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This chapter is about quantum storytelling and improvisation and how to use quantum storytelling as an improv theater for social change. Quantum storytelling, in its fore-caring, is about producing an ethics of care where none exists. In the quantum storytelling theater for change, we envision a stage with human and non-human actors (animals, plants, quantum wave/particles) and ways to collapse waves of quantum potentiality into new possibilities for human survival, for posthumanist survival.

We will assert that this happens through improvisation: something called “quantum storytelling with improv.” Our example for this chapter is a theater company we created in Las Cruces, NM, called “Veterans Theater” in which improv is the performance approach. Boje teaches in the belly of the beast (the Business College) at New Mexico State University, a course called “Leadership Is Theater in Society” that uses improv. It is not only about improv but it is also based on Theater of the Oppressed (Boal, 1979, 2002) and Improvisation for the Theater (Spolin, 1983); it also draws from Pedagogy of the Oppressed (Freire, 1970) and Rules for Radicals (Alinsky, 1971), both of which call on improv as a process for social change. Improv is a vital leadership skill in complex polycultural systems, which is the future of business. Leadership theory is dead. Get over it! Or, resurrect it with improv!

In this account of a study of a Theatre of the Oppressed (TO) intervention in a preservice teacher classroom, the authors explore an alternative way of learning to teach, as well as the dynamics of interdisciplinary collaboration between Theater and Education. Measures of racial and political attitudes did not demonstrate any change in the preservice teachers; however, several limitations made these findings inconclusive. Observations and journal entries suggested that interactive theater may be a promising way to make beliefs about teaching and learning visible, and therefore accessible for critical reflection.

This paper aims at exploring the usefulness of street theatre as critical pedagogy in teaching of social studies education. It gives a brief background of street-theatre and its linkages with critical pedagogy. In the light of theoretical underpinnings of this arts-based pedagogy, the paper deliberates upon the relevance and efficacy of street theatre in a social studies classroom. This paper uses a street theatre performance case to look at the techniques such as: body motion, body work, props, use of visual and audio aids, etc.; processes such as: conscientization and catharsis; and dialogical approach employed by street theatre to bring awareness about socio-political and cultural issues prevalent in a society. The analysis of this performance act shows that street theatre successfully encourages spectators or the oppressed masses to reflect, and triggers action in them to come out of socio-political oppression. When looked at from educational perspective, street theatre encourages the employment of multiple-intelligences of both students and teachers; and therefore, it can be one innovative strategy to make students aware of the issues infecting their society and also to empower students for action

In this chapter, I explore embodiment as a multi-modal pedagogy for teacher education. I begin with a theoretical exploration of the concepts of embodiment and embodied pedagogy across a range of cultural, philosophical and research traditions and their significance in considering powerful pedagogies for contemporary teacher education. I then go on to present a lived example of ‘the image of the images’ as a drama-based embodied pedagogy for pre-service teacher reflection. Drawing on my research in Australia with a group of pre-service teachers, I unpack the potential benefits of embodied reflection as a pedagogical strategy for engaging pre-service teachers in deep, collaborative reflection on learning to teach. Finally, I offer suggestions for adapting and applying this pedagogical approach across different teacher education contexts.

This paper describes and critically evaluates the use of Arts‐Based Training (ABT) by exploring a case involving the use of improvisational theatre techniques as an element of management development. Claims that these techniques can be an effective means of achieving management development, as they succeed in involving managers in exploring problems and developing solutions to them at a deep rather than superficial level, while also motivating managers to “sort out” problems following development experiences, are investigated using a case study. The validity of improvisational theatre techniques, as an example of ABT in practice, needs to be balanced with a more critical appreciation of the limitations of such approaches.

The purpose of this article is to explore the similarities and differences in the socio‐economic approach to management (SEAM) method and postmodern approaches to theatre. Neither metaphorical nor managerialist, SEAM's perspective allows that the organization is theatre. Introduces the terms “metascript” and “metatheatre” to describe how SEAM's approach accomodates the multiple perspectives and simultaneous multiple stages populated by the “spect‐actors” (Boal, A., Theatre of the Oppressed, translated by Charles A. and Maria‐Odillia Leal McBride, Theatre Communications Group, New York, NY, 1979, originally published in Spanish as Teatro de Oprimido, Ediciones de la Flor, Buenos Aires, 1974) of the Tamara‐esque postmodern organization theatre.

The landscape of adult social care, and in particular of adult safeguarding, has shifted considerably over the last decade. Alongside policy changes in the responses to adult abuse, there have been shifts in professional and public understanding of what falls within the remit of this area of work. This results, arguably, in differing understandings of how adult safeguarding is constructed and understood. Given the increasing emphasis on multi-agency inter-professional collaboration, service user involvement and lay advocacy, it is important to consider and reflect on how both professionals and lay people understand this area of work. The paper aims to discuss these issues.

This study employed Augusto Boal’s model of Forum Theatre to explore how a variety of professional and lay groups understood, related to and engaged with how the Care Act 2014 defines and describes “adult safeguarding”.

Lay participants responded to the scenario in a variety of ways, upholding the construct validity of “adult safeguarding” and the authority of the social worker. Social care and health practitioners sought orderly, professionalised and sometimes ritualistic solutions to the “adult safeguarding” scenario presented, seeking carefully to structure and to manage lay involvement. Inter-professional collaboration was often problematic. The role of lay advocates was regarded ambiguously and ambivalently.

This paper offers a number of practice and research recommendations. Safeguarding practitioners could benefit from more effective and reflexive inter-professional collaboration. Both practitioners and service users could benefit from the more thoughtful deployment of the lay advocates encouraged within the Care Act 2014 and associated guidance.

The paper draws extensively from Aristotle’s Poetics, a classical work on the aesthetics of drama. Drawing from symbolic and thematic elements from folklore and mythology, this paper aims to illustrate how the Poetics can be referenced as an allegorical device in the design of culture-building strategies and interventions.

This exploratory paper examines Aristotle’s “Poetics” and the range of creative expression this literature provides as a conceptual design framework for the development of a culture map in creating a distinctive organisational mythology. The Poetics articulates an Aristotelian perspective on theatre which infuses itself as a new language in offering structural and archetypical plot devices in the development of an organisational narrative.

Findings from this explorative study can provide a creative roadmap to culture practitioners and leaders, to be used as a determining reference point in developing culture maps and change management interventions.

Poetics has its detractors, notably Bertolt Brecht and Augusto Boal. Boal examines how Poetics promotes a narrative that suppresses free thinking and encourages a cult of feudal personality, therefore encouraging industrial and cultural oppression, which he rebelled against through the development of his “Theatre of the Oppressed”. This new kind of theatre discarded the Aristotelian model of thinking. Ideas proposed in the Poetics may also lend verisimilitude to the propagation of obsessive consumerism through the definitive symbolism it offers in the development of institutionalised personality cults.

The Poetics as a creatively driven reflexive study provides a forward movement in the study of culture design templates. Its definitive allegorical devices and metaphors act as action principles through which an enterprise culture and its value system can be examined and developed.