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Issue 17 Ausact: the Australian Actor Training Conference 2019
www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’: -
An Interdisciplinary Journal
FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISMFast Capitalism FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM ISSNFAST XXX-XXXX CAPITALISM FAST Volume 1 • Issue 1 • 2005 CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM -
Community Engagement in Independent Performance-Making in Australia: a Case Study of Rovers
THEMED ARTiclE Community Engagement in Independent Performance-making in Australia: A case study of Rovers KATHRYN KELLY AND EMILY COLEMAN This article offers a perspective on strategies for community engagement by independent performance-makers and cultural institutions in Australia today. Beginning with an overview of community engagement in Australian performance, the article then describes a specific case- study drawn from personal practice: Belloo Creative’s Rovers which was a new performance work based on the lives of its performers, Roxanne MacDonald and Barbara Lowing. As part of the production of Rovers, Belloo Creative, working with young Aboriginal artist Emily Coleman, trialled a community engagement project to welcome Aboriginal audiences to the 2018 Brisbane Festival. The article includes a personal reflection on Rovers that interleaves the commentary of Emily and Kathryn as the two artists who lead the community engagement project, and concludes by suggesting some key considerations for other independent companies who might wish to engage with community. Community Engagement and Australian Performance ommunity engagement is a broad term that Queensland across the last decade. QMF regularly Cembraces a diverse range of activities and practices commissions large-scale community engagement projects across sectors and disciplines in contemporary Australia, such as Boomtown in Gladstone in 2013, where a musical as noted in the introduction for this special edition of was co-created with the participation of 300 community Social Alternatives. Community engagement in the arts members and performed to an audience of over 20,000 is broadly defined by the Australia Council, the national (Carter and Heim 2015: 202). Community engagement funding organisation for arts and culture, as covering: projects are also now routinely showcased within the major programs of city-based festivals, for example, The [A]ll the ways that artists and arts organisations Good Room’s I’ve Been Meaning to Ask You: a work can connect with communities. -
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This file is part of the following reference: Carless, Victoria Leigh (2008) Making invisible pathways visible : case studies of Shadow Play and The Rainbow Dark. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/3565 Making Invisible Pathways Visible Case Studies of Shadow Play and The Rainbow Dark A thesis submitted with creative work in fulfilment of the requirement for the award of the degree of Doctor of Philosophy at James Cook University by VICTORIA LEIGH CARLESS B. Theatre (Hons) School of Creative Arts 2008 STATEMENT OF SOURCES: DECLARATION I declare that this thesis is my own my work and has not been submitted in any form for another degree or diploma at any university or other institution of tertiary education. Information derived from published or unpublished work of others has been acknowledged in the text and list of references if given. ………………………………… ………………………………… (Victoria Carless) (Date) ii STATEMENT OF ACCESS I, the undersigned, the author of this work, understand that James Cook University will make this thesis available for use within the University Library, and via the Australian Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act and I do not wish to place any further restriction on access to this work. ………………………………… ………………………………… (Victoria Carless) (Date) iii ELECTRONIC COPY OF THESIS FOR LIBRARY DEPOSIT DECLARATION I, the undersigned, the author of this work, declare that the electronic copy of this thesis provided to the James Cook University Library is an accurate copy of the print thesis submitted, within the limits of the technology available. -
The Cea Forum 2019
Winter/Spring THE CEA FORUM 2019 Exploring Instructor Perceptions of and Practices for Public Discourse in First-Year Writing Courses Jill Parrott, Lucas Green, Courtnie Morin, Jordan Kaiser, Cody Smothers, Sam Rodgers Eastern Kentucky University A long-standing goal of the university in the Western tradition has been to prepare students to enter into a democratic society as informed citizens, but contemporary practices are often aimed at cultivating individuals for specialized careers rather than preparing them for general civil interactions. As James Berlin reminds us in Rhetoric and Reality, the classical rhetors Aristotle, Cicero, Quintilian, and Augustine placed rhetoric at the center of learning and emphasized its fundamental role in maintaining democratic ideals (2). Though the modern academy appears to stray from this principle historical objective, contemporary freshman composition courses (among others) maintain the capacity to do more than “prepare students for the workplace” (Berlin 189). Compositionists often embrace a humanistic perspective, wherein meaning is created in the material practice of writing and the writers themselves and their audiences are impacted throughout the process, giving purpose to the communicative act beyond a purely utilitarian function (Lindemann 3-8). Composing is a cultural act; a text is both influenced by and influences the society in which it is constructed (Farris). The first-year composition classroom offers the unique capacity to function as a mock micro-society in which students may practice participating in civil public discourse in a relatively low-stakes environment, teaching 234 www.cea-web.org Winter/Spring THE CEA FORUM 2019 both writing skills and democratic acts that may then be transferred and applied into the public sphere (Ervin; Friend; Crisco; Selfe). -
Increasing Faculty-Librarian Collaboration Through Critical Librarianship
Cleveland State University EngagedScholarship@CSU Michael Schwartz Library Publications Michael Schwartz Library 7-29-2019 Increasing Faculty-Librarian Collaboration through Critical Librarianship Adrienne Gosselin Cleveland State University, [email protected] Mandi Goodsett Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/msl_facpub Part of the African American Studies Commons, Information Literacy Commons, Literature in English, North America Commons, and the Women's Studies Commons How does access to this work benefit ou?y Let us know! Original Citation Gosselin, Adrienne and Mandi Goodsett. "Increasing Faculty-Librarian Collaboration through Critical Librarianship." Collaborative Librarianship, vol. 11, no. 2, 100-9, https://digitalcommons.du.edu/ collaborativelibrarianship/vol11/iss2/5/#. Repository Citation Gosselin, Adrienne and Goodsett, Mandi, "Increasing Faculty-Librarian Collaboration through Critical Librarianship" (2019). Michael Schwartz Library Publications. 154. https://engagedscholarship.csuohio.edu/msl_facpub/154 This Article is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Michael Schwartz Library Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. Collaborative Librarianship Volume 11 | Issue 2 Article 5 7-26-2019 Increasing Faculty-Librarian Collaboration through Critical -
Learning from Paulo Freire and the Politics of Critical Pedagogy
Fast Capitalism ISSN 1930-014X Volume 8 • Issue 2 • 2011 doi:10.32855/fcapital.201102.004 Rejecting Academic Labor as a Subaltern Class: Learning from Paulo Freire and the Politics of Critical Pedagogy Henry A. Giroux While liberals, progressives, and left-oriented educators have increasingly opposed the right-wing assault on higher education, they have not done enough either theoretically or politically in connecting the issues of academic freedom, the proliferation of non-tenured and part-time faculty, and the state of critical pedagogy in the university. Although concern has been expressed about the shameless exploitation of non-tenured and part-time faculty in the United States (actually, an under-the-radar parallel alternative to the traditional tenure system), such concerns have not been linked to a full-spirited critique of the anti-democratic forces now affecting higher education through the relentless expansion of a growing managerialism and a neoliberal approach to university governance.[1] The current labor crisis facing higher education shoul be addressed as part of a much broader assault on society by corporations, the military, right-wing foundations, and conservative religious groups. Higher education is a dangerous site because it offers the potential both for fostering critical thought and for shaping oppositional subject positions, identities, and social relations that could challenge the current neoliberal regime of ideology, politics, and economics. At the same time, it offers a space and modes of pedagogy that often unsettle many of the dominant orthodoxies and fundamentalisms that now dominate American culture. I believe that one way to challenge this military-industrial-academic complex is to make the question of pedagogy central to a reformulated politics that reclaims the university as a democratic public sphere. -
Fence En Français
FENCE, UN RESEAU INTERNATIONAL DE COLLABORATION D’AUTEURS ET METTEURS EN SCENE AU SERVICE DU THEATRE 1 SOMMAIRE Jonathan METH, directeur/coordinateur du réseau FENCE (biographie) p.3 Sélection et présentation de 10 compagnies coproductrices de FENCE p. 6 Présentation d’une sélection de 35 auteurs/metteurs en scène/interprètes p. 10 parmi les 170 membres actifs de FENCE Liste non exhaustive de compagnies rattachées à des participants de FENCE p.28 Autres connections internationale des membres de FENCE p. 29 Présentation de WONDERLAND, prochain grand projet de FENCE p. 30 2 JONATHAN METH /DIRECTEUR Nationalité Britannique 51 ans Expérience professionnelle 2003 – 2013 : Directeur et fondateur, The Fence L’association FENCE (réseau international d’auteurs et de metteurs en scène de théâtre) Fence est un réseau international de créateurs de théâtre (écrivains, dramaturges, metteurs en scène et directeurs de théâtre à travers l’Europe et au-delà). À l’origine Fence a fut lancée en 2003 sous l’impulsion d’un partenariat entre Writernet (UK), Le British Council et Creative Renewal, et en association avec IETM, réseau international pour les arts du spectacle, afin d’explorer la pratique de l’écriture dramatique contemporaine dans différents contextes culturels européens. Depuis le réseau s’est développé avec succès et compte aujourd’hui plus de 170 écrivains de théâtre et opérateurs culturels provenant de plus de 40 pays différents. Ils organisent régulièrement des rencontres comme à Budapest, Graz, Belgrade, Tampere, Utrecht/Amsterdam, Leeds, Istanbul, Timisoara, Glasgow, Guadeloupe, Paris/Bondy, Rabat et Toscan/Rome entre autres. Les activités du group ce génèrent de façon organique a travers le réseau entier, réunissant traditionnellement des groupes composés de 2 a 6 personnes. -
LMDA Review, Volume 11, Issue 2 M
University of Puget Sound Sound Ideas LMDA Review Other Publications Spring 2001 LMDA Review, volume 11, issue 2 M. Louise Lytle Ginny Coates Winston Neutel Crystal Beliveau Cindy SoRelle See next page for additional authors Follow this and additional works at: http://soundideas.pugetsound.edu/lmdareview Recommended Citation Lytle, M. Louise; Coates, Ginny; Neutel, Winston; Beliveau, Crystal; SoRelle, Cindy; Erickson, Nancy; Quirt, Brian; Copelin, David; Dixon, Michael Bigelow; Blackstone, Mary; Wright, Michael; Proehl, Geoff; Rankin, Wynn; Etemad, Nakissa; Yahil-Wax, Mirian; and Rand, Jonathan, "LMDA Review, volume 11, issue 2" (2001). LMDA Review. 22. http://soundideas.pugetsound.edu/lmdareview/22 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors M. Louise Lytle, Ginny Coates, Winston Neutel, Crystal Beliveau, Cindy SoRelle, Nancy Erickson, Brian Quirt, David Copelin, Michael Bigelow Dixon, Mary Blackstone, Michael Wright, Geoff rP oehl, Wynn Rankin, Nakissa Etemad, Mirian Yahil-Wax, and Jonathan Rand This book is available at Sound Ideas: http://soundideas.pugetsound.edu/lmdareview/22 Highlights Inside • The Experiment Tradition by Michael Bigelow Dixon • News From CEAD in Montréal by Crystal Béliveau • Community and the Development of Scripts for Stage and • Technology Notes by Winston Neutel Screen by Mary Blackstone • Office Update, New Address by Ginny Coates The Newsletter of Literary Managers and Dramaturgs of the Americas Vol. 11, Issue 2 the lmda review Spring, 2001 “I believe that the basic requirement for all rehearsal work . -
“The Effects of Country-Of-Origin Image On
“THE EFFECTS OF COUNTRY-OF-ORIGIN IMAGE ON CONSUMER PRODUCT INVOLVEMENT: A PAKISTANI UNIVERSITY TEACHERS’ PERSPECTIVE” A thesis submitted to University of Salford in partial fulfilment of the requirements for the degree of Doctor of Philosophy AMNA SHAHZAD SALFORD BUSINESS SCHOOL, UNIVERSITY OF SALFORD, MANCHESTER, JULY, 2014 DEDICATION My research and every success are dedicated to these three most important people in my life: Hazrat Mohammad (PBUH) – my beloved prophet and father of the Ummah, who gave the vision, freedom and respect to the women in Islam. I am proud to be a Muslim woman who loves Him immensely. Rana Ayaz Mahmood – my beloved father, who always showed me the path of righteous, being follower of our Holy Prophet (PBUH) showered his love over me as a daughter, fought with the culture and society, and, gave me education, confidence, courage and motivation, to fight for my rights and to achieve what I got. Abu you are a shining star for me, no matter if you are not around me in this world now, but I strongly believe that you have knowledge of my achievements and are happy for me. I love you. Mrs Naseem Akhtar – my beloved mother, who always nurtured me with love and guided me through thick and thins of life. Thanks for being a constant support and treasure full of prayers and love. I am indebted to you for being great source of encouragement and inspiration. Ammi your prayers make me stand strong, firm and tall on my feet. At this last stage of your Cancer, your bravery, courage, patience and fight is inspirational. -
Interplay Europe 2006
Interplay Europe 2006 Festival of Young Playwrights Schaan | Liechtenstein Nenzing | Austria 18–25 June 2006 Interplay Europe 2006 6th Festival of Young European Playwrights is organized by Interplay Europe e.V. (Frankfurt/M.) and ASSITEJ Liechtenstein in cooperation with Festival “Luaga & Losna” in Nenzing/Austria Festival Director: Henning Fangauf Festival Coordinator: Georg Biedermann Festival Secretariat: Eveline Ratering Staff: Alessandra Beiro, Dagmar Tiefenbrunner, Program Austria: Sabine Wöllgens Interplay Europe 2006 6th Festival of Young European Playwrights is sponsored by City of Schaan Country of Liechtenstein Interplay Europe e.V. State of Vorarlberg, Austria City of Nenzing, Austria The German Delegation is supported by Federal Ministry for Family Affairs, Senior Citizens, Women and Youth, Berlin. The Hungarian Delegation is supported by Hungarian Ministry of Cultural Heritage. The Slovak Delegation is supported by ASSITEJ Liechtenstein Slovak Theatre Institut, Bratislava. Zollstrasse 10, 9494 Schaan – Lie The Swiss Delegation is supported by [email protected] – www.assitej.li PRO HELVETIA. Member of ASSITEJ International The Slovenian Delegation is supported by Presˇernovo gledalisˇcˇe, Kranj —Presˇeren Theater, Kranj, Slovenia Imprint: Henning Fangauf, Sabine Wöllgens and Georg Biedermann (editing) bimedia (graphic design) BVD Druck+Verlags AG, Schaan (print) WELCOME Welcome to Schaan Dear Participants of Interplay Europe On behalf of the community of Schaan it is with the greatest pleasure that I welcome you to the 6th Festival of Young Playwrights, Interplay Europe 2006. This special event for young European playwrights, organised in different cities and countries of Europe, combines both professional and human aspects. It is an excellent opportunity to build European cultural links very effectively. We are very proud that Interplay 2006 takes place in our community. -
Personal Stories in Public Places: an Investigation of Playback Theatre
Personal Stories in Public Places: An Investigation of Playback Theatre. By Nick Rowe This material is made publicly available by the Centre for Playback Theatre and remains the intellectual property of its author. Centre for Playback Theatre www.playbackcentre.org Personal Stories in Public Places: an investigation of playback theatre. Nick Rowe This thesis investigates Playback Theatre, an improvised form in which members of an audience are invited to tell personal stories to a ‘conductor’ and see these improvised by a company of actors and musicians. As a performing member of Playback Theatre York throughout the duration of this research, I have had the opportunity to record and analyse the processes involved in the improvised enactment of personal stories. The thesis argues that effective playback performances initiate a process of interpretative or hermeneutic play. Through this process the teller’s story is destabilised and opened up to multiple perspectives and subject positions, none of which are authoritative or final. It is argued that playback enactments often exemplify the ways in which narratives are constructed out of human experience and, by doing so, highlight their contingency and mutability. It is proposed that the contrasting means of representation between the ‘telling’ and the ‘enactment’, the particular position of the teller on stage, and the tension between the performative and the referential, all heighten the conditions for hermeneutic play. The method devised to construct this thesis includes the analysis of playback performances, the reflexive use of ‘insider’ and ‘outsider’ perspectives, the use of writing as a means of discovery, and the employment of multiple subject positions to render the complexity of the field.