Aspects of life are changing and it is not surprising that even theatre is also making major transformations. Thakur (2013) assumes that theatre is 'changing, improving, and modifying itself to the needs of the changing situation and become relevant in society' (p. 2). Theatre as a form of art is equipping itself with appropriate strategies to meet the needs of its communities and participate in social development. It has an advanced effectual social role especially when it comes to issues that deal with 'conflict resolution, cultural identification, community development, social control, social protest, spreading mass awareness in different social issues to the grass root people' (op.cit., 2013:1). It could be seen as a mirror that reflects a wide range of dilemmas and anxieties. It is a channel via which theatre practitioners attempt to fix problems in a critical and artistic manner. Thakur (2013), in this vein, asserts that 'in every corner of the development world theatre is approved as an effectual element for social change as well as behavioral change' (p.2). Theatre, thus, has proved to be an effective remedy which can be used to address social and behavioral problems. It is a fact that theatre is an art and a process that is amusing and entertaining at the same time. Applied Theatre (AT) which is the subject of investigation in this study, however, trespasses enjoyment and attempts to realize further functions and implications. Applied Theatre is an artistic form with social, political, and ethical responsibility. It is, indeed, a form of art that is equipped with tools that permit the real projection of the irregularities and social scars of the community. It is a podium that motivates its contributors to interact with the community and try to find possible strategies of social change. It has become, therefore, primordial for theatre theorists, and practitioners to reconsider the functions of theatre and step toward change through new forms of theatre. The history of theatre reveals that many of the theories are based on the perception of change; theorists deconstruct previous assumptions to construct their own visions. Bertolt Brecht, for instance, has constructed the theory of epic theatre and deconstructed the Aristotelian theory. According to Squiers (2012), Brecht has focused on the vital roles that theatre could play so as to change the situation towards the better. Inspired by the Marxist theory and the dialectic ideas it conveys, he has given much consideration to the educational and provocative function that a theatre must display. Practitioners, theorists, educators, and activists have made radical changes in the field of theatre; they have managed to establish new forms of theatre with aesthetic functions that could go in parallel with other social and political perspectives. Theorists have put theatre closer to issues related to social strata including women, the marginalized, the excluded, the elderly, the sick, the imprisoned, and others. Théâtre, consequently, has turned from a self-contai...
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