DOCSLIB.ORG

View PDF Version

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View PDF Version 2016-2017 January ISSUE 2 SCENE THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Theatre across/without languages www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS Patron ISTA core staff (listed alphabetically) 1 Editorial • Professor Jonothan Neelands, • Emmy Abrahamson, Sweden National Teaching Fellow, Chair of Drama and Theatre PA to the CEO 2 Digital Theatre+ Education in the Institute of Education and Chair of Communication Manager Creative Education in the Warwick Business School Editor for Scene and Behind the 4 Speaking without words (WBS) at the University of Warwick. Scenes by Anna Andresen Board of trustees [email protected] 6 Our bilingual friends Iain Stirling (chair), Scotland Liane Campbell, New Zealand • • by Kevin Burns Formerly Superintendent, Advanced Learning Schools, Consultant Riyadh. Recently retired. [email protected] 9 A case for theatre without language • Emily Ross (vice chair), United States • Keriann O’Rourke, Singapore by Simon Bell Director of International Implementation at the College Event Coordinator for primary and Board, New York, United States. middle school festivals 11 Thai ghostbusters – Phi Ta Khon • Alan Hayes, Belgium Social and digital media by Clynt Whitaker Theatre teacher, International School Brussels. coordinator • Sherri Sutton, Switzerland [email protected] 13 Witnessing theatre as education Comic, director and chief examiner for IB DP Theatre. • Jo Parish, United Kingdom by Mhairi MacInnes Theatre teacher at La Chataigneraie. Business Director Jess Thorpe, Scotland • [email protected] 16 A language all its own Co Artistic Director of Glas(s) Performance and award by Katy Bingham winning young people’s company Junction 25; visiting • Ian Pike, United Kingdom lecturer in the Arts in Social Justice at the Royal Senior Consultant 18 How visual are you? Conservatoire of Scotland. Event Coordinator for TaPS and IB by Georgina Christou workshops Honorary life members [email protected] 19 The poetry of physical theatre • Dinos Aristidou, United Kingdom • Sally Robertson, Australia by Shane Anthony Jones • Doug Bishop Chief Executive Offi cer • David Lightbody, Hong Kong [email protected] 22 The truth of matter Ted Miltenberger • by Noa Rotem • Mike Pasternak, Switzerland • Tom Scott, United Kingdom • Ian Pike, United Kingdom Safety Manager Event Coordinator for high school 24 Drama: the Esperanto of the world of Global patrons: schools/organisations festivals and AiR programme education and the arts • ACS Hillingdon International School, United Kingdom [email protected] by John Somers • American Scool of The Hague, The Netherlands • Jen Tickle, Jamaica • Anglo-American School of Moscow, Russia 26 A multilingual stage Event Coordinator for primary and • Atlanta International School, United States by Nadya Shahd middle school festivals • Copenhagen International School, Denmark Membership Coordinator • International Community School Zurich, Switzerland 28 Using home languages and Ways of PD coordinator • International School of Brussels, Belgium Knowing in drama [email protected] • International School of Dusseldorf, Germany by Nita Dewse • International School of Luxembourg, Luxembourg • Kristen van Ginhoven, United • Marymount International School, London, United Kingdom States of America 30 Alternative mask performance • St John’s International School, Belgium Consultant by Avital Manor Peleg • St Julian’s School, Portugal [email protected] • Taipei American School, Taiwan 33 Where do words go when we have • Carla Weiss, United States of • Vienna International School, Austria said them… ? America • Western International School of Shanghai, China by Joachim Matschoss Event Coordinator for middle and high school festivals, IB workshops Individuals 36 Biographies • Debbie Kidd, United Kingdom and TaPS in the Americas • Tom Kline, China/United Kingdom [email protected] Edited by Emmy Abrahamson Artwork by Jo Doidge Front cover photograph courtesy of Mike Caemmerer Taken at the Hong Kong TaPS and IB workshops hosted by Hong Kong Academy, October 2016. To submit material or comments for future issues please email Emmy Abrahamson on [email protected] © International Schools Theatre Association (ISTA) 2016-2017 ISTA and its editors accept no liability for the views, opinions and advice contained in this journal.The editors reserve the right to edit any materials submitted for publication. ISTA contact information: International Schools Theatre Association (ISTA), 3, Omega Offi ces, 14 Coinagehall Street, Helston TR13 8EB U.K. offi [email protected] Editorial By Emmy Abrahamson When I was younger I used to love watching the TV-series The writes about the powerful lesson he learned as a teacher when Twilight Zone. The thrill of getting frightened from the safety of using “signs, symbols and the understanding of the body” and the sofa and surrounded by my siblings was both addictive and how these moments become refl ective impacting future practice. comforting. But there was one episode that genuinely scared me As he writes: “There is something surprisingly freeing about being to the core – and still does. It was called Wordplay and centred asked to create with your body alone”. I hope that many teachers around a salesman called Bill Lowery. As Bill leaves for work one will also fi nd inspiration from Avital Manor Peleg’s text to explore day his neighbour refers to his dog as an “encyclopaedia”. Lowery a practitioner approach, rather than a teacher one, as well as the just assumes that he has heard wrong. But during the day a young truth and wisdom in Noa Rotem’s “The truth of matter”. In this salesman talks about teaching old dogs new “trumpets”. More issue we have also a very special contributor: former ISTA student and more usages of words that are completely out of place occur Nadya Shahd. In her brilliant “A multilingual stage” she not only e.g. when Lowery comes home his wife says that their son has demonstrates the craft of research and writing but how it is also not eaten any of his “dinosaur”. Lowery becomes increasingly possible to fall in love with another culture. We hope to hear a lot frustrated at the rising level of gibberish and soon he can’t even more from Nadya in the future. In total we have fourteen exciting make himself understood at all with the people around him. In the contributors giving us a varied and balanced range of articles on last scene Lowery sits down with one of his son’s ABC books in Theatre across/without languages, ranging from lesson plans to order to study the language he now needs to re-learn. Under the more theoretical texts, and lots of ideas for you to pick up on and picture of a dog it says “Wednesday”… delve more into. We’re also delighted to profi le a contribution from Even now, 30 years later, thinking about this episode makes my one of our formal partners: Digital Theatre+. ISTA members get body go cold. The possibility of suddenly existing in a world where a 10% discount on a year’s subscription and they are an amazing words mean something completely diff erent is absolutely terrifying resource for both teachers and students. to me. Language is how we communicate and the characteristic So ban English. Go on, I dare you. Ban English for one day. Or at that separates us from other animals, along with free moral agency least for one lesson with your students. Tell them that no-one will be and, as George Carlin pointed out, our ability to make plastic. So allowed to speak English during the next lesson, yet that you are still what would happen if we took it away? Apart from me personally going to teach them a new skill. From start to fi nish the lesson can having a bit of a breakdown and needing to look for another be conducted in Swahili, French, gibberish or just using the body. career, it would probably be an amazing and liberating process Anything but English. And I guarantee that your students will love it. in many ways. This is the reason we decided to dedicate a whole It will be one of those lessons that they will never forget. Go on, you issue of Scene to Theatre across/without languages. Working in can do it. It’s never too late to teach an old dog a new trumpet. international schools we are used to being surrounded by other languages, or as Nadya Shahd writes, “where multilingualism is the norm and a classroom of fi fteen students can have more than twenty diff erent languages between them”. Yet we are still reluctant Emmy to let go of English at times and just use home languages as cute little details and after-thoughts (“If you could say ‘Merry Christmas/ Hello/We wish you welcome’ in Swedish that would be great!”). Yet using no language or a foreign language in drama is enriching, Still available for booking! exciting and engaging - and should be treated with the utmost respect. As Nita Dewse describes in her article “using languages 3-Day Teacher Studios other than English can be a rewarding and liberating experience ISTA is delighted to off er a new series of for students and the eff ects it can create can be powerful ones”. workshops for teachers in Asia, Europe and the The Swedish fi lm-and theatre director Ingmar Bergman once spoke United States. Three full and amazing days. Three of the “pane of glass” the existed when an actor acted in a foreign very diff erent locations and three very diff erent areas of theatre. language stating: “I have always had a suspicion that an actor cannot act to 100% when acting in a foreign language”. While I Kathakali in Kerala don’t fully agree with this statement I do believe in the existence 14th – 16th April 2017 of Bergman’s “pane of glass” and by giving our international students a chance to perform in their home language we remove Musical Theatre in London it.
Load more

Recommended publications
  • PANTOMIME for ACTORS This At-A-Glance Tool Identifies the Exercises, Performance Indicators and Targeted Skills
    T H E A T E R — 4 TH GRADE AT-A-GLANCE PLANNING TOOL: PANTOMIME FOR ACTORS This At-A-Glance Tool identifies the exercises, performance indicators and targeted skills. It also includes the assessment strategies I planned for a specific unit (Unit Two), and how I intended to document evidence of learning. Unit II At-A-Glance: Theater (Pantomime) Performance Assessment (*: Main exercises in that session - Bold font: exercise paired with assessment strategy/ies - V: videotaping) UNIT & Performance Indicators New Skill or SESSION EXERCISES or Variation Challenge ASSESSMENT STRATEGIES What are we assessing? 2-One *The Wall preparation/hands placement/in place *The Rope preparation only/posture 2-Two *The Wall in place touch/change The Rope posture, steps 1 & 2 The Tower exploring balance only/V feet 2-Three *The Wall in place TRAVELING *The Tower inclination side to side 2-Four The Wall: with traveling reflection/Self describe and identify *The Rope steps 1-3 step 3 The Tower inclination side to side *Serpentine Movement standing 2-Five *The Rope steps 1-4 step 4 Serpentine Movement standing-head to toe *The Wall with traveling ROTATION 2-Six The Rope The Tower Serpentine Movement standing-head to toe *The Walking steps 1 & 2 2-Seven *The Walking steps 1 & 2 *The Wall with traveling and rotation 2 sides/walls The Tower *The Rope 2-Eight *The Walking steps 1-3 step 3 checklist/Teacher V: steps 1, 2, posture The Tower The Rope The Wall ROTATION 2-Nine *The Walking steps 1-3 step 3 checklist/Peer V: steps 1, 2, posture Serpentine Movement seated The Wall ROTATION accountable Talk/Peer technique and rotation checklist/Teacher V: technique 2-Ten *The Walking steps 1-3 step 3 checklist/Peer steps 1, 2, 3 *Triple steps 1-3, reverse Movements…Head The Rope steps 1-4 checklist/Teacher V: technique 2-Eleven *The Walking steps 1-3 ROTATION Triple steps 1-3, reverse reflection/Self describe and Movements…Head identify RESOURCES: PANTOMIME FOR ACTORS There are a few books on movement and pantomime I recommend.
    [Show full text]
  • Prospectus 19/ 20 Trinity Laban Conservatoire Of
    PROSPECTUS 19/20 TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE CONTENTS 3 Principal’s Welcome 56 Music 4 Why You Should #ChooseTL 58 Performance Opportunities 6 How to #ExperienceTL 60 Music Programmes FORWARD 8 Our Home in London 60 Undergraduate Programmes 10 Student Life 62 Postgraduate Programmes 64 Professional Development Programmes 12 Accommodation 13 Students' Union 66 Academic Studies 14 Student Services 70 Music Departments 16 International Community 70 Music Education THINKING 18 Global Links 72 Composition 74 Jazz Trinity Laban is a unique partnership 20 Professional Partnerships 76 Keyboard in music and dance that is redefining 22 CoLab 78 Strings the conservatoire of the 21st century. 24 Research 80 Vocal Studies 82 Wind, Brass & Percussion Our mission: to advance the art forms 28 Dance 86 Careers in Music of music and dance by bringing together 30 Dance Staff 88 Music Alumni artists to train, collaborate, research WELCOME 32 Performance Environment and perform in an environment of 98 Musical Theatre 34 Transitions Dance Company creative and technical excellence. 36 Dance Programmes 106 How to Apply 36 Undergraduate Programmes 108 Auditions 40 Masters Programmes 44 Diploma Programmes 110 Fees, Funding & Scholarships 46 Careers in Dance 111 Admissions FAQs 48 Dance Alumni 114 How to Find Us Trinity Laban, the UK’s first conservatoire of music and dance, was formed in 2005 by the coming together of Trinity College of Music and Laban, two leading centres of music and dance. Building on our distinctive heritage – and our extensive experience in providing innovative education and training in the performing arts – we embrace the new, the experimental and the unexpected.
    [Show full text]
  • A Study Guide for Teachers
    KAPUT A STUDY GUIDE FOR TEACHERS ABOUT THE STUDY GUIDE Dear Teachers: We hope you will find this Study Guide helpful in preparing your students for what they will experience at the performance of Kaput. Filled with acrobatic thrills and silly blunders, we’re sure Kaput will delight you and your students. Throughout this Study Guide you will find topics for discussion, links to resources and activities to help facilitate discussion around physical theatre, physical comedy, and the golden age of silent films. STUDY GUIDE INDEX ABOUT THE PERFORMANCE RESOURCES AND TOPICS FOR DISCUSSION 1. About the Performer 1. Be the Critic 2. About the Show 2. Tell a Story Without Saying a Word 3. About Physical Theatre 3. Making a Silent Film 4. About Physical Comedy 4. Body and Expression 5. The Art of the Pratfall 5. Taking a Tour 6. The Golden Age of Silent Films (1894 – 1924) 6. Pass the Ball 7. Physical Comedy + Silent Film = Silent Comedy 7. What’s in a Gesture? Being in the Audience When you enter the theater, you enter a magical space, charged, full of energy and anticipation. Show respect by watching and listening attentively Do not distract fellow audience members or interrupt the flow of performance Applause at the end of the performance is the best way to show enthusiasm and appreciation. About The Performer Tom Flanagan is one of Australia’s youngest leading acrobatic clowns. A graduate of the internationally renowned circus school, The Flying Fruit Flies; Tom started tumbling, twisting, flying and falling at the age of six.
    [Show full text]
  • The Routledge Companion to Jacques Lecoq Mime, 'Mimes' And
    This article was downloaded by: 10.3.98.104 On: 02 Oct 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Jacques Lecoq Mark Evans, Rick Kemp Mime, ‘mimes’ and miming Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315745251.ch2 Vivian Appler Published online on: 18 Aug 2016 How to cite :- Vivian Appler. 18 Aug 2016, Mime, ‘mimes’ and miming from: The Routledge Companion to Jacques Lecoq Routledge Accessed on: 02 Oct 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315745251.ch2 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 2 MIME, ‘MIMES’ AND MIMING Vivian Appler At the height of the Nazi occupation of Paris, Marcel Carné (1906–96) raised a ghost. His 1945 film,Les Enfants du Paradis (Children of Paradise),1 reconstructs the mid-nineteenth cen- tury Boulevard du Temple (Boulevard of Crime) featuring the French pantomime popularized by Jean-Gaspard Deburau (1796–1846) at le Théâtre des Funambules (the Theatre of Tight- ropes).
    [Show full text]
  • Jacques Lecoq and the Neutral Mask
    EMBODYING ENGLISH LANGUAGE: JACQUES LECOQ AND THE NEUTRAL MASK NIKOLE LAUREN PASCETTA A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO AUGUST 2015 ©Nikole Pascetta, 2015 ii ABSTRACT My study explores the process of settlement for Newcomer-to-Canada youth (NTCY) who are engaged in English-language learning (ELL) of mainstream education. I propose the inclusion of a modified physical theatre technique to ELL curricula to demonstrate how a body-based supplemental to learning can assist in improving students’ language acquisition and proficiency. This recognizes the embodied aspect of students’ settlement and integration as a necessary first- step in meaning making processes of traditional language-learning practices. Foundational to this thesis is an exploration of the Neutral Mask (NM), an actors training tool developed by French physical theatre pedagogue Jacques Lecoq. A student of Lecoq (1990- 1992), I understand NM as a transformative learning experience; it shapes the autoethnographic narrative of this study. My research considers the relationship between the body and verbal speech in English-language learning, as mediated by the mask. An acting tool at the heart of Lecoq’s School, the mask values the non-verbal communication of the body and its relationship to verbal speech. My study explains how the mask, by its design, can reach diverse learning needs to offer newcomer students a sense of agency in their language learning process. I further demonstrate how through discussion of an experimental applied practice field study.
    [Show full text]
  • DV8 and Lloyd Newson Topic Exploration Pack September 2015
    Performance Studies A LEVEL Performance Studies: DV8 and Lloyd Newson Topic Exploration Pack September 2015 www.ocr.org.uk Topic Exploration Pack We will inform centres about any changes to the specification. We will also publish changes on our website. The latest version of our specification will always be the one on our website (www.ocr.org.uk) and this may differ from printed versions. Copyright © 2015 OCR. All rights reserved. Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use. Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Registered office: 1 Hills Road Cambridge CB1 2EU OCR is an exempt charity. 2 www.ocr.org.uk AS Level Performance Studies Contents DV8 and Lloyd Newson................................................................................................................... 4 Lesson One .................................................................................................................................... 7 Lesson Two .................................................................................................................................... 8 Lesson Three .................................................................................................................................. 9 This activity offers an opportunity for English skills development. Version
    [Show full text]
  • Physical Theatre: Brecht and Berkoff
    Year 10 Knowledge DRAMA Organiser Autumn 2 Physical Theatre: Brecht and Berkoff In the end, you will be able to: Section A: Physical Theatre Identify and use the conventions of status and tension within other people performances and your own performances. Physical Theatre • A style which uses choreographed Be able to develop effective and appropriate body language for different movement and dancing to tell a story. characters. • These movements can be combined with traditional dialogue or used on their own. To understand and be able to manipulative your physicality to express • Minimal set and props are used so that the different emotions, concepts and ideas. audience can focus on the physical action. • Sometimes the actors’ bodies are used as To understand and use Brecht's theory of Gestus in both your own objects onstage. performances and recognise it in other peoples’ performances. • There is nothing realistic about this way of movement and so this style can be To understand and use Berkoff’s style of Total Theatre in their associated with Brecht and Artaud. performances. • Performers can communicate emotion to the audience that would be difficult to Section B: Bertolt Brecht and Steven Berkoff convey using dialogue. Steven Berkoff A British theatre practitioner (born 1937) who is known Non-naturalistic Epic Theatre – BERTOLT BRECHT for his experimental style. His plays often use physical • Opposite of naturalism – it aims to distance the audience from the theatre techniques like mime, exaggerated movement story by reminding them it isn’t real. and improvisation. He believes that actors’ bodies • This encourages the audience to focus on the play’s message or should convey the story rather than relying on sets.
    [Show full text]
  • Social Inclusion Open Access Journal | ISSN: 2183-2803
    Social Inclusion Open Access Journal | ISSN: 2183-2803 Volume 4, Issue 4 (2016) HumanityHumanity asas aa ContestedContested Concept:Concept: RelationsRelations betweenbetween DisabilityDisability andand ‘Being‘Being Human’Human’ Editors Paul van Trigt, Alice Schippers and Jacqueline Kool Social Inclusion, 2016, Volume 4, Issue 4 Humanity as a Contested Concept: Relations between Disability and ‘Being Human’ Published by Cogitatio Press Rua Fialho de Almeida 14, 2º Esq., 1070-129 Lisbon Portugal Academic Editors Paul van Trigt, Leiden University, The Netherlands Alice Schippers, Disability Studies in Nederland, The Netherlands Jacqueline Kool, Disability Studies in Nederland, The Netherlands Available online at: www.cogitatiopress.com/socialinclusion This issue is licensed under a Creative Commons Attribution 4.0 International License (CC BY). Articles may be reproduced provided that credit is given to the original and Social Inclusion is acknowledged as the original venue of publication. Table of Contents Humanity as a Contested Concept: Relations between Disability and ‘Being Human’ Paul van Trigt, Jacqueline Kool and Alice Schippers 125–128 The Value of Inequality Gustaaf Bos and Doortje Kal 129–139 “I Am Human Too!” ‘Probeerruimte’ as Liminal Spaces in Search of Recognition Fiona MacLeod Budge and Harry Wels 140–149 Weighing Posthumanism: Fatness and Contested Humanity Sofia Apostolidou and Jules Sturm 150–159 Differences in Itself: Redefining Disability through Dance Carolien Hermans 160–167 Challenging Standard Concepts of ‘Humane’
    [Show full text]
  • Physical Theatre As an Approach to Contemporary Stagings of Classical Greek Tragedy
    Physical theatre as an approach to contemporary stagings of classical Greek tragedy Written documentation submitted for the award of Doctor of Philosophy supporting creative work as thesis submitted by: Rubini Moschochoriti School of Arts Brunel University March 2009 Acknowledgements I would like to express my sincere indebtedness to my supervisor, Barry Edwards for his help, guidance, and his insistence in systematic and consistent work throughout the duration of my thesis. I would also like to acknowledge my theatre group of Municipality of Zographou. Without their help I could not have managed to accomplish my thesis. Special thanks to the Hellenic centre of Theatrical research - Theatre museum, the Centre of the Ancient Greek drama- Desmi, the Theatre library and the National theatre for their precious help and for all the technical material that they have provided me. Finally, I would like to thank Miss K. Spanou, G. Kaffe, V. Vavva and A. Stafilaraki who supported me all this period practically and psychologically. I dedicate this thesis to my family Brunel University, Uxbridge; School of Arts; Rubini Moschochoriti; Physical theatre as an approach to contemporary stagings of classical Greek tragedy; 2009; PhD ABSTRACT This PhD focuses on physical theatre techniques and practices in order to provide acting keys for directing ancient drama. More specifically, the work for stage put effort in the acting method, with which the chorus and the main characters can be approached. For that reason, the basic method adopted was that of J. Lecoq, and especially the ‘transference’ practice. Moreover, specific elements were selected from the methods of: the Laboratory theatre of J.
    [Show full text]
  • Redefining Disability Through Dance
    Social Inclusion (ISSN: 2183–2803) 2016, Volume 4, Issue 4, Pages 160–167 DOI: 10.17645/si.v4i4.699 Article Differences in Itself: Redefining Disability through Dance Carolien Hermans Art and Economics, Utrecht School of the Arts, 3500 BM Utrecht, The Netherlands; E-Mail: [email protected] Submitted: 21 June 2016 | Accepted: 30 August 2016 | Published: 10 November 2016 Abstract This paper brings together two different terms: dance and disability. This encounter between dance and disability might be seen as an unusual, even conflicting, one since dance is traditionally dominated by aesthetic virtuosity and perfect, ideal- ized bodies which are under optimized bodily control. However, recently there has been a growing desire within dance com- munities and professional dance companies to challenge binary thinking (beautiful-ugly, perfect-imperfect, valid-invalid, success-failure) by incorporating an aesthetic of difference. The traditional focus of dance on appearance (shape, tech- nique, virtuosity) is replaced by a focus on how movement is connected to a sense of self. This notion of the subjective body not only applies to the dancer’s body but also to disabled bodies. Instead of thinking of a body as a thing, an object (Körper) that is defined by its physical appearance, dance is more and more seduced by the body as we sense it, feel it and live it (Leib). This conceptual shift in dance is illustrated by a theoretical analysis of The Cost of Living, a dance film produced by DV8. Keywords dance; difference in itself; disability; Körper; Leib; lived body; lived experience Issue This article is part of the issue “Humanity as a Contested Concept: Relations between Disability and ‘Being Human’”, edited by Paul van Trigt (Leiden University, The Netherlands), Alice Schippers (Disability Studies in Nederland, The Netherlands) and Jacqueline Kool (Disability Studies in Nederland, The Netherlands).
    [Show full text]
  • Governor Biographies 23 February 2021 10:17:15 Name Appointment Date Member Type Biography
    Governor Biographies 23 February 2021 10:17:15 Name Appointment Date Member Type Biography Pam Bone 11/07/2013 Independent Pam Bone is an independent adviser for the cultural industries. Over the past 20 years she has secured significant funding to enable new and refurbished arts buildings, artistic and learning programmes and individual projects. She advises organisations on strategic and business planning including fundraising and resource development. Prior to this she was employed in senior management in performing arts organisations and theatre venues. Kate Buckham 17/10/2017 Independent Kate is a solicitor working in leeds. Growing up in Scarborough Kate attended ballet lessons at her local ballet school and was a senior associate of the Royal Ballet School. At 16 she made the tough decision to withdraw from her final audition for a place at a vocational ballet school and to continue her education and study law at university. Kate trained and qualified as a solicitor in 2004, and spent many years working in London for the international law firm Baker and McKenzie LLP. During this time she enjoyed attending a variety of dance performances at the Royal Opera House and Sadlers Wells Theatre and took evening ballet classes at The Place (home to the London Contemporary Dance School). A few years ago kate moved back home to Yorkshire and now lives in York with her young family. Page 1 of 5 Name Appointment Date Member Type Biography Gary Clarke 16/01/2018 Independent Winner of a UK Theatre Award and a Critics Circle National Dance Award, Gary Clarke is currently regarded as one of the UK’s leading independent dance artists who has received great appreciation for his work as a Choreographer, Performer, Director, Mentor, Teacher and Facilitator.
    [Show full text]
  • Applying Physical Theatre
    Unit 33: Applying Physical Theatre Unit code: Y/502/5120 QCF Level 3: BTEC National Credit value: 10 Guided learning hours: 60 Aim and purpose Learners will explore and develop physical theatre forms and techniques, applying them in a performance to an audience. Unit introduction If it can be said that traditional theatre appeals on both cerebral and emotional levels, physical theatre also embraces the physical and visual. Physical theatre adds another dimension to performance and aims to provide a more immediate and complete theatre experience. That is not to say the traditional actor is devoid of physicality, rather that physical theatre adds a further dimension. Physical theatre performers always aim to provide a more immediate and encompassing theatre experience. Performing physical theatre gives performers the opportunity to use and combine many techniques; to express themselves, not solely through acting or dance, but through a diverse range of art forms. This is a multi-layered genre that includes movement, mime, acrobatics and clowning, as well as all the more traditional forms of acting. The term ‘physical theatre’ is relatively new, but the inherent skills, style and genre have a long and far- reaching history. Physical theatre has developed in many different places and from many traditional performing art forms. Essentially physical theatre is a form of presentation that will not deny any kind of performance skill. As well as considering physical theatre as a unique form, the performer in training will find its demanding discipline will enrich their performance work in more traditional contexts. Acquiring and developing skills in physicalisation are, after all, an issue for the most naturalistic actor.
    [Show full text]