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An Anthology of Reality Theatre
Johnny Saldaña -
José Casas; Jennifer Chapman; Laura Eason; Elissa Foster; Macklin Finley; Susan Finley; Michael Keck; Matthew J. Meyer; Jim Mienczakowski; Steve Morgan; Monica Prendergast; Michael Rohd; Johnny Saldaña; Anne Swedberg; Heather Sykes and Charles Vanover
Ethnodrama: An Anthology of Reality Theatre contains seven carefully-selected ethnodramas that best illustrate this emerging genre of arts-based research, a burgeoning but evident trend in the field of theatre production itself. In his introduction to ethnodrama and to the plays themselves, Salda-a emphasizes how a credible, vivid, and persuasive rendering of a research participant's story as a theatrical performance creates insights for both researcher and audience not possible through conventional qualitative data analysis. With their focus on the personal, immediate and contextual, these plays about marginalized identities, abortion, street life and oppression manage a unique balance between theoretical research and everyday realism.
Size: 6 x 9 1/4
978-0-7591-0812-7 • Hardback • February 2005 •
978-0-7591-0813-4 • Paperback • January 2005 •
978-0-7591-1498-2 • eBook • February 2005 •
Crossroads in Qualitative Inquiry
Drama / Anthologies (multiple authors)
Social Science / Anthropology / General
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Johnny Salda-a is a Professor of Theatre at Arizona State University.
Part 1 Acknowledgments
Part 2 Series Editors' Introduction
Part 3 Prologue:
Part 4 An Introduction to Ethnodrama
Part 5 Part One—Ethnodramatic Monologue
Chapter 6 Scenes from
Voices in the Rain
Chapter 7 Scenes from
Chapter 8 Chalkboard Concerto: Growing Up as a Teacher in the Chicago Public Schools
Part 9 Part Two—Ethnodramatic Dialogue with Monologue
Chapter 10 Storm Tracking: Scenes of Marital Disintegration
Chapter 11 The Practice
Chapter 12 Wearing the Secret Out
Part 13 Part Three—Ethnodramatic Extensions
Chapter 14 Baddies, Grubs and the Nitty-Gritty
Chapter 15 Street Rat
Chapter 16 Hidden
Part 17 Appendix: Dramatic Models for Ethnodrama
Part 18 About the Contributors
What a splendid opportunity Professor Saldaña gives us here to help qualitative researchers learn more about the genre of research known as ethnodrama. Following his excellent overview, he provides examples of three types of reality theatre—monologue, dialogue, and ethnodramatic 'extension'—including the full text from seven of these productions. Bravo for this much needed resource.
Harry F. Wolcott, University of Oregon; (d. 2012)
This is a glorious book that breaks new ground in research methodology and data representation. Effectively advancing a form of performative arts-based research, its anthology of plays illustrates a blurring of the fields of theatre and ethnography. Through powerful examples, it teaches both qualitative researchers and producers of theatre important lessons about how to entertain audiences while also informing them about important social issues.
Tom Barone, Arizona State University
Overall, the ethnodramas take us on a roller-coaster ride of themes, issues and emotions that leave a lasting impression. . . Saldaña's outstanding collection will generate valuable conversation in teaching, research and theatre contexts regarding both ists contents and methods. . . the book will provide a valuable resource for my graduate arts-based research classes, and food for thought in my own quest for 'finding the proper balance between research as art and art as research'. . . . Rich with examples of high quality performative arts-based research, the book is a stimulating read—instructive and entertaining, as good theatre should be.
Stage Of The Art Journal
...[This] book is an important addition to the broad field of performance that extends into other disciplines and embraces more than aesthetic goals.
advocates for drama as a form of qualitative research that brings more voices to the public and as an occasion for valuable dialogue between actors and audiences.
; Forum: Qualitative Social Research
This book is long overdue. Those of us committed to the performance paradigm have not had, in a single source, a collection of ethnodramas that could be used for teaching and instruction. Saldaña's anthology gives us this book. . . .[His] magnificent introduction locates this field in its proper literatures, gives the reader a vocabulary of terms (plot, story line, dramatic structure, character, scenography) and a typology of forms. . . .Johnny Saldaña and his collaborators are to be thanked for giving us the platform from which this new form of critical qualitative inquiry can be launched.
Norman K. Denzin and Yvonna S. Lincoln
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