A collection of articles from newspaper and magazine features, reviews of the various productions the company has staged during the past seven years, and the responses of both company and audience members to the company's training, philosophies, and productions.

"The Zen Zen Zo aesthetic was forged partly from the ancient Asian dance-theatre traditions, where spirituality is at the fore, and partly in contemporary pop culture, where sound, light, movement and spectacle generate a visceral experience. Central to the work of Zen Zen Zo ... is the notion of “the carnivalesque” - the playful world of transgression and the grotesque, of inversion and the shadow. This fusion of intercultural practice, visual theatre, and deep questioning about the human experience gives Zen Zen Zo its unique appeal, and continues to draw new audiences to the theatre. This ... document is a comprehensive collection of reviews, articles and interviews which provide an overview of the Zen Zen Zo company, its productions, its training methods, and its core philosophies for the past 20 years. For this reason, "The Zen files..." is a valuable resource for anyone studying or researching Zen Zen Zo or physical theatre in a secondary, tertiary or industry context."--Web page http://zenzenzo.com/the-zen-files-a-history-of-zen-zen-zo-through-reviews-articles-and-interviews/ (viewed on 28 October, 2013).

What is the history of devised theatre? Why have theatre-makers, since the 1950s, chosen to devise performances? What different sorts of devising practices are there? What are the myths attached to devising, and what are the realities? First published in 2005, Devising Performance remains the only book to offer the reader a history of devising practice. Charting the development of collaboratively created performances from the 1950s to the early 21st century, it presents a range of case studies drawn from Britain, America and Australia. Companies discussed include The Living Theatre, Open Theatre, Australian Performing Group, People Show, Teatro Campesino, Théâtre de Complicité, Legs on the Wall, Forced Entertainment, Goat Island and Graeae. Providing a history of devising practice, Deirdre Heddon and Jane Milling encourage us to look more carefully at the different modes of devising and to consider the implications of our use of these practices in the 21st century.

The twelve essays collected in Pockets of Change locate adaptation within a framework of two overlapping, if not simultaneous, creative processes: on the one hand, adaptation is to be understood as an acknowledged transposition of an existing source-that is, the process of adapting from; on the other hand, adaption is also a process of purposeful shifting and evolving of creative practices in response to external factors, including but not limited to other creative works-in other words, the process of adapting to. This book explores adaptation, then, as an active practice of repetition and as a reactive process of development or evolution. The essays also extend beyond the production, transformation, and interpretation of texts to interrogate the values and practices at work in cultural transition and transformation during periods of social and historical change. Collectively, the papers theorize adaptation by taking on three tasks: first, to examine the conditions under which the two processes of adaptation operate; second, to give an account of the space and moment in which the processes unfold (the 'pockets' of the title); and finally, to examine what emerges from pockets of adaptation. While adapting from and adapting to are both processes that appear to preclude innovation in the way that they acknowledge and depend on external sources, Pockets of Change demonstrates that adaptation is productive. It not only references prior texts, attitudes, practices and media, but it also invites us to re-visit the past and to re-think the present in new ways, potentially giving narrative space to muted or occluded voices. This book therefore brings together an innovative and varied range of approaches to, interpretations and uses of adaptation, challenging the assumption that an adaptation is simply either a 're-make' or the act of turning one medium into another. Adaptation, then, names not only the means by which texts are transformed, but also the space in which that transformation takes place. This anthology highlights the processes of adaptation and transition rather than simply focusing on the relationship between beginning and end products. In identifying these pockets of change this anthology both claims and opens up new spaces in this critical field and mode of textual analysis.

In the two decades since the publication of the second edition, Learning Through Theatre has further established itself as an indispensable resource for scholars, practitioners and educators interested in the complex interrelations between teaching and learning, the performing arts, and society at large. Theatre in Education (TIE) has consistently been at the cutting edge of the ever-growing field of Applied Theatre; this comprehensively revised new edition makes an international case for why, and how, it will continue to shape ways in which the participatory arts contribute to the learning of young people (and increasingly, adults) in the 21st century. Drawing on the experiences and insights of theorists and practitioners from across the world, Learning Through Theatre shows how theatre can, and does, promote: participatory engagement; the use of innovative theatrical form; work with young people and adults in a range of educational settings; and social and personal change. Now transatlantically edited by Anthony Jackson and Chris Vine, Learning Through Theatre offers exhilarating new reflections on the book’s original aim: to define, describe and debate the salient features, and wider political context, of one of the most important – and radical – developments in contemporary theatre.