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Drama, movement and occupational therapists will appreciate this first detailed account of the method created by Marian Lindkvist 30 years ago. 30 articles spell out the theoretical base of Sesame work in movement, drama, voice, myth, ritual, and Jungian psychological theory. They also describe how the Sesame method is used in a range of settings and with a range of clients, including people with physical or learning disabilities, abused children and prisoners. Annotation copyright by Book News, Inc., Portland, OR
“Christopher Bayes is a master, an extraordinary visionary who has done more to liberate young American actors over the last two generations than I can possibly express. His classes in Clowning are philosophical manifestos; the power of his laughter inextricable from the depth of his spirit. This book is a treasure. Nothing can replace the experience of being in the room with a master teacher, but this practical, playful, brilliant book is the next best thing. Read it. It is indispensable.” —Oskar Eustis, Artistic Director, The Public Theater Discovering the Clown, or The Funny Book of Good Acting is a unique glimpse into the wild world of the Clown, unveiling “the playful self, the unsocialized self, the naive self…the big stupid who just wants to have some fun with the audience.” An essential guide for artists and actors wanting to set free the messy and hilarious Clown within.
From Raina Telgemeier, the #1 New York Times bestselling, multiple Eisner Award-winning author of Smile and Sisters! Callie loves theater. And while she would totally try out for her middle school's production of Moon over Mississippi, she can't really sing. Instead she's the set designer for the drama department's stage crew, and this year she's determined to create a set worthy of Broadway on a middle-school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen. And when two cute brothers enter the picture, things get even crazier!
‘Here’s a knocking indeed!’ says the Porter in Shakespeare’s Scottish play (Act II, Scene 3) and immediately puts himself into role in order to deal with the demands of such an early call after a late night of drinking and carousal: ‘If a man were porter of hell-gate...’. But what roles does the porter of curriculum-gate take on in order to deal with drama’s persistent demands for entry? Ah, that depends upon the temperature of the times. We, who have been knocking for what seems to be a very long time, know well that when evaluation and measurement criteriaare demanded as evidence of drama’s ef cacy, an examiner stands as gatekeeper. When the educational landscape is in danger of overcrowding, we meet a territorial governor. And how often has the courtesan turned out to be only a tease because the arts are, for a brief moment, in the spotlight for their abilities to foster out-of-the-box thinkers? In this text, we meet these ‘commissionaires’ and many more. The gatekeeping roles and what they represent are so familiar that they have become cliches ́ to us. We know them by their arguments, ripostes, dismissals, their brief encouragement and lack of follow-up. And we know that behind each one (however rmly they think they keep the keys) is a nancial and political master whose power controls the curriculum building and everything in it.
Drama as a process-centred form is a popular and valued methodology used to develop thinking and learning in children, while theatre provides a greater focus on the element of performance. In recent years, offering drama and theatre as a shared experience is increasingly used to engage children and to facilitate learning in a drama classroom. Using drama and theatre as a central component with children, this book is an amalgamation of theory, research and practice from across the globe offering insights into differing educational contexts. Chapters provide an exploration of the methodologies and techniques used to improve drama in the curriculum, and highlight the beneficial impact drama has in a variety of classrooms, enriching learning and communication. Contributions from 17 authors, ranging from teachers in schools or universities, to researchers and drama practitioners, examine a variety of perspectives related to drama and children in an attempt to bridge gaps and move ahead collectively as educators, practitioners and researchers in drama and theatre. Divided into two parts, Part I reflects on the use of drama in its varied forms with children, while Part II focuses on projects and experiments with children using theatre in order to draw links between drama, theatre and pedagogy. Drama and Theatre with Children will be key reading for researchers, academics and postgraduate students in the fields of drama education, theatre education, curriculum studies and child development. The book will also be of interest to drama practitioners, school teachers and teacher training leaders.
In this timely study, Batra examines contemporary drama from India, Jamaica, and Nigeria in conjunction with feminist and incipient queer movements in these countries. Postcolonial drama, Batra contends, furthers the struggle for gender justice in both these movements by contesting the idea of the heterosexual, middle class, wage-earning male as the model citizen and by suggesting alternative conceptions of citizenship premised on working-class sexual identities. Further, Batra considers the possibility of Indian, Jamaican, and Nigerian drama generating a discourse on a rights-bearing conception of citizenship that derives from representations of non-biological, non-generational forms of kinship. Her study is one of the first to examine the ways in which postcolonial dramatists are creating the possibility of a dialogue between cultural activism, women’s movements, and an emerging discourse on queer sexualities.
