Cell Block Theatre’s Writer’s Unit, 17, 115, 121, 122, 141, 173 |
(note, 37) |
Chair is a Chair, A (acting exercise), 203 |
Class, socio-economic, 73, 75, 119, 139, 234–237, 238, 264, 270, 271 |
and prison inmates:, 16, 17, 31, 32, 53, 76, 77, 81, 93, 94, 126, 128, 205, 237–239, 268–270, 273, 301, 302, 309 |
(note, 119) |
Color-blind casting, see “race-blind casting” |
Commitment, see “social control theory of delinquency” |
Communication, interpersonal, 57–60, 69, 89, 92, 135, 155–158, 206, 272, 273, 291, 292 |
Communion in the theatre, 51–64, 66, 67, 135–137, 138, 213, 254, 258–262, 266, 272, 273, 294–298 |
Competitive pattycake (acting exercise), 201 |
Comprehensive Crime Control Act, 15 |
Cooperation, 40, 41, 78, 83, 129–133, 181, 190–192, 201, 202, 204–207, 233, 254, 255, 258–260, 298 |
Couloumbis, Akila(note(note, 16, 23, 36, 63, 64, 76, 88, 90, 105, 22, 106, 110, 112, 144, 190, 221, 287, 303, 308, 310 |
and professional actor-training, 31–33 |
and play selection, 71–77 |
relationship with the DOC, 78–80 |
Critical criminology, see “radical criminology” |
Crofton, Sir Walter, see “Progressive Stage System of Incarceration” |
Crucial Bridge-Gap Therapy Program (CBT), 116, 152–1, 62, 167, 168, 205, 303 |
Cunningham, John, 78 |
Davidson, Joan, 29 |
Day of Absence (Ward),, 5, 45, 48, 49, 75, 83, 84, 91, 158, 325, 326 |