Critical Acting Pedagogy invites readers to think about pedagogy in actor training as a research field in its own right: to sit with the complex challenges, risks, and rewards of the acting studio; to recognise the shared vulnerability, courage and love that defines our field and underpins our practices.
Critical Acting Pedagogy invites readers to think about pedagogy in actor training as a research field in its own right: to sit with the complex challenges, risks, and rewards of the acting studio; to recognise the shared vulnerability, courage and love that defines our field and underpins our practices.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
Produktdetails
Routledge Advances in Theatre & Performance Studies
Lisa Peck is Senior Lecturer in Theatre and Performance Practice at the University of Sussex. Her research interests include actor training, theatre-making pedagogies, women in theatre, critical pedagogies, and site-based performance. Evi Stamatiou is Senior Lecturer and Course Leader of the MA/MFA Acting for Stage and Screen at the University of East London. She is a practitioner-researcher of actor training with two decades of international experience as an actor and creative.
Inhaltsangabe
List of Contributors Acknowledgements Foreword by Josette Bushell-Mingo Introduction Lisa Peck and Evi Stamatiou PART ONE: Intersectional Methodologies and Critical Acting Pedagogies 1 Oppression and the Actor: Locating Freire's Pedagogy in the Training Space Peter Zazzali 2 Playing with Difference in Actor Training: A Method to Transform Policy into Pedagogy Kristine Landon-Smith and Chris Hay 3 Cultivating the Reflexive Practitioner in the Performance Studio: An Intersectional Approach Valerie Clayman Pye 4 Critiquing from the Centre: Challenging Breath Pedagogies within Dominant British-centric Voice Training Denis Cryer-Lennon 5 Training Actors' Voices and Decolonising Curriculum: Shifting Epistemologies Stan Brown and Tara Mcallister-Viel PART TWO: Approaches to Scene Study as Cultural Intersectionality 6 Reconsidering the Link between Text, Technique and Teaching in Actor Training Sherrill Gow 7 Liberating Casting and Training Practices for Mixed-Asian Students Amy Rebecca King and Robert Torigoe 8 Liminal Casting: Self-Inquisitive Scene Study in Actor Training Evi Stamatiou PART THREE: Structural Intersectionality in Values and Assessment 9 We Can Imagine You Here: Acknowledging the Need and Setting the Stage for Multi-layered Institutional Adaptation at Yale University's School of Drama Jennifer Smolos Steele 10 Complex Movements for Change: A Case Study Niamh Dowling 11 Developing a Social Justice PWI Acting Studio through Equitable Assessments Elizabeth M. Cizmar 12 Singing Pedagogy for Actors: Questioning Quality Electa Behrens and Oystein Elle PART FOUR: Interpersonal Intersectionality: Learning Edges 13 Developing the Actor Trainer: Welcome, Trust, and Critical Exchange Jessica Hartley 14 Scaffolding Consent and Intimacy in the Acting Classroom: Bridging the Gap between Learning and Doing Joelle Ré Arp-Dunham 15 A Neurocosmopolitan Approach to Actor Training: Learning from Neurodivergent Ways-of-doing Zoë Glen Afterword by Amy Mihyang Ginther
List of Contributors Acknowledgements Foreword by Josette Bushell-Mingo Introduction Lisa Peck and Evi Stamatiou PART ONE: Intersectional Methodologies and Critical Acting Pedagogies 1 Oppression and the Actor: Locating Freire's Pedagogy in the Training Space Peter Zazzali 2 Playing with Difference in Actor Training: A Method to Transform Policy into Pedagogy Kristine Landon-Smith and Chris Hay 3 Cultivating the Reflexive Practitioner in the Performance Studio: An Intersectional Approach Valerie Clayman Pye 4 Critiquing from the Centre: Challenging Breath Pedagogies within Dominant British-centric Voice Training Denis Cryer-Lennon 5 Training Actors' Voices and Decolonising Curriculum: Shifting Epistemologies Stan Brown and Tara Mcallister-Viel PART TWO: Approaches to Scene Study as Cultural Intersectionality 6 Reconsidering the Link between Text, Technique and Teaching in Actor Training Sherrill Gow 7 Liberating Casting and Training Practices for Mixed-Asian Students Amy Rebecca King and Robert Torigoe 8 Liminal Casting: Self-Inquisitive Scene Study in Actor Training Evi Stamatiou PART THREE: Structural Intersectionality in Values and Assessment 9 We Can Imagine You Here: Acknowledging the Need and Setting the Stage for Multi-layered Institutional Adaptation at Yale University's School of Drama Jennifer Smolos Steele 10 Complex Movements for Change: A Case Study Niamh Dowling 11 Developing a Social Justice PWI Acting Studio through Equitable Assessments Elizabeth M. Cizmar 12 Singing Pedagogy for Actors: Questioning Quality Electa Behrens and Oystein Elle PART FOUR: Interpersonal Intersectionality: Learning Edges 13 Developing the Actor Trainer: Welcome, Trust, and Critical Exchange Jessica Hartley 14 Scaffolding Consent and Intimacy in the Acting Classroom: Bridging the Gap between Learning and Doing Joelle Ré Arp-Dunham 15 A Neurocosmopolitan Approach to Actor Training: Learning from Neurodivergent Ways-of-doing Zoë Glen Afterword by Amy Mihyang Ginther
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Shop der buecher.de GmbH & Co. KG Bürgermeister-Wegele-Str. 12, 86167 Augsburg Amtsgericht Augsburg HRA 13309
