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Author: Helen Davies

the last sliver of Saartjie Baartman’s labia into her mouth” ( Awerbuck 2012 : loc. 2772). Viola’s act of ingestion is her ultimate act of re-embodying Baartman: rather queerly, she takes Sarah’s body into her own, mingling death and life to make herself a living memorial. But her fixation on Sarah

In: Black Neo-Victoriana
Author: Lou Prendergast

a professional actor on this next project. The Conscious Craft model opened a space for examining the extent to which ctp ’s objective of presenting real life stories could be negotiated. The play is autobiographical in the sense that the script draws inspiration from a ‘real life’ relationship. In

In: Conscious Theatre Practice

performances of RambaZamba RambaZamba 4 – a theatre company (founded in 1991), which consists of actors with intellectual disabilities. She discovered that this was something that she wanted to do in life. Justyna was fascinated with RambaZamba RambaZamba and therefore decided that she was

In: Disability and Dissensus: Strategies of Disability Representation and Inclusion in Contemporary Culture

performances of RambaZamba RambaZamba 4 – a theatre company (founded in 1991), which consists of actors with intellectual disabilities. She discovered that this was something that she wanted to do in life. Justyna was fascinated with RambaZamba RambaZamba and therefore decided that she was

In: Disability and Dissensus: Strategies of Disability Representation and Inclusion in Contemporary Culture
Chapter 6 Final Reflections

thinking in the traditional sense but by responding from a more knowing sense, through our actions we were able to apply some of the concepts that de Ruiter (2015) speaks of in his book, The Intelligence of Love . These concepts have to do with true relationship and living from the heart: “Your mind

In: Expressive Arts Education and Therapy
Author: Peter Zazzali

In describing Charles Laughton’s agreement to play the title role in Galileo Life of Galileo , Brecht observed that the actor wanted to make a “contribution” to society through the “dissemination [of] ideas…about how people really lived together.” 1 Performed in Los Angeles in 1947, during the

In: Philosophizing Brecht
Author: Lou Prendergast

sustainability, racial equality, and the redistribution of wealth form the material basis of people’s well-being’ (Mohanty, 2003: 3). I am fortunate to have found ways to live a semi-creative life; through education and/or arts funding, while living simultaneously with the stress of poverty. Arts making is

In: Conscious Theatre Practice
Author: Janne Tapper

the opposite of necessities by which human mind idealizes permanent structures (see Michelman 2010, 106, 235–236). French philosopher and author Albert Camus argues that people idealize reasons to make life worth living; people cannot endure a lucid groundlessness of existence (1990, 1–9). He notes

In: Theatre Scandals
Author: Janne Tapper

the opposite of necessities by which human mind idealizes permanent structures (see Michelman 2010, 106, 235–236). French philosopher and author Albert Camus argues that people idealize reasons to make life worth living; people cannot endure a lucid groundlessness of existence (1990, 1–9). He notes

In: Theatre Scandals
Author: Lou Prendergast

to calm their minds. Nonetheless, the data demonstrates positive benefits around taking this time to practice together. All three performers on Awkward: A Life in Twenty-Six Postures were Bikram Yoga teachers. We had survived the intensive Bikram Yoga training regime together six months prior to

In: Conscious Theatre Practice