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| List of figures | |
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| Acknowledgements | |
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| Introduction | |
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| Kinship among engaged performance practices | |
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| Purposes of writing this book | |
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| Book organization: centers of gravity of engaged performance | |
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| Playwrighting: putting plays to use | |
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| Brecht's intellectually active spectator | |
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| Kushner's magical epic theatre | |
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| Angels in the context of a social movement | |
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| The post-social movement life of Angels | |
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| Community-informed adaptations | |
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| The unfaithful disciple | |
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| Workbook | |
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| Specta(c)ting: theatre of the oppressed, orthodoxy and adaptation | |
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| The system of theatre of the oppressed | |
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| Adapting Boal | |
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| Semi-invisible theatre: magic that mystifies and reveals | |
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| The Joker System as Pedagogy and Performance | |
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| The Spirit of Boal in the Bronx | |
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| Activating the specta(c)tor | |
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| Workbook | |
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| Self-representing: testimonial performance | |
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| Social call, cultural response | |
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| The testimonial process | |
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| Cultural democracy and self-representation | |
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| home land security as a testimonial performance | |
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| From self-representation to community action | |
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| Workbook | |
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| Cultural organizing: multiple modes of communication | |
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| Creating cultural organizing tools | |
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| Theorizing culture as political strategy | |
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| Integrating artists and activists | |
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| Workbook | |
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| Gathering assets: the art of local resources | |
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| The choice: top-down or bottom-up | |
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| Social capital and asset-based community organizing | |
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| The youth theatre workshop: adapting method to context | |
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| The art of cultural resources | |
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| Workbook | |
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| Particularizing place: revitalizing cities and neighborhoods | |
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| Revitalizing downtowns | |
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| The Urban Video Project | |
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| Towards a participatory performance spectacle | |
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| Revitalizing urban neighborhoods | |
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| Efforts to create an arts district | |
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| Art and community-building | |
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| The arts' contribution to urban development | |
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| Workbook | |
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| Training: an engaged artist prepares | |
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| The dynamic triangle of a socially-engaged arts curriculum | |
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| Craft training | |
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| Scholarship in an engaged art education | |
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| Community engagement as a component of learning | |
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| Values and principles underlying training | |
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| Higher education as the site of engaged art pedagogy | |
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| Advantages of learning engaged art in higher education | |
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| Obstacles to situating engaged art training in higher education | |
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| Assessing engaged art education | |
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| The curriculum project interviewees | |
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| Workbook | |
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| Afterword: the centrality of relationships in engaging performance | |
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| Appendix | |
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| Selected Adaptations, Cornerstone Theater | |
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| Roadside Theater's Story Circle Methodology | |
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| Values and Mission Statement, Community Arts and Higher Education Partnership | |
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| Criteria, Syracuse Public Art Commission | |
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| Resources from The Curriculum Project Research | |
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| Notes | |
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| Bibliography | |
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| Index | |