Building on Robert J. Landy's seminal text, Handbook of Educational Drama and Theatre, Landy and Montgomery revisit this richly diverse and ever-changing field, identifying some of the best international practices in Applied Drama and ...
Author: Robert Landy
Publisher: Macmillan International Higher Education
Building on Robert J. Landy's seminal text, Handbook of Educational Drama and Theatre, Landy and Montgomery revisit this richly diverse and ever-changing field, identifying some of the best international practices in Applied Drama and Theatre. Through interviews with leading practitioners and educators such as Dorothy Heathcote, Jan Cohen Cruz, James Thompson, and Johnny Saldaña, the authors lucidly present the key concepts, theories and reflective praxis of Applied Drama and Theatre. As they discuss the changes brought about by practitioners in venues such as schools, community centres, village squares and prisons, Landy and Montgomery explore the field's ability to make meaning of a vast range of personal and social issues through the application of drama and theatre.
Author: Stephani Etheridge WoodsonPublish On: 2017-12-01
This book works to 'make change strange' from and for the field of theatre and performance studies.
Author: Stephani Etheridge Woodson
Category: Performing Arts
This book works to 'make change strange' from and for the field of theatre and performance studies. Growing from the idea that change is an under-interrogated category that over-determines theatre and performance as an artistic, social, educational, and material practice, the scholars and practitioners gathered here (including specialists in theatre history and literature, educational theatre, youth arts, arts policy, socially invested theatre, and activist performance) take up the question of change in thirty-five short essays. For anyone who has wondered about the relationships between theatre, performance and change itself, this book is an essential conversation starter.
And if these individuals had interpreted the signs ( the rash of regional literature ,
for instance ) would they have known what to do about it theatrewise ? That most
certainly would require a greater seer than has ever devoted his gifts to the ...
This is a book about why change matters, its benefits - artistic, commercial, ethical and social - and how, with everyone's help, we can actually achieve it.
Author: Lucy Kerbel
Publisher: Nick Hern Books
'Lucy Kerbel's work has become increasingly pivotal in helping the entire industry raise its game... this illuminating book answers the cynic, informs the impartial, converts the supporter into an activist and equips them all; not in a rallying cry of anger-fuelled idealism, but in a calm, pragmatic and clear-eyed way.' Rufus Norris, Director of the National Theatre, from his Foreword Theatre needs to change. Everywhere - in its boardrooms, on its stages, throughout its repertoires - it could be so much more successful at reflecting the gender balance of the world it seeks to represent. This is a book about why change matters, its benefits - artistic, commercial, ethical and social - and how, with everyone's help, we can actually achieve it. From small shifts, such as how you run your meetings, or what's on the shelves of your school library, to rethinking concepts as huge as the art we inherit, how we attribute excellence, and the constraints we unwittingly pass on to the next generation, there are things we can all do to bring about change. In this book, you'll find provocations to help you consider your current practices and their effects, challenge unconscious biases and identify opportunities for change, plus strategies and tools to help you decide where best to focus your efforts, to convince others why change matters, and to achieve meaningful, lasting success. Eye-opening, empowering and inspiring, All Change Please is a book for anyone who loves theatre. Whether you make it, teach it, watch it or study it, everyone has their own unique part to play in helping refresh, reshape and re-imagine the industry as truly diverse, equal and inclusive. 'We are the industry. If things will shift it is down to us, all of us, to make that happen. We all need to reflect on how we work, how we think, and how we make choices. That's what will drive the greatest change.' Since 2011, Lucy Kerbel and her organisation Tonic Theatre have been working with companies and individuals across the theatre industry to support them in achieving greater gender equality in their work and workforces. Her first book, 100 Great Plays for Women, is also published by Nick Hern Books.
Author: Associated Councils of the ArtsPublish On: 1966
When your play was put on at the American Place Theatre , an eager , excited ,
and interested audience demanded that it continue so that the greater audiences
might be able to appreciate it . I think if we're talking about audiences , we should
Her topic was “ The Behavioral Dimen - sions of Change , ” and she began by
inviting the audience to share stories of tough transitions . Many examples cited
— whether the theatre was grow - ing , shrinking or just reorganizing , resulted in
Alice. Whether my size will let me into the garden. RABBIT. One of them will. Alice
. That's a silly thing to say. I can't be more than one size at a time. RABBIT. Your
foot has a size, hasn't it? Alice. Yes. RABBIT. And you change your shoes to fit it.
Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity? These are just of the questions addressed in this book.
Author: Geoffrey Davis
Category: Performing Arts
First Published in 1997. Can South African theatre continue to maintain its autonomy and exercise its critical role? Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity? These are just of the questions addressed in this book. The real and present difficulties South Africian theatre is facing, as well as possible future orientations, are clearly shown, at one of the most complex moments of political transition in the history of the South African society. The authors include contributions from playwrights, actors, visual artists, poets, directors, administrators, critics and theatre academics. Their comments and thoughts portray the active process of reflection and reappraisal, redefining their artistic and political aims, searching for new and vital theatrical forms.