Podcast appearances and mentions of Ashley E Lucas

Obscured behind concrete and razor wire, the lives of the incarcerated remain hidden from public view. Inside the walls, imprisoned people all over the world stage theatrical productions that enable them to assert their humanity and capabilities. In part two of this episode, Ashley E. Lucas discusses her most recent book, Prison Theatre and the Global Crisis of Incarceration, as well as her very personal experience with the carceral system growing up. We cover her in-depth research into prison institutions around the world, the role that theatre plays in creating community, and how it can transform the lives of the people forced into the prison system. 

Obscured behind concrete and razor wire, the lives of the incarcerated remain hidden from public view. Inside the walls, imprisoned people all over the world stage theatrical productions that enable them to assert their humanity and capabilities. In part one of this episode, Ashley E. Lucas discusses her most recent book, Prison Theatre and the Global Crisis of Incarceration, as well as her very personal experience with the carceral system growing up. We cover her in-depth research into prison institutions around the world, the role that theatre plays in creating community, and how it can transform the lives of the people forced into the prison system. 

The world of theater performances is often thought of as being composed of wealthy persons who received elite educations at art institutions all so they could be observed by a small, wealthy elite at exclusive and expensive gatherings. Theater is seen as an insular, elitist practice, for and by a select few. However, this image of theater is deeply misleading, especially as more performances are available for download, and many smaller more open institutions invest more in theater productions. One place that might surprise a lot of people is the popularity of performances staged by incarcerated persons, and presented in behind the walls of prisons. Theater is a social, communal practice, so making it happen within an institution that is not only isolated from the outside world, but is designed to isolate those within, will naturally come with various challenges, and also raises various questions on the nature of both theater and the carceral system.  These are the questions Ashley Lucas addresses in her recent book Prison Theatre and the Global Crisis of Incarceration (Bloomsbury, 2020). Featuring a combination of her own firsthand experience as a director of prison theater, interviews with those involved in the world prison theater and scholarly research, the book is a unique combination of genres that occupies some very interesting intersections, and is able to explore some very difficult topics, from questions of artistic expression, the nature of community and what hope in a hopeless situation looks like. Ashley Lucas is an associate professor of Theatre and Drama and the Residential College at the University of Michigan, and is also the former director of the Prison Creative Arts Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

The world of theater performances is often thought of as being composed of wealthy persons who received elite educations at art institutions all so they could be observed by a small, wealthy elite at exclusive and expensive gatherings. Theater is seen as an insular, elitist practice, for and by a select few. However, this image of theater is deeply misleading, especially as more performances are available for download, and many smaller more open institutions invest more in theater productions. One place that might surprise a lot of people is the popularity of performances staged by incarcerated persons, and presented in behind the walls of prisons. Theater is a social, communal practice, so making it happen within an institution that is not only isolated from the outside world, but is designed to isolate those within, will naturally come with various challenges, and also raises various questions on the nature of both theater and the carceral system.  These are the questions Ashley Lucas addresses in her recent book Prison Theatre and the Global Crisis of Incarceration (Bloomsbury, 2020). Featuring a combination of her own firsthand experience as a director of prison theater, interviews with those involved in the world prison theater and scholarly research, the book is a unique combination of genres that occupies some very interesting intersections, and is able to explore some very difficult topics, from questions of artistic expression, the nature of community and what hope in a hopeless situation looks like. Ashley Lucas is an associate professor of Theatre and Drama and the Residential College at the University of Michigan, and is also the former director of the Prison Creative Arts Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

The world of theater performances is often thought of as being composed of wealthy persons who received elite educations at art institutions all so they could be observed by a small, wealthy elite at exclusive and expensive gatherings. Theater is seen as an insular, elitist practice, for and by a select few. However, this image of theater is deeply misleading, especially as more performances are available for download, and many smaller more open institutions invest more in theater productions. One place that might surprise a lot of people is the popularity of performances staged by incarcerated persons, and presented in behind the walls of prisons. Theater is a social, communal practice, so making it happen within an institution that is not only isolated from the outside world, but is designed to isolate those within, will naturally come with various challenges, and also raises various questions on the nature of both theater and the carceral system.  These are the questions Ashley Lucas addresses in her recent book Prison Theatre and the Global Crisis of Incarceration (Bloomsbury, 2020). Featuring a combination of her own firsthand experience as a director of prison theater, interviews with those involved in the world prison theater and scholarly research, the book is a unique combination of genres that occupies some very interesting intersections, and is able to explore some very difficult topics, from questions of artistic expression, the nature of community and what hope in a hopeless situation looks like. Ashley Lucas is an associate professor of Theatre and Drama and the Residential College at the University of Michigan, and is also the former director of the Prison Creative Arts Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

The world of theater performances is often thought of as being composed of wealthy persons who received elite educations at art institutions all so they could be observed by a small, wealthy elite at exclusive and expensive gatherings. Theater is seen as an insular, elitist practice, for and by a select few. However, this image of theater is deeply misleading, especially as more performances are available for download, and many smaller more open institutions invest more in theater productions. One place that might surprise a lot of people is the popularity of performances staged by incarcerated persons, and presented in behind the walls of prisons. Theater is a social, communal practice, so making it happen within an institution that is not only isolated from the outside world, but is designed to isolate those within, will naturally come with various challenges, and also raises various questions on the nature of both theater and the carceral system.  These are the questions Ashley Lucas addresses in her recent book Prison Theatre and the Global Crisis of Incarceration (Bloomsbury, 2020). Featuring a combination of her own firsthand experience as a director of prison theater, interviews with those involved in the world prison theater and scholarly research, the book is a unique combination of genres that occupies some very interesting intersections, and is able to explore some very difficult topics, from questions of artistic expression, the nature of community and what hope in a hopeless situation looks like. Ashley Lucas is an associate professor of Theatre and Drama and the Residential College at the University of Michigan, and is also the former director of the Prison Creative Arts Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

The world of theater performances is often thought of as being composed of wealthy persons who received elite educations at art institutions all so they could be observed by a small, wealthy elite at exclusive and expensive gatherings. Theater is seen as an insular, elitist practice, for and by a select few. However, this image of theater is deeply misleading, especially as more performances are available for download, and many smaller more open institutions invest more in theater productions. One place that might surprise a lot of people is the popularity of performances staged by incarcerated persons, and presented in behind the walls of prisons. Theater is a social, communal practice, so making it happen within an institution that is not only isolated from the outside world, but is designed to isolate those within, will naturally come with various challenges, and also raises various questions on the nature of both theater and the carceral system.  These are the questions Ashley Lucas addresses in her recent book Prison Theatre and the Global Crisis of Incarceration (Bloomsbury, 2020). Featuring a combination of her own firsthand experience as a director of prison theater, interviews with those involved in the world prison theater and scholarly research, the book is a unique combination of genres that occupies some very interesting intersections, and is able to explore some very difficult topics, from questions of artistic expression, the nature of community and what hope in a hopeless situation looks like. Ashley Lucas is an associate professor of Theatre and Drama and the Residential College at the University of Michigan, and is also the former director of the Prison Creative Arts Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

The world of theater performances is often thought of as being composed of wealthy persons who received elite educations at art institutions all so they could be observed by a small, wealthy elite at exclusive and expensive gatherings. Theater is seen as an insular, elitist practice, for and by a select few. However, this image of theater is deeply misleading, especially as more performances are available for download, and many smaller more open institutions invest more in theater productions. One place that might surprise a lot of people is the popularity of performances staged by incarcerated persons, and presented in behind the walls of prisons. Theater is a social, communal practice, so making it happen within an institution that is not only isolated from the outside world, but is designed to isolate those within, will naturally come with various challenges, and also raises various questions on the nature of both theater and the carceral system.  These are the questions Ashley Lucas addresses in her recent book Prison Theatre and the Global Crisis of Incarceration (Bloomsbury, 2020). Featuring a combination of her own firsthand experience as a director of prison theater, interviews with those involved in the world prison theater and scholarly research, the book is a unique combination of genres that occupies some very interesting intersections, and is able to explore some very difficult topics, from questions of artistic expression, the nature of community and what hope in a hopeless situation looks like. Ashley Lucas is an associate professor of Theatre and Drama and the Residential College at the University of Michigan, and is also the former director of the Prison Creative Arts Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's episode listen to host Daniel Chacon talk to author Ashley E. Lucas. Lucas is Associate Professor of Theatre & Drama and Director of the Prison Creative Arts Project (PCAP) at the University of Michigan. Her research and teaching interests include U.S. Latina/o theatre, prison-related theatre, theatre for social change, and related topics in acting, playwriting, and comparative ethnic studies. Lucas is also the author of an ethnographic play about the families of prisoners entitled Doin’ Time: Through the Visiting Glass, which she has performed as a one-woman show throughout the U.S. and in Ireland and Canada