguish theatre made by professional theatre artists with or for particular communities from that made entirely by non-professionals, which is usually known as "amateur theatre" or "amateur dramatics." Notable practitioners include Joan Littlewood and her Theatre Workshop, John McGrath and Elizabeth MacLennan and their 7:84 company, Welfare State International. and Ann Jellicoe founder of the Colway Theatre Trust, now known as the Claque Theatre and run by UK practitioner Jon Oram.

Community theatre in the Netherlands

Community theatre in the Netherlands came about after the ending of the "theater-in-education" movement. This "theatre-in-education" movement lasted from 1970-1985. The big theatre in the Netherlands which was created originally for "theatre-in-education" and subsequently community theatre is the Stut Theatre. This theatre idea was started in 1977 by Jos Bours and Marlies Hautvast, who when they first starting creating plays at the Stut Theatre, realized this kind of community-theatre had a complete different approach from "theatre-in-education."

Community theatre in the US

Ver também: Regional theater in the United States

Community theatre in the United States was an outgrowth of the Little Theatre Movement, a reform movement which began in 1912 in reaction to massive Victorian melodramatic theatre spectacles. However, the country’s oldest extant community theatre group, The Footlight Club, has existed since the 19th century and performed every year since 1877. The American Association of Community Theatre represents community theaters in the U.S., its territories, and its military bases around the world.

Community theatre in Canada

Theatre Passe Muraille sent ensemble casts into rural communities to record local stories, songs, accents and lifestyle. Their employment of collective creation was thus taken to an unheard of scale and spread across Canada. Passe Muraille facilitated the first production of Codco, which employed personal experiences of Newfoundland culture in their shows.

Community theatre in Australia

In Western Australia, there is a substantial number of community theatre groups who have banded together to form the Independent Theatre Association. A large percentage of community theatre groups use a communal website to advertise auditions and publicise upcoming productions.

Community theatre in India

Theatre of the Oppressed, a form of Community Theatre founded by Augusto Boal is practiced by Centre for Community Dialogue and Change at Bangalore and Janasanskriti, Kolkatta.

External links

• Community arts
• Forum theatre

Sources

• Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge UP. ISBN 0-521-43437-8.
• Boal, Augusto. 2008. Theatre of the Oppressed. New ed. London: Pluto. ISBN 0-7453-2838-5.
• Bradby, David, and John McCormick. 1978. People's Theatre. London: Croom Helm and Totowa, NJ: Rowman and Littlefield. ISBN 0-85664-501-X.
• Coult, Tony, and Baz Kershaw, eds. 1983. Engineers of the Imagination: The Welfare State Handbook. London: Methuen. ISBN 0-413-52800-6.
• Gooch, Steve. 1984. All Together Now: An Alternative View of Theatre and the Community. Methuen Theatrefile Ser. London: Methuen. ISBN 0-413-53480-4.
• Heddon, Deirdre, and Jane Milling. 2005. Devising Performance: A Critical History. Theatre & Performance Practices ser. London: Palgrave Macmillan. ISBN 1-4039-0662-9.
• Kershaw, Baz. 1992. The Politics of Performance: Radical Theatre as Cultural Intervention. London and New York: Routledge. ISBN 0-415-05763-9.
• MacLennan, Elizabeth. 1990. The Moon Belongs to Everyone: Making Theatre with 7:84. London: Methuen. ISBN 0-413-64150-3.
• McGrath, John. 1981. A Good Night Out: Popular Theatre: Audience, Class and Form. London: Nick Hern Books, 1996. ISBN 1-85459-370-6.
• McGrath, John. 1990. The Bone Won't Break: On Theatre and Hope in Hard Times. London: Methuen. ISBN 0-413-63260-1.
• McGrath, John. 1996. Six-Pack: Plays for Scotland. Edinburgh: Polygon. ISBN 0-7486-6201-4.
• Noe, Marcia. 2005. "The Women of Provincetown, 1915-1922/Composing Ourselves: The Little Theatre Movement and the American Audience." Review. American Drama (Winter). Available online.
• Schechter, Joel, ed. 2003. Popular Theatre: A Sourcebook. Worlds of Performance Ser. London and New York: Routledge. ISBN 0-415-25830-8.
• Van Erven, Eugene. 2001. Community Theatre: Global Perspectives. New York, NY: Routledge. ISBN 0-415-19031-2.