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Young People, Applied Theatre, and Education about Race
This innovative project wrapped research around a youth theatre project. Young people of colour and from refugee backgrounds developed a sustained provocation for the people of Geelong, a large regional centre in Australia. The packed public performance—at the biggest venue in town—challenged locals to rethink assumptions. The audience response was insightful and momentous. The companion workshops for schools had profound impact with adolescent audiences. Internationally, this book connects with artistic, educational, and research communities, offering a substantial contribution to understandings of racism. This book is a provocative, transdisciplinary meditation on race, culture, the arts and change.
Michael Chekhov’s Acting Technique in the 21st Century
The Rhythm of Space and the Sound of Time examines the place of Chekhov’s Technique in contemporary acting pedagogy and practice. Cynthia Ashperger answers the questions: What are the reasons behind the technique’s current resurgence? How has this cohesive and holistic training been brought into today’s mainstream acting training? What separates this technique from the other currently popular methods?
Ashperger offers an analysis of the complex philosophical influences that shaped Chekhov’s ideas about this psycho-physical approach to acting. Chekhov’s five guiding principles are introduced to demonstrate how eastern ideas and practices have been integrated into this western technique and how they have continued to develop on both theoretical and practical levels in contemporary pedagogy, thereby rendering it intercultural.
The volume also focuses on the work of several contemporary teachers of the technique associated with Michael Chekhov International Association (MICHA). Current teacher training is described as well as the different modes of hybridization of Chekhov’s technique with other current methods.
Contemporary practical experiments and some fifty exercises at both beginner and intermediate/advanced levels are presented through analysis, examples, student journals and case studies, delineating the sequences in which units are taught and specifying the exercises that differ from those in Chekhov’s original writing.
This book is for practitioners as well as students of the theatre.
Volume Editors: and
Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the artistic domain so far has tended to continually exceed the parameters of knowledge management?
One could claim that the artistic field comprises the hermeneutic question of the humanities, the experimental method of the sciences, and the societal commitment of the social sciences. Will that knowledge influence the domain, the methodology, and the outcome of artistic research? Another major topic concerns not only the specificity of the object of knowledge of artistic research but above all whether and how artistic research and its institutional programs will influence topical visual art, its artworks and its exhibitions.
These complex problematics with their various points of view and management models are mapped out through the contributions of theorists, curators, and institutions, from Belgium, France, Great-Britain, Italy, The Netherlands, Finland, Germany, and Sweden. May these contributions be a constructive impetus for a versatile debate which may influence the future role of advanced art institutions and the position of artistic research in the next decade.
Volume Editors: and
This is the first book in English to provide a close-up view of the emotional and rewarding experiences of clown-doctors working with hospitalized children. It describes the development of a new program in a pediatric hospital and all the challenges that confront clown-doctors. The book recounts work that takes place over a few months in 1999-2000. Most of the children that are described had been diagnosed with leukemia and other serious forms of cancer. They were hospitalized often and ran the risk of death.
This book is a tale of love and humor and of dealing with great traumas and tragedy. It tells of the immense compassion and the amazing resilience of individuals in the most stressful and debilitating of circumstances. It is a small window looking onto what it is to be human with all our strengths and frailties and of how complete strangers can become bonded to one another through laughter and pain.
The story presented here is based upon real case studies annotated with occasional commentaries to put these experiences into perspective. Above all else this book is a celebration and an homage to all the children, their parents and care-givers who have shared their lives with clown-doctors in many countries around the world.
The Clown-Doctor Chronicles is written to 'speak' to people of all ages: men and women; professionals, trades people and homemakers in cities, towns and villages; for laughter and illness know no boundaries. It will be of particular interest to parents, artists in hospitals and anybody working with children (health care professionals, educators, psychologists).