Blasted has been labelled as one of the landmark plays of post-war British theatre, achieving its iconic status and, indeed, its notoriety, very quickly. Sarah Kane's suicide in 1999 consolidated a process of singling-out that had begun four years earlier with the 'national outrage' initiated by the media's scandalised response to the premiere of Blasted. The brutal content of the play resulted in much-quoted hostility from the critics. Academic attention to the play has begun a process of re-evaluation, debating the production and reception of the play and key issues including its status as a classic example of 'in-yer-face' drama. This guide provides a comprehensive critical introduction to Blasted, giving students an overview of the play's significance, a brief biography of Sarah Kane and a guide to socio-political background; a detailed analysis of the play's structure, style and characters; an analysis of key production issues and choices; an overview of key productions from the 1995 Royal Court premiere to today; and a chapter exploring possibilities and exercises for practical work on the play. An annotated guide to further reading highlights key secondary material including useful websites.
Blasted has been labelled as one of the landmark plays of post-war British theatre, achieving its iconic status and, indeed, its notoriety, very quickly. Sarah Kane's suicide in 1999 consolidated a process of singling-out that had begun four years earlier with the 'national outrage' initiated by the media's scandalised response to the premiere of Blasted. The brutal content of the play resulted in much-quoted hostility from the critics. Academic attention to the play has begun a process of re-evaluation, debating the production and reception of the play and key issues including its status as a classic example of 'in-yer-face' drama. This guide provides a comprehensive critical introduction to Blasted, giving students an overview of the play's significance, a brief biography of Sarah Kane and a guide to socio-political background; a detailed analysis of the play's structure, style and characters; an analysis of key production issues and choices; an overview of key productions from the 1995 Royal Court premiere to today; and a chapter exploring possibilities and exercises for practical work on the play. An annotated guide to further reading highlights key secondary material including useful websites.
This edited collection gathers together leading voices in theatre and performance studies to debate the politics of participation and find points of connection across a range of performative forms – including community theatre, live art, applied theatre, one-to-one performance and marathon running. Arranged in three sections, 'Recognising Participation', 'Labours of Participation', and 'Authoring Participation', the book raises productive questions about how and why audiences are encouraged to participate in creating the artistic work. This intersection, the authors suggest, blurs the boundaries between producer and consumer, promising modes of engagement that are at once political, social and aesthetic. Applying theoretical ideas to concrete discussions of practice, this is an ideal resource for undergraduate and postgraduate students of applied theatre, political and socially-engaged theatre, participatory theatre making and performance studies.
Despite being stricken blind and deaf, Hellen Keller would go on to be an excellent writer; this autobiography and selected works will uplift and inspire.
Here is Helen Keller's endlessly fascinating life in all its variety: from intimate personal correspondence to radical political essays, from autobiography to speeches advocating the rights of disabled people.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Creative research methods can help to answer complex contemporary questions that traditional methods alone cannot; they can also be more ethical, helping researchers to address social injustice in new ways. This accessible book is the first to identify and examine the four pillars of creative research methods: arts-based research, research using technology, mixed-method research, and transformative research frameworks. Written in a practical and jargon-free style, it offers numerous examples from around the world of creative methods in practice in the social sciences, arts, and humanities. Spanning the gulf between ideas and practice, this useful book will inform and inspire researchers by demonstrating why, when, and how to use creative methods in their research.
Creative research methods can help to answer complex contemporary questions which are hard to answer using conventional methods alone. Creative methods can also be more ethical, helping researchers to address social injustice. This bestselling book, now in its second edition, is the first to identify and examine the five areas of creative research methods: • arts-based research • embodied research • research using technology • multi-modal research • transformative research frameworks. Written in an accessible, practical and jargon-free style, with reflective questions, boxed text and a companion website to guide student learning, it offers numerous examples of creative methods in practice from around the world. This new edition includes a wealth of new material, with five extra chapters and over 200 new references. Spanning the gulf between academia and practice, this useful book will inform and inspire researchers by showing readers why, when, and how to use creative methods in their research. Creative Research Methods has been cited over 500 times.
Written in the aftermath of the Covid crisis, this book brings the past, present and future of theatre-going together as it explores the nature of the relationships between performance practitioners, arts organisations and their audiences. Proposing that the pandemic forced a re-evaluation of what it means to be an audience, and combining historical and current cultural sector perspectives, the book reflects on how historical conventions have conditioned present day expectations of theatre-going in the UK. Helen Freshwater examines the ways in which developments in technology, architecture and forms of communication have influenced what is expected by and of audiences, reflecting changes in theatre's cultural status and place in our lives. Drawing on the first-hand experiences of festival director and performance practitioner Kate Craddock, it also contends that practitioners now need to turn their attention to care, access and sustainability, arguing that the pandemic taught us, above all, that it is possible to do things differently. Part vision, part provocation, part critical interrogation, Theatre and its Audiences offers an insightful appraisal of past norms and assumptions to set out a bold argument about where we should go from here.
Helen Keller's never-before-collected writings for magazines and newspapers are reproduced in Byline of Hope, with introductions by Towson University journalism professor Beth A. Haller. Keller's articles for Ladies' Home Journal, The Atlantic Monthly, The New York Times and the 1930s periodical Home show the passion and scope of her thinking on topics like feminism, socialism and eduction. Readers can follow Keller's development from her early work with its Victorian era diction and charm and watch as her thinking evolves on issues of the day. Much of what Keller wrote is still timely in the 21st century. Byline of Hope shows how truly brilliant and far-seeing this woman was.
Presenting the Large Print edition of The Story of My Life by Helen Keller. Unique among vital and inspirational large print books for children and readers of all ages, Helen Keller's The Story of My Life is an unforgettable and moving addition to every library, charting the development of her earliest years as she grew to know her world to her discovering her incredible talents in spite of her deafness and blindness. Helen Keller was born on Ivy Green homestead in Tuscumbia, Alabama, on June 27, 1880. At 19 months old she contracted an unknown illness described by doctors as "an acute congestion of the stomach and the brain" (possibly scarlet fever or meningitis), and the illness left her both deaf and blind. In the early years of childhood, she learned many signs, and how to tell who was walking near her by the vibrations of their footsteps. Inspired by an account in Charles Dickens' American Notes of the education of Laura Bridgman (who was also deaf and blind), Keller's mother sent her to see specialist J. Julian Chisholm in Baltimore, who referred them to Alexander Graham Bell, who was then working with deaf children. Bell told them to contact the Perkins Institute for the Blind in South Boston (where Bridgman had been educated), and the school's director Michael Anagnos asked visually impaired former student Anne Sullivan to become Keller's instructor. After early struggles, their relationship blossomed, and in time Keller (accompanied by Sullivan) would attend the Perkins Institute for the Blind, the Wright-Humason School for the Deaf, the Horace Mann School for the Deaf, The Cambridge School for Young Ladies, then Radcliffe College, Harvard University. In 1904, Keller graduated from Radcliffe, becoming the first deaf-blind person to earn a Bachelor of Arts degree. She became proficient using braille, reading lips with her hands, and also in speech, giving talks and lectures throughout the course of her life. She remained a close companion of Sullivan's up to her death in 1936, also forging a close friendship-following Sullivan's marriage to John Macy in 1905-with her housekeeper (and, later, her secretary) Polly Thomson. Keller wrote twelve books, including the popular autobiographical works The Story of My Life (1903) and The World I Live In (1908), as well as a number of articles. After suffering a series of strokes in 1961, she spent the last years of her life at her home. In 1964, President Lyndon B. Johnson awarded her the Presidential Medal of Freedom, and at the 1965 New York World's Fair she was elected to the National Women's Hall of Fame. On June 1, 1968, just short of her eighty-eighth birthday, she died in her sleep at her home of Arcan Ridge in Easton, Connecticut. Her ashes were interred (beside Anne Sullivan and Polly Thomson) at the Washington National Cathedral in Washington, D.C.
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