Introduction to Volume One; Part I: Australia and New Zealand; Introduction to Part I: ''Considering the ethics of representation in applied theatre''. - Helen Cahill & Peter O''Connor; Chapter 1: ''Identifying and understanding the notion of quality within an applied theatre project designed to playfully engage people living with dementia''. Julie Dunn & Michael Balfour; Chapter 2: ''Repairing the evil: Staging Puppet Antigone (2017) at Auckland Prison''. - Rand Hazou; Chapter 3: ''Taurima Vibes: Economies of manaakitanga and care in Aotearoa New Zealand''. - Molly Mullen & B o ni Te Rongopai Tukiwaho; Chapter 4: ''Small acts at the margins: Making theatre work at cross-cultural intersections''. - Linden Wilkinson; Chapter 5: ''The art of listening in prison: Creating radio drama with incarcerated women''. - Sarah Woodland; Part II: The Balkans; Introduction to Part II and III: ''Memory, identity, and the (ab)use of representation''. - Kirsten Sadeghi-Yekta & Darko Lukic; Chapter 6: ''Performing the otherness: Representation of the invisible communities in post-conflict and post-communist societies: Croatian example''.
- Darko Lukic; Chapter 7: ''The bridge to hope: Applied theatre in post-war Bosnia and Herzegovina''. - Sead dulic; Chapter 8: ''Theatre against violence, action in classrooms''. - Ines Skuflic Horvat, Maja Sviben, & Nina Horvat; Chapter 9: Interview with Vladimir Krusic: Theatre and drama in education. - Darko Lukic; Chapter 10: ''In search of polyphonic concepts of participatory theatre and art for social change: Almost half a century of engagement''. - Ljubica Beljanski-Ristic; Chapter 11: ''Giving voice to the voiceless: Raising awareness and spurring debate on the Homeland War (1991-1995) in Croatian theatre''. - Nikolina zidek; Part III: North America; Chapter 12: ''Examining the ethics of research-based theatre through Contact! Unload ''. - George Belliveau, Susan Cox, Jennica Nichols, Graham W. Lea & Christopher Cook; Chapter 13: ''We Are Here: Gylphing a re-creation story through waterways, bloodlines and constellations''.
- Jill Carter; Chapter 14: Applied performance practices of therapeutic clowns: A curated conversation with Helen Donnelly. - Julia Gray, Jenny Setchell, & Helen Donnelly; Chapter 15: ''Playback Theater conductor as ritual guide: The artful and sensitive job of extracting personal stories''. - Hannah Fox; Chapter 16: ''Theatre to address social justice issues with gatekeepers in Canada''. - Lauren Jerke & Warwick Dobson; Chapter 17: ''Tensions of engagement: Oscillating between distance and implication''. - Yasmine Kandil; Chapter 18: ''Questioning social justice: A dialogue on performance, activism and being in-between''. - Asif Majid & Elena Velasco; Chapter 19: ''Timely homecomings''. - Carrie MacLeod; Chapter 20: ''The arrivals legacy process: Reviving Ancestral stories of recovery and return''. - Diane Roberts; Chapter 21: ''Applying Hamilton '' - Hana Worthen; Part IV: Latin America; Introduction to Part IV: Applied performance in Latin America.
- Paloma Carpio & Rodrigo Benza; Chapter 22: ''The body, women, and performance art in Latin America''. - Josefina Alcázar; Chapter 23: ''Dance as a tool for the construction of peace and identity''. - Ana Carolina Ávila; Chapter 24: ''We play as we mean to resist: Theatre games as political participation''. - Matthew Elliott; Chapter 25: ''Communal living culture: From the many to the few, from the few to the many''. - Iván Nogales & Paloma Carpio; Chapter 26: ''Latent conflict or latency in conflict: The liminal space between art actions and the Chilean civic-military dictatorship''. - Andrés Grumann Sölter & Francisco Gonzáles Castro; Chapter 27: ''The community and its Gaze: Argentine community theater''. - Edith Scher; Chapter 28: ''Three community experiences and a resignation'' - Rafael Murillo Selva; Part V: Southern Africa; Introduction to Part V: Applied performance in Southern Africa - Alexandra Sutherland; Chapter 29: ''Romio ndi Julieti ( Romeo and Juliet ): Chichewa language production of a serious drama''. - Amy Bonsall; Chapter 30: '' Rituals (2010) as a counter narrative of healing and reconciliation in Zimbabwe''.
- Kelvin Chikonzo & Ruth Makumbirofa; Chapter 31: ''Dear Mr Government''. - Jessica Lejowa, Bongile Lecoge-Zulu and Cherae; Halley; Chapter 32: ''Applied performance as a space to address issues affecting girls and young women in Zimbabwe: A case study of Rachel 19 ''. - Cletus Moyo & Nkululeko Sibanda; Chapter 33: ''Applied arts in business contexts: Selling out to the oppressor or doing transformational work?'' - Petro Janse van Vuuren; Part VI: Western Europe; Introduction to Part VI: ''Care for the Open: intercultural challenges and transcultural potential of applied performances in Western Europe''. - Julius Heinicke; Chapter 34: ''Realistic art and the creation of artistic truth''. - Rolf Bossart; Chapter 35: ''Artistic creation and participation in Portugal and Brazil: The urgencies of today''. - Hugo Cruz; Chapter 36: ''Core of Nordic applied theatre: Challenges in a subarctic area''. - Riike Gürgens Gjaerum; Chapter 37: ''Youth transformation in search of freedom''. - Maria Kwiatek; Chapter 38: ''Legami in spazi aperti (Bonds in Open Spaces)''.
- Giulia Innocenti Malini; Chapter 39: ''Exploring dramaturgy in participatory refugee theatre as a dialogical art practice: Dialogical tensions in a temporary relational playground''. - Sofie de Smet, Lucia De Haene, Cécile Rousseau, & Christel Stalpaert; Chapter 40: ''The right artistic solution is just the beginning''. - Lene Thiesen.