The auto-ethnographic components and analyses in this book are shaped by projects that I have used a variety of terms to name: Community Theatre, Theatre for Social Change, Applied Theatre, Social Theatre, and Political Theatre. While I acknowledge that each of these terms comes with its own histories and complications, the issue of nomenclature is not one that I engage with in this book. Each time I write about a particular project therefore, I use the terminology that was utilized during the project in question: choices that were sometimes determined by my ignorance of another possibility, sometimes by my interest in a particular technique, and sometimes, by contextual specificities which influenced the terms I used to classify my work. For instance, in northern Uganda where Theatre for Development was widely understood, it was that term that framed my work. In Kashmir, where ‘theatre’ itself is not understood very well, I do not describe my work with any other label apart from just ‘theatre’. Regardless of the terminology, my work across these various contexts of conflict has two common elements: first, the projects are designed to include theatre workshops of differing durations. In these theatre workshops, I generally take on the role of the facilitator-director and in this role, I tend to focus on using non-hierarchical pedagogical methods. I qualify this statement by saying ‘generally’, since there have been occasional projects in which I only direct, co-direct, or write. That said, the exact nature of my involvement in a particular theatre-in-war intervention will always be contextualized for the reader in the relevant Notes in each chapter. The second common characteristic in all my theatre-in-war interventions has been the creation of devised performances as the culmination of workshop processes.