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.
Reading a play and watching it performed onstage are quite different experiences. Likewise, studying a country's theatrical tradition with reference only to playtexts overlooks the vital impact of a play's performance on the audience and on the whole artistic community. In this performance-centered approach to Brazilian theatre since the 1940s, David George explores a total theatrical language—the plays, the companies that produced them, and the performances that set a standard for all future stagings. George structures the discussion around several important companies. He begins with Os Comediantes, whose revolutionary 1943 staging of Nelson Rodrigues' Vestido de Noiva (Bridal Gown) broke with the outmoded comedy-of-manners formula that had dominated the national stage since the nineteenth century. He considers three companies of the 1950s and 1960s—Teatro Brasileiro de Comédia, Teatro de Arena, and Teatro Oficina—along with the 1967 production of O Rei da Vela (The Candle King) by Teatro Oficina. The 1970s represented a wasteland for Brazilian theatre, George finds, in which a repressive military dictatorship muzzled artistic expression. The Grupo Macunaíma brought theatre alive again in the 1980s, with its productions of Macunaíma and Nelson 2 Rodrigues. Common to all theatrical companies, George concludes, was the desire to establish a national aesthetic, free from European and United States models. The creative tension this generated and the successes of modern Brazilian theatre make lively reading for all students of Brazilian and world drama.
Unlike a conventional war waged against a standing army, a "dirty war" is waged against individuals, groups, or ideas considered subversive. Originally associated with Argentina's military regime from 1976-1983, the term has since been applied to neighboring dictatorships during the period. Indeed, it has become a byword for state-sponsored repression anywhere in the world. The first edition of this reference illustrated the concept by describing the regimes of Argentina, Chile (1973-1990), and Uruguay (1973-1985), which tortured, murdered, and disappeared thousands of people in the name of anticommunism while thousands more were driven into exile. The second edition expands the scope to include Bolivia (1971-1982), Brazil (1964-1985), and Paraguay (1954-1989). Includes a chronology, an introductory essay, a bibliography, and over 400 cross-referenced dictionary entries on the countries; guerrilla and political movements; prominent guerrilla, human-rights, military, and political figures; local, regional, and international human-rights organizations; and artistic figures (filmmakers, novelists, and playwrights) whose works attempt to represent or resist the period of repression.--Publisher.
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 Diamonds 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 Art of Teaching Secondary English is a practical and accessible resource for everyone involved in English teaching, including teachers and student teachers of English."--Jacket.
Youth ministry has increasingly lost touch with its origins in the way of Jesus and the social practices intrinsic to Christian discipleship, and has instead substituted layers of "Jesus talk," middle class values, fun and games, and doses of "warm fellow-feeling." Awakening Youth Discipleship articulates the history of this domestication of youth and ministry. Mahan, Warren, and White tell a story of the ways in which our society has colluded to shape a domesticated adolescence. The authors believe a Christian response to this challenge must be multilevel, addressing the problem at three levels--society, church, and individual. The authors propose reclaiming practices of discernment that both engage congregations in social awareness and involve individuals in discerning fuller vocational opportunities than those allowed by popular cultural norms.
As a playwright, a dissident, and a politician, Václav Havel was one of the most important intellectual figures of the late twentieth century. Working in an extraordinary range of genres – poetry, plays, public letters, philosophical essays, and political speeches – he left behind a range of texts so diverse that scholars have had difficulty grappling with his oeuvre as a whole. In Reading Václav Havel, David S. Danaher approaches Havel’s remarkable body of work holistically, focusing on the language, images, and ideas which appear and reappear in the many genres in which Havel wrote. Carefully reading the original Czech texts alongside their English versions, he exposes what in Havel’s thought has been lost in translation. A passionate argument for Havel’s continuing relevance, Reading Václav Havel is the first book to capture the fundamental unity of his vast literary legacy.
Globalization: The Reader addresses the big issues: communications and global media, political economy, cultural homogeneity and heterogeneity, new technologies, tourism, beliefs, and identity.
Throughout history youth have been at the center of their communities' energy and creativity, including their efforts to seek faith and justice. However, today's adolescents have been relegated as passive learners and consumers, lacking full adult power for longer than any age cohort in history. This book traces the modern domestication of adolescence from its ancient roots through several key moments of its descent into passivity. Empowering youth as agents of Christian faith in the world is not only a social need, but is theologically warranted. The church and the broken world need the gifts of youth. This book elaborates four pedagogical movements--listening, understanding, remembering/dreaming, and acting--as key for noticing and nurturing the faith commitments of youth. Too much of contemporary youth ministry represents an attempt to pump energy into our youth--to get them excited about what we have to offer. This approach attends to energies already present in the lived experiences and hidden commitments of youth and connects them to God's mission in the world.
This is the third major revision of a text first published in 1982 with the title Urban Geography: A First Approach and in 1990 as Cities in Space: City as Place. The study of urban geography remains an important part of the geographical curriculum both in schools and in higher education. This book analyses life in an urban society and in a world which is being transformed by the processes of urbanization: to study urban geography is to study environments and phenomena significant to our everyday lives. This is an introductory text which aims to present both more traditional and newer approaches to urban geography in an accessible and educational way.
This book investigates how, as postcolonial studies revises its agenda to incorporate twenty-first century concerns, asylum has emerged as a key field of enquiry.
Drama and Digital Arts Cultures is a critical guide to the new forms of playful exploration, co-creativity, and improvised performance made possible by digital networked media. Drawing on examples from games, education, online media, technology-enabled performance and the creative industries, the book uses the elements of applied drama to frame our understanding of digital cultures. Exploring the connected real-world and virtual spaces where young people are making and sharing digital content, it draws attention to the fundamental applied drama conventions that infuse and activate this networked culture. Challenging descriptions of drama and digital technology as binary opposites, the book maps common principles and practice grounded in role, embodiment, performance, play, and identity that are being amplified and enhanced by the affordances of online media. Drama and Digital Arts Cultures draws together extensive original research including interviews with game designers, media producers, educators, artists and makers at the heart of these new digital cultures. Young people discuss their own creative practices and products, providing insight into a complex and evolving world being transformed by digital technologies. A practical guide to the field, it contains case studies and examples of the intersections of drama conventions and networked cultures drawn from the US, Canada, UK, Netherlands, Singapore and Australia. Written for scholars, educators, students and 'makers' everywhere, Drama and Digital Arts Cultures provides a clear understanding of how young people are blending creativity and learning with the powerful and empowering conventions of drama to create new forms of multimodal and transmedia storytelling.
`This is a very clear and concise summary of media studies, present and future. There is no other book that can both be used as a teaching tool and can help scholars organize their thinking about new media as this book can' - Steve Jones, University of Chicago This book offers an introduction to communication theory that is appropriate to our post-broadcast, interactive, media environment. The author contrasts the `first media age' of broadcast with the `second media age' of interactivity. Communication Theory argues that the different kinds of communication dynamics found in cyberspace demand a reassessment of the methodologies used to explore media, as well as new understandings of the concepts of interaction and community (virtual communities and broadcast communities). The media are examined not simply in terms of content, but also in terms of medium and network forms. Holmes also explores the differences between analogue and digital cultures, and between cyberspace and virtual reality. The book serves both as an upper level textbook for New Media courses and a good general guide to understanding the sociological complexities of the modern communications environment.
Tending the Fire That Burns at the Center of the World engages the central question of Christian formation, that is, what kind of knowing is most likely to awaken and sustain Christian faith? This book seeks to reclaim aesthetics--beauty and creativity--as the church's most native theological way of knowing and being, which participates with God's own glory and creativity. This book traces the prominence of aesthetics up until the dawn of the Enlightenment, including recent theologians who reclaim aesthetics for theology and formation. The book elaborates the aims and techniques of aesthetic approaches to teaching and learning in the church. Finally, this book cautions against overly determined rationalisms and moralisms that do not retain a sense of wonder, delight, and openness in the church's teaching, liturgy, and proclamation. In this view, the church does not simply regurgitate familiar texts, political tropes, or flattened doctrines but breaks into the world as Christ's body, a parable, a song, a flash mob, interrupting business as usual, giving new expression to acts of care, repentance, forgiveness, joy, and communion, awake to the beauty of God's gifts and inviting our worship.
Dramatic Theory takes readers on a comprehensive journey through the rich and varied landscape of dramatic theory. Organized by key topics and presented chronologically, this book connects writers and theorists across different eras, revealing how their discussions have evolved and intertwined. Six fundamental questions are explored, ranging from the nature and purpose of theatre to the implications of performance on society. Each chapter delves into these essential questions, offering insights into how theoretical discourse has influenced theatrical styles and practices over time. From Aristotle's foundational Poetics to avant-garde movements of the twentieth century, Dramatic Theory covers a wide array of perspectives and debates. Issues of identity, the political implications of performance, and the subjective nature of theatrical quality are thoroughly examined. The book also investigates how meaning is constructed on stage and explores modern performance theory's redefinition of theatre. By engaging with the vibrant, never-ending conversations of dramatic theory, this text inspires a deeper understanding and appreciation of the performing arts.
We live in catastrophic times. The world is reeling from the deepest economic crisis since the Great Depression, with the threat of further meltdowns ever-looming. Global warming and myriad dire ecological disasters worsen—with little if any action to halt them—their effects rippling across the planet in the shape of almost biblical floods, fires, droughts, and hurricanes. Governments warn that there is no alternative to the bitter medicine they prescribe—or risk devastating financial or social collapse. The right, whether religious or secular, views the present as catastrophic and wants to turn the clock back. The left fears for the worst, but hopes some good will emerge from the rubble. Visions of the apocalypse and predictions of impending doom abound. Across the political spectrum, a culture of fear reigns.? Catastrophism explores the politics of apocalypse—on the left and right, in the environmental movement—and examines why the lens of catastrophe can distort our understanding of the dynamics at the heart of these numerous disasters—and fatally impede our ability to transform the world. Lilley, McNally, Yuen, and Davis probe the reasons why catastrophic thinking is so prevalent, and challenge the belief that it is only out of the ashes that a better society may be born. The authors argue that those who care about social justice and the environment should jettison doomsaying—even as it relates to indisputably apocalyptic climate change. Far from calling people to arms, they suggest, catastrophic fear often results in passivity and paralysis—and, at worst, reactionary politics.?
Americans have been almost constantly at war since 1917. In addition to two world wars, the United States has fought proxy wars, propaganda wars, and a “war on terror,” among others. But even with the constant presence of war in American life, much of what Americans remember about those conflicts comes from Hollywood depictions. In War on the Silver Screen Glen Jeansonne and David Luhrssen vividly demonstrate how war movies have burned the images and impressions of those wars onto the American psyche more concretely than has the reality of the wars themselves. That is, our feelings about wars are generated less by what we learn through study and discourse than by powerful cinematic images and dialogue. Films are compressed, intense, and immediate and often a collective experience rather than a solitary one. Actors and drama provide the visceral impact necessary to form perceptions of history that are much more enduring than those generated by other media or experiences. War on the Silver Screen draws on more than a century of films and history, including classics such as All Quiet on the Western Front, Apocalypse Now, and The Hurt Locker, to examine the legacy of American cinema on twentieth- and twenty-first-century attitudes about war.
Verbatim Theatre Methodologies for Community-Engaged Practice offers a framework for developing original community-engaged productions using a range of verbatim theatre approaches. This book's methodologies offer an approach to community-engaged productions that fosters collaborative artistry, ethically nuanced practice, and social intentionality. Through research-based discussion, case study analysis, and exercises, it provides a historical context for verbatim theatre; outlines the ethics and methods for community immersion that form the foundation of community-engaged best practice; explores the value of interviews and how to go about them; provides clear pathways for translating gathered data into an artistic product; and offers rehearsal room strategies for playwrights, producers, directors, and actors in managing the specific context of the verbatim theatre form. Based on diverse, real-world practice that spans regional, metropolitan, large-scale, micro, independent, commercial, and curriculum-based work, this is a practical and accessible guide for undergraduates, artists, and researchers alike.
Wake up your body with this unique program of solo, pair-work and ensemble exercises, inspired by the writings of the great directors from Stanislavsky onwards. Delve into the physical side of characterization with Laban, and learn practical ways of organizing rehearsals and movement improvisations. Topics include the power of physical expression, the motion of emotion, the plasticity of the body, and techniques for expanding reach-space. There are also illustrations, movement charts, and reference sections including mini-biographies of Copeau, Decroux, Barba and other prominent figures of the 20th century theater. Every performer needs to establish a connection with the audience, and the key to this is body language. Learn from the writings of the theater greats to develop as a professional, and as a person.
Adaptation Under Fire looks at the essential importance of military adaptation in winning wars. Every military must prepare for future wars despite inevitably having little confidence about the precise shape that those wars will take. As former U.S. Secretary of Defense Robert Gates once noted: "We have a perfect record in predicting the next war. We have never once gotten it right." Despite this uncertainty, military organizations still must make choices. They must determine the nature of doctrine they will need to fight effectively, the type of weaponry and equipment they must procure to defeat their potential foe, and the kind of leaders they must select and develop to guide the force to victory. Since the U.S. military has global security responsibilities, it will have to make these choices without knowing when, where, or how the next war will unfold, nor even who the enemy may be. It will need to adapt quickly and successfully in the face of the unexpected in order to prevail. The book starts by providing a framework for understanding adaptation, and includes several historical examples of success and failure. The second section examines U.S. military adaptation during the recent wars in Iraq and Afghanistan, and explains why certain forms of adaptation have proven so problematic. The final section argues that the U.S. military must become more adaptable in order to successfully address the fast-changing security challenges of the 21st century, and concludes with some recommendations on how it should do so. "--
The scope and nature of this account of the modern history of reading/literacy education (especially tied to the aspirational readers) are unique. Enlisting the metaphor of waves, it traces monumental shifts in theory, research and practice related to reading education and literacy that represent developments that verge on revolutionary changes. Each of these waves is accompanied with a discussion of the aspirational reader that sets the stage for contemplating these shifts and their significance. The discussions trace the research and theoretical developments in a fashion that exemplifies the origins of the shifts and their influences"--
This book examines the practice of urban resilience past and present, drawing on deeper global historical sources and detailed case-studies of contemporary Britain. It argues that resilience is neither new nor necessarily about protecting ordinary people, but part of a long struggle over the control of cities.
Health Psychology takes a truly international and critical biopsychosocial approach, providing students with a holistic understanding of health behaviour, culture and change. Thoroughly updated with the latest research, this comprehensive introduction to foundational and cutting-edge topics in health psychology gives you the tools you need to critically appraise theory and research, and to apply this knowledge to real-world public health issues. Praised for its coverage of social justice, macro-social and cultural issues in health, this edition features three new chapters on parenting and health, responses to the COVID-19 pandemic, and gender-affirmative healthcare for transgender people. Now in full colour, it also includes updated pedagogy, with international Key Studies, Critical Discussions and Insights boxes to extend your learning. Written by experts in the field, this must-read for students of Health Psychology, Health Promotion and Health Behaviour demonstrates how theory and research learned in the classroom impacts public policy around the world. David F. Marks is a psychologist specializing in Health Psychology, Mental Imagery and Consciousness research. Michael Murray is Emeritus Professor of Social and Health Psychology at Keele University. Emee Vida Estacio is a chartered psychologist, author, speaker and health promotion specialist. Rachel A. Annunziato is Professor of Psychology at Fordham University. Abigail Locke is Professor of Critical Social and Health Psychology and Head of School at Keele University. Gareth J. Treharne is Professor of Psychology at te Whare Wananga o Otago (the University of Otago).
The Improv Dictionary: An A to Z of Improvisational Terms, Techniques, and Tools explores improvisational approaches and concepts drawn from a multitude of movements and schools of thought to enhance spontaneous and collaborative creativity. This accessible resource reveals and interrogates the inherited wisdoms contained in the very words we use to describe modern improv. Each detailed definition goes beyond the obvious clichés and seeks a nuanced and inclusive understanding of how art of the moment can be much more than easy laughs and cheap gags (even when it is being delightfully irreverent and wildly funny). This encyclopedic work pulls from a wide array of practitioners and practices, finding tensions and commonalities from styles as diverse as Theatresports, Comedysportz, the Harold, narrative long-form, Playback Theatre, and Boal’s Theatre of the Oppressed. Entries include nuanced definitions, helpful examples, detailed explorations of the concepts in practice, and framing quotes from a leading practitioner or inspirational artistic voice. The Improv Dictionary offers valuable insights to novice improvisers taking their first steps in the craft, seasoned performers seeking to unlock the next level of abandon, instructors craving a new comprehensive resource, and scholars working in one of the numerous allied fields that find enrichment through collaborative and guided play. Each significant entry in the book is also keyed to an accompanying improv game or exercise housed at www.improvdr.com, enabling readers to dig deeper into their process.
Dubbed the "Year of Intelligence," 1975 was not a good year for the Central Intelligence Agency (CIA). Caught spying on American citizens, the agency was under investigation, indicted in shocking headlines, its future covert operations at risk. Like so many others caught up in public scandal, the CIA turned to public relations. This book tells what happened next. In the mid-1970s CIA officials developed a public relations strategy to fend off the agency's critics. In Selling the CIA David Shamus McCarthy describes a PR campaign that proceeded with remarkable continuity--and effectiveness--through the decades and regimes that followed. He deftly chronicles the agency's efforts to project an image of openness and accountability, even as it did its best to put a positive spin on secrecy--"[m]ore openness with greater secrecy," in the Orwellian words of one director of public affairs. A tale of machinations and manipulation worthy of Hollywood, McCarthy's work exposes a culture of secrecy unwittingly sustained by the forces of popular culture; a public relations offensive working on all fronts to perpetuate the CIA's mystique as the heroic guardian of national security. "Our failures are known, our successes are not" has been the guiding mantra of this initiative. Selling the CIA spotlights how the agency’s success in outmaneuvering Congress and avoiding public scrutiny stands as a direct threat to American democracy.
Social ecology provides a holistic framework for change, based on the interrelationships between the personal, social, environmental and 'spiritual'. It helps understand how we got here, and how to realise more sustainable, caring futures. Students from all disciplines can use this valuable resource to help to enrich their learning with insights and principles from social ecology.
The Historical Dictionary of the Dirty Wars coversthe period 1954–1990 in South America, when authoritarian regimes waged war on subversion, both real and imagined. The term “dirty war” (guerra sucia), though originally associated with the military dictatorship in Argentina from 1976 to 1983, has since been applied to neighboring dictatorships in Paraguay (1954–1989), Brazil (1964–1985), Bolivia (1971–1981), Uruguay (1973–1985), and Chile (1973–1990). Although the concept is by no means peculiar to Latin America—the term has become a byword for state-sponsored repression anywhere in the world—these regimes were among its most notorious practitioners. In the mid-1970s they joined forces—along with Ecuador and Peru—to create Operation Condor, a top-secret network of military dictatorships that kidnapped, tortured, and disappeared one another’s political opponents. Their death squads operated both nationally and internationally, sometimes beyond the region. This third edition of Historical Dictionary of the Dirty Wars contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on the countries themselves; guerrilla and political movements that provoked (though by no means exonerated) governmental reaction; leading guerrilla, human-rights, military, and political figures; local, regional, and international human-rights organizations; expressions of cultural resistance (art, film, literature, music, and theater); and artistic figures (filmmakers, novelists, and playwrights) whose works attempted to represent or resist the period of repression. This book is an excellent access point for students, researchers, and anyone wanting to know more about the dirty wars of South America
This book offers an innovative approach to understanding and supporting teacher inquiry groups, Critical Friends Groups, “PLCs,” and other vehicles for the school-wide professional learning community. It takes the reader outside traditional sites of professional development for teachers and into the black box theatres and rehearsal studios of contemporary theatre companies. It investigates the methods and specific tools these theatre artists use to collectively create new works for performance. Drawing on these methods and tools, it provides a model for understanding and improving the practices of teacher learning groups, one that highlights the means, materials, and modes of engagement of a group’s activity. Applying the model to elementary and high school teacher learning groups, it demonstrates how teachers, coaches, and administrators can use it to foster meaningful professional learning and instructional improvement. The book provides not only new ways of thinking about teacher learning in schools, but also frameworks and specific tools to bring teacher learning as collective creation to life.
This scholarly work looks at the issue of politics and performance in America today with particular attention paid to performances produced by activists, the NEA Four, and "Miss Saigon".
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