See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/388594826

Social sciences on stage: a theatrical scientific dissemination project

Article · February 2025

DOI: 10.23756/sp.v12i2.1623

CITATIONS READS

0 24

1 author:

Davide Costa
Magna Graecia University
73 PUBLICATIONS 264 CITATIONS

SEE PROFILE

All content following this page was uploaded by Davide Costa on 01 February 2025.

The user has requested enhancement of the downloaded file.

 Science & Philosophy Volume 12(2), 2024

Social sciences on stage: a theatrical scientific

dissemination project
Davide Costa*

Abstract
One of the biggest challenges of contemporary science is to develop
innovative approach to excite society about science and scientific topics. One
of the attempts to find new ways to communicate with the public has been to
use artistic language to explore scientific topics. Based on these premises, a
project, titled Social sciences on stage, is presented that create a creative link
between social science and theater. The aim is to encourage the participation
of scientists in the creation and expression of theater and to reflect on the
social context of science. It will generate a reflection on the social context of
science. According with this paper the theatre is not an end in itself, but a
useful resource for educational practice. With my project, theater is
considered a real educational tool for human development. It favors the
increase of individual sensitivity, channeling the various emotions of the
spectators which often remain unexpressed.
Keywords: Social sciences on stage; Theatrical anthropology; Theatre;
Public engagement with science.†

*
University “Magna Graecia” of Catanzaro, Italy; davide.costa@unicz.it.
†
Received on June 19, 2024. Accepted on October 20, 2024. Published on December 31, 2024. DOI:
10.23756/sp.v12i2.1623. ISSN 2282-7757; eISSN 2282-7765. ©The Authors. This paper is published
under the CC-BY licence agreement.

7
 D. Costa

1. Introduction
Modern society is deeply influenced by science and technology in many aspects such
as political stability, economic growth, national prosperity, health, social welfare,
education and citizenship (Bubela et al., 2009). There is a significant gap between society
and science (Rédey, 2006). This lack of communication does not allow for a valuable and
complete understanding between these two worlds and undermines the building of
relationships of trust and appreciation (European Commission, 2007).
Science communication is pivotal to addressing these problems by bringing science
closer to the public. The main objective of science communication initiatives is to enable
researchers and the public to learn from each other through a process of interaction and
collaboration (Davies, 2008). Using artistic language to explore scientific topics is a
creative way to communicate and engage the public (Riesch, 2014).
Theater is an art and is a way of dealing with a specific theme, namely science and
technology and its political, social, and ethical issues (Shepherd-Barr, 2006). One of the
hallmarks of the growing importance of science in society is an indicator of the growing
importance of science in society is its presence in artistic productions.
In the last 30 years, it has been one of the themes of increasing interest in theater
(Zehelein, 2009). Science theater has covered a wide range of disciplines and scientific
ideas, including biology, genetics, neuroscience, mathematics, physics, and astronomy.
At this regard “The appropriation of science by playwrights may take many forms.
Some plays analyze the social and ethical impacts of scientific progress—some examples
are ‘The Burning Glass’ that focuses on the invention and use of the atomic bomb and
Wendy Lill’s ‘Chimera’ that focuses on genetic engineering. Other address questions
about the history of science, the daily life of scientists or the scientific process. There are
numerous examples, particularly in the last decades, such as ‘Copenhagen’ which focuses
on a secret meeting between two renowned physicists during the second World War, or
Timberlake Wertenbaker’s ‘After Darwin’ which explores Charles Darwin’s voyage on
the Beagle, or (…) Anna Ziegler’s ‘Photograph 51’ about Rosalind Franklin and the
discovery of the structure of the DNA. There are many other examples that use science
as a subject and scientists as protagonists. The history of science in theatre is long,
multidisciplinary and proves that many scientific themes succeed in theatre” (Amaral et
al., 2017, p.2).
Based on these premises, a project, titled Social sciences on stage is presented that
create a creative link between science and theater. The aim is to encourage the
participation of scientists in the creation and expression of theater and to reflect on the

8
 Social sciences on stage: a theatrical scientific dissemination project

social context of science. It will generate a reflection on the social context of science. In
doing so, the initiative has the potential to reduce two gaps between science and society.
These are demystifying the image of scientists and science itself between science and
society (Haynes, 2014) and addressing the relationship between social science and
'laypeople', i.e. those who do not have sufficient knowledge in the field.

2. The scientific bases of Social Sciences on stage

Social sciences on stage is a project that has scientific bases deriving from theatrical
anthropology and the sociological dramaturgical approach,and the main characteristics
of which will be presented.

Theatrical anthropology or anthropology of theatre

The anthropology of theater studies the expressive behavior of artists, shaping
different genres and traditions. In organizational performance, the artist's physical and
mental being is modeled differently from everyday life, forming the basis of technology.
Techniques can be conscious or unconscious, yet implicit in landscape practices. The
principle of repetition creates physical tension, generating new energy and captivating the
viewer. This "before" stage constitutes the basic level of organization, inseparable from
the audience and performance. Analyzing this level allows for knowledge expansion in
practical, professional, and historical areas with immediate results (Barba, 2005). The
anthropology of theater combines three levels:
1) the artist's personality, sensitivity, artistic intelligence, social personality: the
characteristics that make an artist unique;
2) the historical and cultural context in which the characteristics of the natural
tradition and the unique personality of the artist emerged;
3) the use of the body mind according to the extra daily technique, in which the
principle of ultra-cultural repetition can be found.
These levels are defined by theatrical anthropology as the field of preliminary
representation (Barba, 2005). In particular, “The first two aspects determine the transition
from pre-expressivity to performing. The third is the idem, that which does not vary; it
underlies the various personal, stylistic and cultural differences. It is the level of the scenic
bios, the ‘biological’ level of performance, upon which the various techniques and the
particular uses of the performer’s scenic presence and dynamism are founded. The only
affinity connecting Theatre Anthropology to the methods and fields of study of cultural
anthropology is the awareness that what belongs to our tradition and appears obvious to
us can instead reveal itself to be a knot of unexplored problems. This implies a
displacement, a journey, a détour strategy which makes it possible for us to single out that
which is ‘ours’ through confrontation with what we experience as ‘other’. Displacement
educates our way of seeing and renders it both participatory and detached. Thus a new

9
 D. Costa

light is thrown on our own professional ‘country’”(https://ista-online.org/about-

ista/theatre-anthropology/).
Specifically, theater anthropology is a useful science when experts can understand
creativity and increase the power of those involved in creativity (Barba, 2005). As a sub-
discipline it falls more broadly within the discipline known as anthropology of art. It has
focused on material objects. Less attention has been given to physical performance
(music, dance, theatre) despite pioneering work by anthropologists such as Victor Turner
(1979) in recent decades.
There are different anthropological approaches to work from work and workplace
studies. Anthropologists examine the relationship between society and the resulting
theatrical and artistic performances. Human approaches to work reflect a range of human
concerns: social structure, function, meaning, identity, and experience. Performing arts
research is akin to ritualistic practice, a well-documented field in which functional
elements do not always receive the recognition they deserve. The study of anthropology
helps teach students about cultural diversity and the role of different theoretical
perspectives in learning. Anthropology is a relatively new field of study, so there is no
easy introduction or general reading (Islam et al., 2024).

Sociology and theater

Another trend that has a strong connection with the world of theater and social
sciences is certainly dramaturgy.
Dramaturgy is a perspective of sociology that analyzes micro-sociological
descriptions of everyday social interactions through analogies of performativity and
theatrical dramaturgy, dividing such interactions between "actors", "audiences", and
various "frontstages" and "backstages". The term was first adopted into sociology from
theater by Erving Goffman (1959), who developed most of the related terminology and
ideas in his book The Presentation of Self in Everyday Life.
Dramaturgy sociology asserts that elements of human interaction are time, place and
audience dependent. In other words, for Goffman, the self is a sense of who one is and
the dramatic effect that results from the presented immediate scene. Goffman forms a
theatrical metaphor by defining the way one person presents themselves to another based
on cultural values, norms, and beliefs (Macionis and Gerber, 2010). Although the
performances can have glitches (the actors are aware of this), most are successful. The
goal of this self-presentation is to be accepted by the audience through a carefully
executed performance. If the actor is successful, the audience will see the actor as he
wants to be seen.
The theatrical metaphor can be seen in the origin of the word person, which comes
from the Latin persona, meaning mask worn by an actor. A person acts differently because
plays different roles, in front of different people, i.e. the audience. A person chooses her
clothes (costume) to match the image she wants to convey. With the help of friends,
caterers, and decorators (fellow actors and stage crew), a person successfully "stages" a
dinner with parents, a friend's birthday party, etc. If they need to adjust the outfit or say

10
 Social sciences on stage: a theatrical scientific dissemination project

something unpleasant about one of the guests, they do so discreetly (behind the scenes)
where others cannot see (Brissett Edgley, 1990). The way we present ourselves to others
is called dramaturgy. The dramaturgical perspective is one of several sociological
paradigms that differ from other sociological theories and theoretical frameworks because
it does not investigate the causes of human behavior, but rather analyzes context.
However, this is controversial within sociology (Edgley, 2013).
For Goffman “What is important is the sense he (a person or actor) provides them
(the others or audience) through his dealing with them of what sort of person he is behind
the role he is in”(1974, p.298). Because it relies on this agreement to define the social
situation, this perspective argues that there is no concrete meaning to interactions that
cannot be redefined. Dramaturgy emphasizes expressiveness as a key element of
interaction i.e. a fully two-sided view of human interaction (Goffman, 1959).
Dramaturgy theory assumes that a person's identity is not a stable, independent
psychological entity, but is constantly reshaped as the person interacts with others. The
dramaturgy model analyzes social interactions through the way people live their lives,
like actors on a stage. This analysis gives insight into the concept of status, which is
similar to theatrical roles, and roles that act as scripts and provide dialogue and action for
the characters. Just as on stage, in everyday life, people manage their environment,
clothing, words, non-verbal behavior, etc. to convey a certain impression to others.
Goffman(1959) described each individual's "performance" as a representation of the self.
A person's effort to leave a certain impression on the minds of others. This process is
sometimes called impression management. Goffman(1959) distinguishes between
onstage behavior, that is, behavior that is part of the performance visible to the audience,
and backstage behavior, that is, behavior that people do when there is no audience. For
example, a professor will probably behave a certain way in front of students in class, but
will be much more informal in his home. He may also do things in class that would be
considered inappropriate in front of students or colleagues.
Before people interact with others, they prepare the roles or impressions they want to
give to the other person. These roles are subject to what is known in theater as breaking
character (Brissett, Edgley, 1990). Inconvenient interruptions can occur if they are
interrupted by people who are not supposed to be watching the performance backstage
(Goffman, 1959). In addition, there are examples that show how the audience plays a
role in determining the direction of an individual's performance, for example, how people
ignorantly ignore many performance mistakes, such as someone tripping or spitting while
speaking(Goffman, 1959). In dramaturgy analysis, a team is a group of people who work
together to share a party line. Since mistakes affect everyone, team members need to share
information. Team members also have inside information and are not fooled by each
other's achievements (Goffman, 1959).

The scientific functions of theater

Regarding the role of theater in general, Vieites (2014) identified three functions of
theater:1) education, where theatrical practice is aligned with the purpose of the process;

11
 D. Costa

2) theater as a comprehensive means for developing social skills and competencies; 3)

education through theater, linking it with content and skills from other disciplines.
Therefore, theater provides an opportunity for public participation and performances
in which the audience is invited to think, participate and decide, as a place for personal
and social change. Without going into the history of theater and analyzing its various
genres, a first mention is Augusto Boal's Theater of the Oppressed (Sajnani et al., 2021)
inspired by the ideas of Paulo Freire (Coudray, 2016), this method allows not only to talk,
but also to analyze, to give answers, to act, to interact: the story that is presented is not
which came from outside the author, but from the actors from the audience, so he can
think about his social situation, identify vulnerable situations, and understand problems
to contribute to the creation of solutions, to integrate various representations of reality
and to explore the possibilities of change in creative and social situations. By providing
methods and tools for reflection and analysis, Theatre of the Oppressed aims to foster an
informed and active citizenry (Gigli, Tolomelli, & Zanchettin, 2008; Santos, 2018;
Aglieri & Aprigliano, 2019).
One of the main techniques is interactive theater, where people can hold objects and
move from one side of the stage to another, becoming characters in the show, guided by
group vote, and give suggestions for the continuation of the conversation. Developments
such as the Augusto Boal Theater (Sajnani et al., 2021) Interactive theater is not only for
entertainment, like TEDs (Corazza and Macauda, 2022), but is often used for debates on
social or political issues in real life: the audience can participate in what is being said in
it. at the center of the debate. The activities related to these scientific topics can achieve
the goal of creating the desired relationship between science and society and increase the
need for a new "scientific thinking" (Murtonen, Balloo, 2019).
The theatre is not an end in itself, but a useful resource for educational practice.
Theater is considered a real educational tool for human development. It favors the
increase of individual sensitivity, channeling the various emotions of the spectators which
often remain unexpressed. The theater also allows you to express emotions while
watching a show. What is observed in practical terms has a significant impact on those
who take part in a performance (Gómez, 2006). Furthermore, according to Llamas (2013)
the theater and its educational function allow a real application of Gardner's theory
(Gardner, Hatch, 1989) on multiple intelligences, and its impact on skills and holistic
education.
The ease of attrition in public performance spaces is effective for theater spaces.
Compared to static art experiences in art galleries or other art experiences such as
watching movies, the coexistence of actors and audience is a unique feature of this live
performance art (Sun et al., 2023). The actors breathe in the same space as the audience
and communicate with them verbally and non-verbally (Karmakar, 2013). Theater is a
place where three types of dyadic interaction exist: actor-performer, actor-audience and
audience-audience (Sun et al., 2023). It is important to hightlited that these three
combinations influence each other, whichis why theater audiences are as interested as

12
 Social sciences on stage: a theatrical scientific dissemination project

scientists in the types of interactions that take place in the theater space (Karmakar, 2013).
Also important are the physical and mental experiences of the actors and the audience.
Social interaction in the theater is choreographed and repeatable. Theater
performances are probably the closest thing to real-world social interaction, but they can
be controlled and manipulated experimentally. During a performance, actors do not
necessarily feel the same way every time, but the plot of the play is usually the same
throughout the performance. Theater allows for adaptations that are both reproducible
and considered valid (Sun et al., 2023).
Therefore, theater favors the development of intelligence in all its manifestations, in
particular favoring the overall development of the individual through self-awareness and
personal self-construction. In this way, theater comes to favor two processes: 1) mediate
creativity and innovation; 2) favor contents and notions in a more engaging and dynamic
way. In this way, through the theatre, spectators develop a more critical, questioning and
transformative vision. Therefore, theater is a powerful pedagogical resource (Serrani et
al., 2023).

3. The project “Social sciences on stage” in detail

It is on the basis of all these scientific assumptions that the Social sciences on stage
project was structured.
The project has several objectives. First, to communicate the elements that
characterize the social sciences (especially anthropology, criminology and sociology)
through theatre, which is understood to be one of the best tools for acquiring knowledge;

13
 D. Costa

also to address contemporary social problems; and above all, to link the experience of
scientific research with the world of performing arts.
The research carried out by the author of this contribution is presented and therefore
attributable to topics such as: gender issues, healthcare, criminology, cannibalism,
chronic diseases and much more.

The meaning of the logo

It is known that the identity of any entity firstly requires symbols to assert itself.
Precisely for these reasons, a logo was created that was able to incorporate the many
"dualities" that underlie this project (Figure 1).

Figure 1. The logo

First of all, the colours: black and white, as a reference both to the light and shadow
areas of human action, but also related to the contrast between the backstage and the
foreground, but more generally they refer to the various forms of ambivalence that
accompany the man. The symbols: on the left there are the classic masks that represent
the theatre, but they also have another meaning, namely the one proposed by Jung (1967)
who borrows the term from the Latin persōna persōnam, or the mask that actors used to
wear during stage performances . The person was only a reflection of the image of the
character played by the actor, it took up his features, characterized him, inserted him into
a role. On the right, however, we find a network, and therefore a symbolism that recalls
the human ability to enter into relationships with others.

The structure of social sciences on stage

The project has a special structure. First, it opens with a video with background
music. This stage has a twofold role. To create an intense atmosphere to attract attention
and at the same time to be a real visual stage set.
Then the theatrical phase begins, where not only a passage from my research is
interpreted, but all the characters are analyzed. This is an important moment as it serves
to put the audience 'inside' the topic under discussion. The aim is to show how interviews
are conducted from a social science perspective, i.e. to make the audience understand how
complex it is to remain unted about a topic. At the same time, it helps to start the final
stage - the analysis of everything brought to the stage - with simple, understandable

14
 Social sciences on stage: a theatrical scientific dissemination project

language that conveys a form of knowledge that is useful not only for the purpose of the
event, but also for everyday life.

Other peculiarities of the project

Social sciences on stage, intersects social sciences not only with acting, but also with
art. In fact, a central element of this project is both the creation of photographs together
with the presence of artistic installations on stage in line with the theme covered.
The project is totally autonomous and self-financed, because only in autonomy can a
research product be provided free from any form of political, economic or other influence.
The ultimate goal would be to launch the figure of the theatrical popularizer: that is,
a social scientist capable of transmitting his knowledge, his experience in the field, his
scientific products in the theatrical context.

4. Conclusions
The project presented, based on a series of scientific references, constitutes a form of
intersection between science and art, fitting into the context of scientific dissemination in
a theatrical key. The intersection between these different activities such as creativity,
aesthetics, it could allow communities to be brought closer to the contents and research
typical of the social sciences. It is also important to highlight the advantages regarding
the potential of the project to involve scientists in scientific communication activities,
leading to staff development and professional skills, as already described in other studies
on science communication (Clark et al., 2016). Many researches show how the difficulty
of science the communicative task is usually associated with a perceived negative image
and therefore with its removal scientists from these types of initiatives (Jensen et al.,
2008; Davies, 2008; Dowell and Weitkamp, 2011; Borrow and Russo, 2015).This
perspective had already been described in other similar science communication projects,
including the cabaret initiatives the British “Brightclub” (Bultitude, 2011), “Cientistas
de Pé”, the Portuguese projects by Pinto et al.(2013) and by Amaral et al. (2017).
In order to evaluate the impact that the project has on people, after each event an
anonymous questionnaire is sent via email containing both personal data questions and a
series of open-ended questions such as: "what do you think of the event?"; "what struck
you the most?"; etc.
At this regards common adjectives in the responses were: exciting, exciting,
inspiring, pleasant. Here are some of the answers: It helps you think about what you are
doing; You feel like you are inside; Yes, because people want people you have to work
with; Talk directly to others face to face and observe what each person is doing; But it
works in a context where people come to all events and I'll stop here; I don't know if
things like this can easily attract people's attention; Dedicated only to acting; It is more

15
 D. Costa

confusing to express yourself verbally and draw your hand to show a card to enter because
something, but far from the crowd; etc.
Theater, then, is also a source of expression of stories and truths, which serves as a
basis for the progress and connection of social studies. The results of this approach are
not only entertaining, but also informative, educational, or educationally stimulating for
social change. In this way, the theater can take various steps to analyze the socio-cultural
reality presented through the performances (Veselková, 2024).
Among the most relevant aspects is the recognition of a dual need: to save people
engage by closing the distance between the "scientist" and the audience responding to the
topic by working on a verbal level.
The project's ability to show singularities is noteworthy of the scientific world and
the daily life of researchers, approaching science and society and demystifying it the
complex image of scientists.
By lifting the veil of the scientific world, theater has the ability to show concepts and
discoveries useful to everyone, and not just to the scientific community.

References
Aglieri, M., & Aprigliano, S. (2019). Esercizi di libertà. Esperienze di teatro
dell’oppresso nella didattica universitaria. Media Education, 10(2), 232-245.
Amaral, S. V., Montenegro, M., Forte, T., Freitas, F., & Cruz, M. T. G. D. (2017). Science
in theatre—An art project with researchers. Journal of Creative Communications, 12(1),
13-30.
Bachrach, A., Fontbonne, Y., Joufflineau, C., & Ulloa, J. L. (2015). Audience
entrainment during live contemporary dance performance: Physiological and cognitive
measures. Frontiers in human neuroscience, 9, 179.
Barba, E. (2005). The Paper Canoe. A Guide to Theatre Anthropology, Routledge,
London and New York.
Borrow, J., & Russo, P. (2015). A blueprint for public engagement appraisal: Supporting
research careers. University Library. http://arxiv.org/abs/1510.02017.
Brissett, D., C. Edgley, (1990). Life as Theater: A Dramaturgical Source Book. New
York: Walter de Gruyter.
Bubela, T., Nisbet, M. C., Borchelt, R., Brunger, F., Critchley, C., Einsiedel, E., ... &
Caulfield, T. (2009). Science communication reconsidered. Nature biotechnology, 27(6),
514-518.
Bultitude, K., & Sardo, A.M. (2012). Leisure and pleasure: Science events in unusual
locations. International Journal of Science Education, 34(18), 37–41.

16
 Social sciences on stage: a theatrical scientific dissemination project

Clark, G., Russell, J., Enyeart, P., Gracia, B., Wessel, A., Jarmoskaite, I., et al. (2016).
Science educational outreach programs that benefit students and scientists. PLoS Biology,
14(2), e1002368.
Corazza, L., & Macauda, A. (2022). Interactive theatre and science
communication. Giornale italiano di educazione alla salute, sport e didattica
inclusiva, 6(3), 1-8.
Coudray, S. (2016). Le théâtre de l’opprimé. Quelles perspectives émancipatrices pour
un théâtre d’éducation populaire?. Recherches & éducations, (16), 65-77.
Davies, S. R. (2008). Constructing communication: Talking to scientists about talking to
the public. Science communication, 29(4), 413-434.
Dowell, E., & Weitkamp, E. (2011). An exploration of the collaborative processes of
making theatre inspired by science. Public Understanding of Science, 21(7), 891–901.
Edgley, C., (2013). The Drama of Social Life: A Dramaturgical Handbook. UK: Ashgate
Publishing Co.
European Commission. (2007). Report of the science in society session: Public
engagement in science.
https://ec.europa.eu/research/swafs/index.cfm?pg=library&lib=public_engagement.
Gardner, H., & Hatch, T. (1989). Educational implications of the theory of multiple
intelligences. Educational researcher, 18(8), 4-10.
Gigli, A., Tolomelli, A., & Zanchettin, A. (2008). Il teatro dell'oppresso in educazione.
Carocci, Roma.
Goffman, E. (1959). The Presentation of Self In Everyday Life. New York: Doubleday.
Goffman, E. (1974). Frame Analysis: An Essay on the Organization of Experience.
Cambridge, MA: Harvard University.
Gómez, F. (2006). El teatro escolar, los exámenes públicos y las celebraciones:
instrumentos educativos jesuitas. Revista Comunicación y Hombre, 2, 69-87.
Islam, M. T., Lipon, S. R., & Chowdhury, J. S. (2024). A Scoping Review From
Bangladesh on the Relationship of Actor Preparation With Yoga and Meditation in Shiva
Dance: Seeing Form Theatre Anthropology. Reviving and Re-Writing Ethics in Social
Research For Commoning the Community, 203-214.
Jensen, P., Rouquier, J., Kreimer, P., & Croissant, Y. (2008). Scientists who engage with
society perform better academically. Science and Public Policy, 35(7), 527–541.
Karmakar, D. (2013). Theatre and communication: relation between actor and audience.
Global Media Journal, Indian edición (2249-5835).
Llamas, J. (2013). ¿Por qué es aconsejable que los alumnos representen obras teatrales en
la Educación Primaria? Artseduca, 4, 32-36.

17
 D. Costa

Macionis, J.J.,Gerber. L. M. (2010). Sociology (7th Canadian ed.). Toronto: Pearson

Canada Inc.
Murtonen, M., & Balloo, K. (Eds.). (2019). Redefining scientific thinking for higher
education: Higher-order thinking, evidence-based reasoning and research skills. London,
UK: Palgrave Macmillan.
Pinto, B., Marçal, D., & Vaz, S.G. (2013). Communicating through humour: A project of
stand-up comedy about science. Public Understanding of Science, 1–19.
Rédey, S. (2006). Science for the public—The dimensions of science communication.
Princeton, New Jersey: Princeton University Press.
Riesch, H. (2015). Why did the proton cross the road? Humour and science
communication. Public Understanding of Science, 24(7), 768-775.
Sajnani, N., Mayor, C., & Boal, J. (2021). Theatre of the oppressed. Current Approaches
in Drama Therapy, Springfield, IL:: Charles C. Thomas Publisher Ltd, 561-85.
Santos, A. C. (2018). Pour une histoire du spectacle portugais au XIXe siècle: répertoires
de théâtre et médiation culturelle luso-française. Synergies Portugal, (6).
Serrano, M. J. H., Topa, J., Guerrini, V., Romo, N. M., Romo, B. M., Arellano, P. R., ...
& Peixoto, C. (2023). The value of the difference and lifelong learning in the
contemporary pedagogy. Ediciones Universidad de Salamanca, Salamanca.
Shepherd-Barr, K. (2006). Science on stage: From Doctor Faustus to Copenhagen.
Princeton, New Jersey: Princeton University Press.
Sun, Y., Greaves, D. A., Orgs, G., de C. Hamilton, A. F., Day, S., & Ward, J. A. (2023).
Using wearable sensors to measure interpersonal synchrony in actors and audience
members during a live theatre performance. Proceedings of the ACM on Interactive,
Mobile, Wearable and Ubiquitous Technologies, 7(1), 1-29.
Theatre Anthropology: https://ista-online.org/about-ista/theatre-anthropology/.
Turner, V. (1979). Dramatic ritual/ritual drama: Performative and reflexive
anthropology. The Kenyon Review, 1(3), 80-93.
Veselková, V. (2024). Reality theatre as a method for social science research: the
Vietnamese diaspora in central europe. Studies in Theatre and Performance, 1-16
Vieites, M. (2014). La educación teatral: nuevos caminos en la historia de la educación.
Historia de la educación: Revista interuniversitaria, 33, 325-350.
Zehelein, E.S. (2009). Science: Dramatic. Science plays in American and Great Britain,
1990–2007. Heidelberg, Germany: Winter.

18
View publication stats