Asylum and Belonging through Collective Playwriting: "How much home does a person need?"

Preface
Acknowledgements
Contents
About the Author
List of Figures
Chapter 1: Introduction: ‘How Much Home Does a Person Need?’
	1.1 ‘The Place of a Thousand Belongings’: Home as a Critical Lens
	1.2 Home and Belonging in Refugee Performance
	1.3 Interdisciplinary Methodology
	1.4 Chapter Overview
	1.5 ‘Den Smukke Fortælling’: Political Considerations
	References
Chapter 2: Ontologies of Belonging: Philosophical, Historical and Narratological Considerations
	2.1 Ontologies of Belonging
	2.2 Belonging and Human Rights
	2.3 The Nation and Belonging: ‘To Be Rooted’
	2.4 Narratology and Belonging: ‘Not Just Be-ing, But Long-ing’
	2.5 Compromised Belongings
	References
Chapter 3: Dramaturgical Ethics: Undoing and Decreating
	3.1 Dramaturgy, Ethics and Refugee Performance: Engaging ‘With a Story Beyond Our Telling’
	3.2 No Pure Place to Stand: An Argument for Critical Closeness
	3.3 Shifting the Ground: Participating Through Decreating
	3.4 Standing on Stage: Understanding Responsibility as a Theatre Maker
	References
Chapter 4: Ethnoplaywriting: Creating Belonging
	4.1 Theatre and Ethnography: Mapping Terminology and Practices
	4.2 Political Listening and Vulnerable Observing
	4.3 Therapeutic Commitments: Can Stories Heal?
	4.4 Theatre as a Home, Writing as Belonging
	4.5 Letting It Break Your Heart: ‘An Aesthetics of Care’
	References
Chapter 5: Rebooting the Social Contract: Trampoline House and Deportation Centre Sjælsmark
	5.1 Sjælsmark—‘Souls’ Field’: Creating the Unhomely
	5.2 Trampoline House: Performing Democracy and Rebooting the Social Contract
		The House’s Own Parliament: Democracy as Performative Process
		Institutional Creativity: My House, Your House
	5.3 Person = Country: Belonging as a Human Right
	References
Chapter 6: Fieldwork Reflection: ‘Not Just Theatre, Also Politics, Law’—Making Theatre in Deportation Centre Sjælsmark
	6.1 Creating the Map of Non-belonging
	6.2 Writing a Letter to a Danish Person
	6.3 Narratable Versus Narrated Self or ‘to Learn About Beauty’
	6.4 Resisting the Refugee Narrative
	6.5 The Helicopter Is Waiting Outside
	Appendix: This Is Us
	References
Chapter 7: ‘You Are Enough, You Belong With Us’: Reimagining Sisterhood as Collective Belonging
	7.1 The Youth Community Support Agency
	7.2 In the Company of Women: Intersectional Sisterhood
	7.3 Living Life in a Pause: Of Being Blue and New
		‘Where Are You From? A Woman’s Body’: Poetry Is Not a Luxury
	References
Chapter 8: Fieldwork Reflection: The Sistas and Amazing Amelia
	8.1 She Travels in Worlds of…
	8.2 Writing Amazing Amelia
	8.3 Being Amazing Amelia at the Glad Café and the UNESCO Spring School
	8.4 ‘But She’s Not the Amelia Earhart You Know’
	Appendix: Amazing Amelia Or We Are All Amelias
	References
Chapter 9: Conclusion: ‘Much Home’
	9.1 What Is the Point of Theatre?
	9.2 How Much Home? Doubly Possible and the Better Imagined
	References
Index