Fans pick 100 books like Theatre of the Oppressed

An even-tempered yet provocative sketch of the philosophy and design of a school “where actual & literal constructive activity shall be the center & source of the whole thing”... as when history students in Dewey’s experimental elementary school in effect recreate the industrial revolution, for instance reinventing crude cotton gins and looms and eventually even making some of their own clothes. What school could be! Dewey’s vision (first published in 1899!) is still radical (alas) and still topical and richly suggestive to scenario-staging pedagogy today.

Carnes wrote this book about ten years ago as a reflection of his experiences in using role-immersion games—simulations—since the 1990s. It recounts the tremendous enthusiasm of students as a result. Perfect attendance, coming long before and staying long after classes. Student reflections on how much deeper their learning experiences were. It inspired me to write my book based on my use of simulations in the classroom. 

Officially “Six Hats” is a framework for group decision-making, marking out the major types of consideration (what are the facts? the dangers? how do we feel about this?...) into six roles denoted by differently colored hats. But the classroom impresario will immediately recognize it as a ready-made method for staging those hoary (and problematic) old “class discussions” in far more energetic and widely participatory forms. The genius is to give each participant a pre-made place to speak from, and to make it visible and compelling. Bring on the hats! as my students would say.

Holt writes that the best learning experience in his life wasn’t a “learning experience” at all, but serving on a submarine during World War 2. Success – and sheer survival – manifestly hinged on quickly bringing even the rawest and supposedly least educable of the crew to function at the highest level. In such purposive settings, everything about “teaching and learning” is different. School as we know it, Holt argues, is hypocrisy-inducing and soul-crushing, plus stupendously inefficient, but you can take this angry book as also a provocation to rethink pedagogy in a radical but still constructive way... even in, yes, something like school.

Widge is an orphan in Elizabethan England, where orphans are sadly too common. But Widge is unusual. He has a unique talent which he learned from his first master: he knows a secret kind of shorthand. Sold to a dastardly villain who wants to use that talent to steal Shakespeare’s newest play, Widge finds himself in London apprenticing with the theatre company. Will he steal the play or risk his life to be loyal to the only “family” he’s ever known? Inspired by Shakespeare’s Lord Chamberlain's Men – and a very real problem of plays being stolen – there’s plenty of action, including swashbuckling swordplay. From the first page, I found myself rooting for Widge, hoping he would make the right choice and live to become an actor in the company.

The Other Side of Perfect is about a young ballet dancer, Alina, who suffers a life-changing injury and must learn to deal with her multilayered, sometimes unsympathetic, anger.

Even though its themes are heavy, I somehow couldn’t put this one down. The characters are so real (and often funny), and every conflict unfurls with realistic nuance, sometimes devastatingly so.

Mariko Turk’s refusal to simplify emotions—even when exploring painful topics like racism—earns this book a standing ovation from me.

For a general overview of Japanese theatre, and more broadly Japanese culture, readers are encouraged to have a look through A History of Japanese Theatre edited by Jonah Salz. This encyclopaedic collection of essays by scholars on Japanese theatre history offers a rich and thorough survey of Japanese theatre for a wide readership. From ancient Noh theatre to Kabuki and Bunraku to modern literary theatre to critical theatre and performance, readers can glean how the performing arts have developed throughout Japanese history. As the book weaves together some of the intellectual concerns and artistic reflections of prominent artists in their forms, we can grasp interwoven historical patterns which continue from antiquity to the present.

Shapiro’s work is often a model of the kind of writing that I would like to attempt. This book, which focuses on a single year in Shakespeare’s life–1599–and its historical, political, and theatrical events (including performances of Henry V and Julius Caesar), brings its material to life.

It is a deeply researched book, with a wealth of resources listed in its bibliographical essay, but its handling and style are still so captivating and accessible that I couldn’t put it down when I first read it!

When we write about early modern literature and history, we construct narratives that draw on invention and imagination. Shapiro’s book reflects that vital mix of rigorous historical research, insightful interpretations of literary texts, and its own acts of storytelling.

This academic work rarely left my side when I was writing The Muse of Fire. It provides an in-depth and well-researched overview for readers who want to know more about the Old Price Riots of 1809—the central historical event in the novel. For me, a huge bonus was that the author, Marc Baer, very graciously consented to read and provide feedback on my book before it was published to ensure I got my facts right about the longest-running and most disruptive riot in British theatrical history.

If your rock star is a little shy about sharing her talents, she might relate to Bear. When it’s time to put on a show, Bear’s friends focus on making shiny tickets, sequined curtains, and very tall hats while Bear takes notes. As the title suggests, it’s up to Bear to actually figure out the show. As someone much more comfortable taking notes (and finding just the right pen and notebook first), I find Bear highly relatable.