This thesis explores the relationship between contemporary theatre practices and conceptions of citizenship. It examines currently dominant notions of citizenship and their historical background. It then goes on to identify their implications for performance practices. In particular, it explores the implications for practice of ideas of citizenship which rely on the existing institutions of liberal democracies or universal human rights. The context of this investigation is provided by current scientific and technological developments, the phenomena of globalisation, international relations and emerging understanding of the changes in global environmental conditions. Throughout the work, I examine interactions between this context, theoretical ideas of citizenship and everyday practices. Set within this context, I develop a theory of citizenship of relevance to the practice of theatre in educational and community contexts. My theory is developed through an analysis of practice in its spatial and temporal dimensions via a series of contemporary and historical examples. I do not attempt a comprehensive survey but include a diverse range of performance forms. I juxtapose case studies of activity observed in the last decade, predominantly in the UK but with international connections, with relevant examples from twentieth century community, educational or politically engaged theatre. This approach which combines historical with geographical analysis is used to construct an argument that the aesthetics and politics of applied theatre must be grounded in time and place. I also argue that citizenship, in this context, can be best understood in terms of its practices rather than its institutions or universal rights. Through critical attention to the territorial, linguistic and institutional premises of my examples, I show that any conception of citizenship underpinning applied theatre practices should recognise the limitations of liberalism and the paradoxes inherent in ideas of democracy.