Whereas my previous books about Dramatherapy tended to be addressed mainly to other arts therapists, this one is intended for psychotherapists and counsellors of all kinds. Indeed, I hope that it will attract a range of readers not usually aimed at in books about dramatherapy - actors, audience-members, and all interested in theatre and the interface between psychology and the arts.

The aim of Healing Theatre: How Plays Changes Lives is to give dramatherapy a new dimension by combining life-experience with professional expertise in a way not attempted before. I have aimed at accessibility, addressing those whose knowledge of dramatherapy is not extensive, and those already practising it, thus adding to the literature by demonstrating the creative relationship which exists between the arts therapies and more conventional approaches; a relationship embodied in my own work over the years.

To conclude: my book records the development of my personal conviction about the healing power of theatre. It differs from other books because of its concern with the experience of existential transformation which is theatre's unique gift. Thus it moves outwards from applied drama (i.e. the therapeutic use of dramatic approached) to theatre itself, and to what exactly makes it heal. No other book, so far as I know, has actually gone so far to ask actors the question, Why do you Act?

Winner of the 2008 American Alliance for Theatre and Education "Book of Distinction" Award.

Theatre is a primal language that used to be spoken by everyone; everyone included the "living community".

Weaving together Systems Theory and the groundbreaking work of Fritjof Capra , Theatre of the Oppressed and the revolutionary work of Augusto Boal , and his own 25 years of practical experience in community-based popular theatre, David Diamond creates a silo-busting book that embraces the complexity of real life.

Some of the questions Theatre for Living asks and attempts to answer: From a perspective of biology and sociology, how is a community a living thing? How do we design a theatre practice to consciously work with living communities to help them tell their stories? How do we accomplish this without demonizing those characters with whom we disagree? Must we constantly do battle to defeat an endless stream of oppressors, or can we imagine a world in which we stop creating them? Why is this important? What should we be on the look-out for (both positive and negative) when doing this work? What practical games and exercises can we use to awaken group consciousness?

Who will be interested in Theatre for Living? Artists; community development workers; educators; activists; people working in social services, mediation and conflict resolution; health care professionals; anyone with an interest in finding new ways to approach the intersection of culture and social justice.

"I greatly admire the achievements of David Diamond and his Headlines Theatre. He is following his own path, doing extraordinary and groundbreaking work in several fields, like his work with many First Nations communities in Canada and the US, and his adaptation of Forum Theatre on TV and on the Internet. This book relates the experiences of his life in theatre. For what he has already done, is doing, and certainly will do, David Diamond deserves all our support."

Augusto Boal, founder of Theatre of the Oppressed, author of Theatre of the Oppressed, Rainbow of Desire, and Legislative Theatre

“David Diamond’s work has been an inspiration to performers, artists, community leaders throughout Canada and beyond. The ideas in Theatre for Living are large, daring, challenging; but the steps by which Diamond follows and implements the ideas are precise and accessible. As I read I found myself being taken further and further into the life that is both theatre and the making of theatre, which is to say I was led into how life can be given its meaning.”

Hugh Brody, anthropologist and film-maker, author of Maps And Dreams, Living Arctic and The Other Side of Eden

The Cast: 3 Women, Bare set. Lizbeth of Maplecroft is a powerful drama designed for three STRONG actresses. This is a dramatic invention of the later life of Lizzie Borden and what transpired between her and her sister Emma and the conflict that rips their odd but comfortable world apart when Lizzie, now calling herself "Lizbeth" strikes up a friendship with the world famous and glamorous actress, Nance O'Neil. Sparks continually fly at each interaction as their Victorian morals begin to give way to the turn of the century values colliding in on Emma and Lizzie in the new world to which they are being exposed. What binds the women together and ultimately drives them apart is the force behind this compelling drama that was named "Critic's Pick" by Show Business Weekly during its August 2000 run at the Producer's Club in NYC. It has continually been hailed for excellence in all of its productions.

It excels in exposing endemic evils of our modern society in all its profundity. To some extent, it shows that the misbehaviour of an individual can cause a chain-reaction in the milieu that he dwells.

Mr. Maseko is the epitome of a boss who uses his fiscal power to act as it pleases him. He breaks teenagers' hearts and braggarts within the human society as an untouchable. While he is away on "business errands", his private secretary; Ms Dada faces a mamouth task in shielding all the assaults launched by his multiple ennemies.

Through different scenes and acts, anyone who behaves like Mr Maseko discovers a kind of truth tha scathes one's ears and that becomes consciously unbearable.

The comical ingredients in the opening scene may lead the reader astray; but as one progresses, one discovers that the book is indeed provocative, acerbic, daring and satirical. It is a portrait of character.

About the Author