Theatre-Making explores modes of authorship in contemporary theatre seeking to transcend the heritage of binaries from the Twentieth century such as text-based vs. devised theatre, East vs. West, theatre vs. performance - with reference to genealogies though which these categories have been constructed in the English-speaking world.
This diverse collection of essays and testimonies challenges critical orthodoxies about the twenty-first century boom in immersive theatre and performance. A culturally and institutionally eclectic range of producers and critics comprehensively reconsider the term ‘immersive’ and the practices it has been used to describe. Applying ecological, phenomenological and political ideas to both renowned and lesser-known performances, contributing scholars and artists offers fresh ideas on the ethics and practicalities of participatory performance. These ideas interrogate claims that have frequently been made by producers and by critics that participatory performance extends engagement. These claims are interrogated across nine dimensions of engagement: bodily, technological, spatial, temporal, spiritual, performative, pedagogical, textual, social. Enquiry is focussed along the following seams of analysis: the participant as co-designer; the challenges facing the facilitator of immersive/participatory performance; the challenges facing the critic of immersive/participatory performance; how and why immersion troubles boundaries between the material and the magical.
This book fully prepares test takers with the content knowledge and strategies to pass the School Leaders Licensure Assessment (SLLA). The review manual and comprehensive study guide includes a thorough content review, targeted strategies for every question type, and two full-length practice tests with complete answer explanations aligned to the updated ISLLC Standards (2015). By implementing a few critical strategies and focusing study time on the material contained here, readers will be ready to ace the SLLA.
Theatre in Britain today is composed of many strands ranging from the postmodern, in-yer-face, musical and dance theatre forms or performance art and media work to the contemporary productions of classical playwrights. In the aftermath of Empire or, as it is often termed, the -post-colonial- world, British theatre in all these forms has also developed through the rich and vibrant contribution of those who, from necessity or choice, have come to Britain as migrants, and of their children of the second and third generations. This book is primarily concerned with giving a voice to some of these Black and South Asian theatre practitioners who tell their own stories while at the same time they, and others, describe the conditions in which they work. The editors have been careful to encourage the expression of different viewpoints. Indeed varying interpretations of such terms as -multicultural-, -gender-based- or even -Black- and -British- can be found. The result is an extraordinarily diverse picture of today's Black and South Asian British theatre practitioners but also of their companies and their relations with traditional institutions."
Provides the amateur with information on acting, directing, set design, lighting, make-up, costumes, stage management and theater administration, discusses different types of plays, and contributes guidance on workshops, festivals, and touring
Rejuvenate Yourself with Mira Tasich’s Self-Renewal Inspirations Sincerely and candidly, Mira Tasich writes of her personal rollercoaster journey from fear and self-doubt to power and rejuvenation. Goodbye Job, Hello Life never lectures readers but offers them lessons on how to re-invent and discover their hidden powers.
Richard Pochinko (1946–89) played a pioneering role in North American clown theater through the creation of an original pedagogy synthesizing modern European and indigenous Native American techniques. In Clown Through Mask, Veronica Coburn and onetime Pochinko apprentice Sue Morrison lay out the methodology of the Pochinko style of clowning and offer a bold philosophical framework for its interpretation. Morrison is today a leading teacher of Pochinko's Clown through Mask technique and this book extends significantly the literature on this underdocumented form of theater.