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The article focuses on the formation of Soul and Latin Theater (SALT) in East Harlem, created by Maryat Lee and students from Benjamin Franklin High School to address societal issues through street theater. Topics include the collaboration between Lee and students to produce plays about drug abuse, teenage sexuality, and impoverished schools, fostering a participatory atmosphere that engaged the audience in unconventional ways.

The article discusses street theaters in colonial Cuzco, with specific reference to how it helped consolidate the identity of the region during the period.

An interview is presented with Carmen Romero, founding director of Fundación Teatro a Mil (FITAM), which is based in Santiago, Chile and organizes the Santiago a Mil international theater festival. Topics discussed include the social aspects of theater in Chile, a focus on street theater at the festival, and the cultural exchange that occurs through the festival.

The article reports that the Staatsoper Hannover performed Frank Martin's Vin Herbe for a small socially distanced audience in the Baroque Gartentheater of the Herrenhauser Gardens. Topics include examines that Laura Berman stated that her company remained active, prominent and discussed; and considered that music dramaturge at Theater Freiburg in the early 2000 she programmed Glass "Rome" section of the Civil wars with performers from a street theater group.

The article focuses on the Open Culture program and the New York Arts Revival program, launched by the government of New York to provide an opportunity for in-person events after COVID-19 pandemic, as of April 2021. It presents views of Alejandra Duque Cifuentes, executive director of the dance firm Dance in New York City, on the programs. It also presents views of Lucy Sexton of the organization New Yorkers for Culture and Arts on equitable distribution of program resources.

This section presents an interview with street performer Dan Masterman. Topics discussed include his street performances which range from juggling to unicycling, the challenges associated with building an audience during a performance, and the impact of the coronavirus disease 2019 (COVID-19) pandemic on his work.

The article discusses on street performing as a way of earning money in summers. It presents several suggestions, through which one can prepare for street performance and can earn significant benefits in terms of financially and musically. It includes getting the permission from higher authorities, choosing an appropriate location and looking after the instruments carefully at the street. INSET: GOLDEN RULES FOR BUSKING.

The article examines Christian street theater that took place in Medieval England. Particular focus is given to the York Corpus Christi Cycles, which were often performed after Easter from 1377 to 1569. Details relating to how Christian mythology such as the crucifixion, the resurrection and the nativity were depicted in English street theater are also discussed.

The article offers several places in France that will be featured as the route for the bicycle race event Tour de France on July 4, 2016 including Angers, Bourg-en-Bresse and Granville. Also offered information about the places such as the Les accroche-Coeurs Festival of Street Theatre in Angers on September 9-11, 2016, the Bourgen-Bresse market day festival in Bresse, and the Sorties de Bain, a programme of street theatre in Granville on July 7-10, 2016.

Reviews the play "Kamla's Miracle," written and performed by the Prerna Kala Manch (PKM) street theater group in Bihar, India.

The article profiles the activist and street performer Bill Talen and his relationship to the prophets of the Old Testament. The author discusses Talen's alterego Reverend Billy of the Church of Stop Shopping, who frequents corporate chain stores such as McDonald's and Starbucks with an anti-commerist message. Talen performs guerrilla theater to raise awareness about the dangers of consumerism.

The article relates the author's experience as he attended the Bloomsday 100 in Dublin, Ireland, a celebration that includes the reading of the great James Joyce's writings such as "Ulysses" as a commemoration to the late writer. The celebration was named after Leopold Bloom, the book's protagonist. Over 900 scholars from forty countries were present during the event who enjoyed the street theater, museum exhibits, film screenings, concerts and more. A series of lectures were also held at the National College of Ireland where several speakers were given 15 minutes to speak.

A photograph is presented of an Iraqi mime preparing for a street performance in Diwaniyah, Iraq protesting against economic and political conditions of the country.

Calls for the revival of street theater or itinerant performance troupes in India. Significance of performance troupes to the cultural life of India's regional communities; Factors which contributed to the gradual disappearance of street theaters; Information on the Tristan and Essyllt project.

Focuses on the creative protest activity in New York City which is being planned for the Republican National Convention. Protest theater featuring political plays; Threat of a strike by police and fire fighters; Bells for peace; Street theater; Others.

Focuses on the role of street theater in Chicago, Illinois in helping shape people's views about certain social issues. Popularity of street theater that has evolved into what is known as Guerrilla Theater; Line of demarcation between what is make-believe and what is ontologically `true.'

Features Street Theatre in Canberra, Australian Capital Territory. Design of the theater.

This article provides information on the street performers at Georges Pompidou Center, a performing arts venue in Paris, France that encourages street life and street theater. The center, also known as Beaubourg, is so enormous that it gives the appearance of not only occupying, but actually crushing, the land it sits on. In front of Beaubourg is the Piazza. The Piazza is one of the few spaces, or perhaps the only space, maintained by a government specifically to encourage street life. Whether a space like that of Piazza of the Pompidou Center is the best for spontaneous theater, remains somewhat problematic. Peter Arnott points out that three physical conditions have to be met for theater to materialize in a certain space. First, there must be a sufficient number of people to make an audience. Second, there must be controlled entrances and exits. And third, there must be a visual focal point for the actor or mime to work with. The Piazza, instead of being elevated, is sunken. Yet in conjunction with its musical competition, mime typifies street theater at Beaubourg. The performers came to Beaubourg dressed to entertain, and the crowd loves them.

This article features street theatre performers Tom Murlin and Johanna Went. Under the names of Murlin and Johanna, have performed street theatre across the U.S. since the spring of 1975. Much of their work consists of improvisation based on an object, an idea, or a suggestion that either performer may introduce before or during a performance. None of the pieces that evolve are rehearsed or plot-structured. No meaning is intended, although some spectators have claimed that they have derived meaning from Para-troupe pieces. Murlin and Johanna's touring has taken them to many cities in California, Nevada, Texas, Louisiana, Maryland and Canada. Murlin a 37-year-old former attorney, became involved in street theatre after abandoning his practice in Los Angeles, California in the mid-1960s to write plays for experimental theatres in New York City. Johanna, 27, is from Seattle, Washington, where she performed with amateur theatre groups. Murlin's and Johanna's performance skills have developed during approximately a year of intensive performing since their first meeting at the Seattle theatre games group. There was no particular motivation for the games group except for the fun of it and none of the members were professional actors. Most worked in non-theatre occupations around the Seattle area. Eventually, however, the group expanded its activities and began to perform in the streets and parks of Seattle.

This article deals with the Golden Age of the boulevard theatres. The status and respectability gained by the boulevard theatres during the nineteenth century was achieved, not surprisingly, with some loss in color and variety. The popular roots from which they sprang--the parades, pantomimes, and acrobats of the fairs--were gradually expelled first from the theatres themselves, then even from their environs. Gradually, the memory of these entertainments faded, until the late nineteenth century boulevard entertainment came to mean a highly polished but insubstantial and largely predictable face designed for a rather monochromatic bourgeois audience.

The article critically comments upon the murder of Safdar Hashmi, one of India's most popular creators of street theater during a performance in Shahibad district of Uttar Pradesh, India. His street performance was interrupted on the day of his murder by some political activist of the ruling party. According to the author, Hashmi's demise was a setback to street theater in India. Like Hashmi, a street theater worker can be as much a victim of fashion as his commercial counterpart. Nature and problems of street performance has been broadly discussed in the article. Hashmi's death was also politicized by various political groups and protest march were organized throughout India.

This section presents the texts of the following street plays that were staged in Paris, France in 1968: Dis May, Repression and At the Polls: Electoral Opéra Bouffe.

Interviews Sydney Walter and Marlow Hotchkiss, founders of the Firehouse Theatre in Minneapolis, Minnesota, regarding their career and issues regarding the theater group. Competition with other theater groups; Possibility for the group to do political street theatre; Limitations of street theater.

This article offers observations on political street theatre in Paris, France, in 1968 and 1969. The May 1968 revolution dynamited the limits of art and culture as it did all other social or political limits. The old avant-gardist dream of turning life into art, into a collective creative experience, finally came true. Exciting socio-dramatic events occurred in the streets of Paris in May, primarily because the 22nd of March Movement made it clear to everybody that power is in the streets. According to the author, the first stage of an uprising, the first stage of any revolution, is always theatrical. The May uprising was theatrical in that it was a gigantic fiesta, a revelatory and sensuous explosion outside the normal pattern of politics. The main problem was to propagandize the aims and means of the revolutionary among those millions who, while not actually being hostile, had not yet taken part in the action. Since the mass media were totally controlled by the State, all they poured out were lies befitting the State's psychological warfare. Students and actors thus tried to use street theatre as a means to provoke encounters and discussions among people who usually shut themselves off from each other.

This article offers a note on guerilla theatre. It begins by presenting the transcripts of four guerilla theatre pieces. These pieces are The Painter, A Classroom Problem, A Piece for Conventions and Kites. According to the author, the term guerilla theatre is beginning to be thrown around quite loosely, referring in general to any form of political or avant-garde theatre from Hair to the San Francisco Mime Troupe; it is becoming more and more meaningless. The author suggests restricting its use to that form of theatre which does not identify itself as such. The purest form of guerilla theatre never reveals itself, but like The Painter, simply stalks away into reality. Some guerilla theatre, like A Common Problem, reveals itself afterwards in order to heighten and explore its effect. The Convention Piece uses frankly theatrical means but rationalizes their use through context, so as not to overstep reality and subsequent credibility. Kites, standing free, is closer to street-theatre, although as originally planned for a kiting festival at the Washington Monument it might have functioned as guerilla theatre. Guerilla theatre is being done by few theatre group. Much street and guerilla theatre suffers from high input, low output.

The article focuses on the ancient tradition of busking in Canada. Topics discussed include how buskers bring business into an area, history of the ancient art of busking, Edmonton, Alberta's International Street Performers Festival, downsides of busking including the weather and rules in busking.

Dramatist Edward Gordon Craig has advised the actors to imitate marionettes. In "The Young Visiters," Thirty-Ninth Street Theater, they imitate dolls. It is the same thing, since the origin of the idol, the doll, and the marionette is one. But Mr. Craig had in mind something solemn and uplifted. He forgot that, alter all, men shape idols and dolls and marionettes in their own image. Dramatist Daisy Ashford saw her world as a world of animated dolls. But her fancy shaped these dolls alter the images of people she had seen.

As far as many theatre people are now concerned, relevant means relevant to their own discontents. Witness the Living Theatre with its theatrical production "Paradise Now," the Performance Group with its theatrical production "Dionysus in '69," the Free Store with its theatrical production "Che." A theatrical reaction against discontents is often a novel show, full of thrills and titillation for the bourgeois theatre's jaded sugar daddy, old reliable audience. There's another kind of relevance going, however Street Theatre. It harks back to a really old version of relevance, that of the classical Greek theatre or medieval churchyard plays.

The article focuses on various dramas. In presenting this piece at the Forty-fourth Street Theatre the Shuberts have done a signal service in defining a summer review. On the program "Hands Up" is announced as a "musico comico-filmo-melo-drama," and this is so complete that the present reviewer feels much of his task has been done for him. In the thin and unpretentious little volume entitled "Homeric Scenes," by John Jay Chapman, is contained choice literary and scholarly work. Chapman has taken episodes from the Homeric story and recast them in dramatic dialogue, in which the tone and spirit of the original text are preserved with singular felicity.

It is several years now since the interest in American antiques first spread to the theater. "Fashion" led the way and then Morley's trans-Hudson group did its best to vulgarize a charming discovery. But the mode is not dead and anyone who will betake himself to "The Streets of New York,' now current at the Forty-eighth Street Theater, will be rewarded with an evening as pleasant as any which the Broadway of the moment can afford. The theater, say some, is dying of self-consciousness, and "The Streets of New York" almost persuades a rationalist to break his sword. In that age of innocence playwrights dared to be ridiculous and no one hesitated a moment before sacrificing probability to effectiveness.

In this article, the author discusses public perceptions of the anarchist movement and presents a positive opinion of anarchist theory and practice. Particular focus is given to the principal of taking direct action, rather than attempting change through established channels, and to the abolition of capitalism and all forms of discrimination. The history of the anarchist movement is discussed, including the activism of Emma Goldman, industrial union activity, and street theatre activities.

Reports on the performances of Boston, Massachusetts street theater group United Fruit Co. Writing and directing for the group by Abe Rybeck; Development of material for Boston's annual gay pride celebration; Factors for the group's popularity.

The article present a personal narrative in which author shares his experience of street performance or busking and playing unfashionable music.

This article deals with the guerrilla street action by the New York City Theater Workshop directed against the Actors' Equity Association which stopped traffic at Lincoln Square in New York on December 14, 1969. The background of the guerrilla action is simple. Four thousand youngsters were carefully auditioned over a two-year period and the 100 most talented were trained free and performed as members of the New York City Theater Workshop. This summer they gained national recognition for creating a new genre in street theater called a block celebration which literally moved into and lived in several ghetto neighborhoods. During the winter they developed a highly mobile indoor repertory. This is the program they were invited to perform at the Forum Theatre at Lincoln Center, traditionally a union house. But Equity stepped in and said no. A dialogue, recorded on video-tape, followed between and Equity representative and the teen-age company. Equity's policy, though admitted to be inequitable by the Equity representative herself, stood: the union prefers to have Equity houses stand idle on a dark night rather than to set a precedent of letting non-Equity actors present their experimental work in those theater buildings at little or no cost to the attending public. Clearly the Lincoln Center Repertory Theatre, which had issued the invitation, had more to lose than the Theater Workshop in starting a fight with the union, so the teen-age company set out alone. The kids asserted their need to train and be seen without paying fees and dues to the union. As there is no artistic standard for getting into the union in the first place, the kids naturally conclude that what Actors' Equity Association had to be doing was protecting mediocrity at the expense of new talent.

The article presents information on the Movies in the Streets program conducted on pavements and playgrounds of New York City. The program is the concept of the city's Urban Action Task Force. Nancy Eisenberg, director of the activity, discussed the procedure for preparing the motions pictures to be shown. The crew chiefs of the program include William Steele and Lionel Norman.

The article offers information on the works of drumming duo Timothy Fletcher and Malik Perry. Topics discussed include activity of duo in playing on snare drums; interest of duo in performing at the streets of Baltimore, Maryland and visiting local schools to encourage and inspire the youth of Baltimore; and music room renovation by the duo by putting the community mural at the old high school.

The article focuses on the theatrical troupes Bread and Puppet Theater, El Teatro Campesino and the Mime Troupe which are performers that specialize in guerilla theater in the U.S. It says that the said troupes host plays with political themes and the confrontations of society. It also adds that the guerilla theater usually hosts performances on streets and highlights issues through radical drama.

The Green Fools busk across Canada Now that the cold of winter is fully upon us, and the visions of summer a frosty memory, Calgary's The Green Fools are back [...]

The article reports that Springfield Cultural Part­nership (SCP) has announced the return of Art Stop, a pop-up gallery/street fes­tival hybrid, which will include artist talks and receptions.

The article discusses the Broadway musical "Hamilton," with a particular focus on a free pre-show performance and ticket lottery offered by creator Lin-Manuel Miranda and other performers on the sidewalk outside the Richard Rodgers Theatre in New York City. According to the author, the performances and their social media tag #Ham4Ham have successfully generated publicity for "Hamilton" and other Broadway shows.

The article focuses on The Giants, an Australian street theatre event, held during the Perth Festival in Perth, Western Australia.

Minneapolis: Terror is the new toxin. Fear is a relentless reality. As the United States strikes Iraq, the anxiety-ridden people of south Minneapolis have found themselves openly asking what the [...]