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Dramatherapy and Social Theatre: Necessary Dialogues
by Sue JenningsDramatherapy and Social Theatre: Necessary Dialogues considers the nature of drama, theatre and dramatherapy, examining how dramatherapy has evolved over the past decade and how the relationship between dramatherapy and social theatre has developed as a result. In this book Sue Jennings brings together international dramatherapists and theatre practitioners to challenge, clarify, describe and debate some of the theoretical and practical issues in dramatherapy and social theatre. Contributors cover topics including: dramatherapy in communities ground rules and definitions cross-cultural perspectives dramatherapy with adoptive and foster families research with professional actors. Dramatherapy and Social Theatre is illustrated throughout with case vignettes providing examples of how theatre and therapeutic processes can be brought together. It will be valuable reading for both professionals and students involved in dramatherapy and theatre studies.
Dramatherapy with Myth and Fairytale
by Jenny Pearson Mary Smail Pat WattsMyths and fairytales are our rich heritage; a veritable feast of ancient wisdom passed down through the ages in the memorable form of stories. While almost any story will have deep meaning to some individuals, some of the time, this book presents a collection of stories that these maestros of dramatherapy have found to have a powerful effect almost without fail. These are the 'golden' stories of Sesame. The authors introduce the Sesame approach and describe the advantages of using myth and fairy tale as a central theme in a therapy session. The Sesame approach has been found to produce striking results with myriad client groups, including individuals with learning difficulties, offenders in psychiatric settings and children with emotional and behavioural difficulties and adults in mental health care. Dramatherapy with Myth and Fairytale provides a treasure trove of timeless stories that can be adapted and applied to the needs of different client groups and the style of each therapist. It also includes introductory exercises, warm-ups and scene setting suggestions. The book will be an invaluable source of inspiration for dramatherapists and dramatherapy students, creative arts therapists, storytellers, psychotherapists, Jungian psychoanalysts, teachers and play therapists.
Dramatherapy: The Nature of Interruption
by Richard HoughamThis book investigates the nature and phenomena of interruption in ways that have relevance for contemporary dramatherapy practice. It is a timely contribution amidst an ‘age of interruption’ and examines how dramatherapists might respond with agency and discernment in personal, professional and cultural contexts. The writing gathers fresh ideas on how to conceptualise and utilise interruptions artistically, socially and politically. Individual chapters destabilise traditional conceptions of verbal and behavioural models of psychotherapy and offer a new vision based in the arts and philosophy. There are examples of interruption in practice contexts, augmented by extracts from case studies and clinical vignettes. The book is not a sequential narrative – rather a bricolage of ideas, which create intersections between aesthetics, language and the imagination. New and international voices in dramatherapy emerge to generate a radical immanence; from Greek shadow puppetry to the Japanese horticultural practice of Shakkei; from the appearance of ‘ghosts’ in the consulting room to images in the third space of the therapeutic encounter, interruptions are reckoned with as relevant and generative. This book will be of interest to students, arts therapists, scholars and practitioners, who are concerned with the nature of interruption and how dramatherapy can offer a means of active engagement.
Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays
by Laura EstillThroughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts (selections from plays and masques) into their commonplace books, verse miscellanies, diaries, and songbooks. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays is the first to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays. As this under-examined archival evidence shows, play readers and playgoers viewed plays as malleable and modular texts to be altered, appropriated, and, most importantly, used. These records provide information that is not available in other forms about the popularity and importance of early modern plays, the reasons plays appealed to their audiences, and the ideas in plays that most interested audiences. Tracing the course of dramatic extracting from the earliest stages in the 1590s, through the prolific manuscript circulation at the universities, to the closure and reopening of the theatres, Estill gathers these microhistories to create a comprehensive overview of seventeenth-century dramatic extracts and the culture of extracting from plays. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays explores new archival evidence (from John Milton’s signature to unpublished university plays) while also analyzing the popularity of perennial favorites such as Shakespeare’s The Tempest. The study of dramatic extracts is the study of particulars: particular readers, particular manuscripts, particular plays or masques, particular historic moments. As D. F. McKenzie puts it, “different readers [bring] the text to life in different ways.” By providing careful analyses of these rich source texts, this book shows how active play-viewing and play-reading (that is, extracting) ultimately led to changing the plays themselves, both through selecting and manipulating the extracts and positioning the plays in new contexts. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays
by Laura EstillThroughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts (selections from plays and masques) into their commonplace books, verse miscellanies, diaries, and songbooks. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays is the first to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays. As this under-examined archival evidence shows, play readers and playgoers viewed plays as malleable and modular texts to be altered, appropriated, and, most importantly, used. These records provide information that is not available in other forms about the popularity and importance of early modern plays, the reasons plays appealed to their audiences, and the ideas in plays that most interested audiences. Tracing the course of dramatic extracting from the earliest stages in the 1590s, through the prolific manuscript circulation at the universities, to the closure and reopening of the theatres, Estill gathers these microhistories to create a comprehensive overview of seventeenth-century dramatic extracts and the culture of extracting from plays. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays explores new archival evidence (from John Milton’s signature to unpublished university plays) while also analyzing the popularity of perennial favorites such as Shakespeare’s The Tempest. The study of dramatic extracts is the study of particulars: particular readers, particular manuscripts, particular plays or masques, particular historic moments. As D. F. McKenzie puts it, “different readers [bring] the text to life in different ways.” By providing careful analyses of these rich source texts, this book shows how active play-viewing and play-reading (that is, extracting) ultimately led to changing the plays themselves, both through selecting and manipulating the extracts and positioning the plays in new contexts. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Dramatic Justice: Trial by Theater in the Age of the French Revolution
by Yann RobertFor most of the seventeenth and eighteenth centuries, classical dogma and royal censorship worked together to prevent French plays from commenting on, or even worse, reenacting current political and judicial affairs. Criminal trials, meanwhile, were designed to be as untheatrical as possible, excluding from the courtroom live debates, trained orators, and spectators. According to Yann Robert, circumstances changed between 1750 and 1800 as parallel evolutions in theater and justice brought them closer together, causing lasting transformations in both.Robert contends that the gradual merging of theatrical and legal modes in eighteenth-century France has been largely overlooked because it challenges two widely accepted narratives: first, that French theater drifted toward entertainment and illusionism during this period and, second, that the French justice system abandoned any performative foundation it previously had in favor of a textual one. In Dramatic Justice, he demonstrates that the inverse of each was true. Robert traces the rise of a "judicial theater" in which plays denounced criminals by name, even forcing them, in some cases, to perform their transgressions anew before a jeering public. Likewise, he shows how legal reformers intentionally modeled trial proceedings on dramatic representations and went so far as to recommend that judges mimic the sentimental judgment of spectators and that lawyers seek private lessons from actors. This conflation of theatrical and legal performances provoked debates and anxieties in the eighteenth century that, according to Robert, continue to resonate with present concerns over lawsuit culture and judicial entertainment.Dramatic Justice offers an alternate history of French theater and judicial practice, one that advances new explanations for several pivotal moments in the French Revolution, including the trial of Louis XVI and the Terror, by showing the extent to which they were shaped by the period's conflicted relationship to theatrical justice.
Dramatic Monologue (Routledge Revivals)
by Alan SinfieldFirst published in 1977, this book looks at the versatile literary form of dramatic monologue. Although it is often associated with Browning and other poets writing between 1830 and 1930, the concept has been employed by diverse poets of multiple periods such as Ovid, Chaucer, Donne, Blake, Wordsworth, Philip Larkin and Ted Hughes. In this study, Alan Sinfield demonstrates and analyses the range and adaptability of the form through detailed examples. He shows that the technique maintains a shifting and uncertain balance between the voices of the poet and of his created speaker; when extended, as in Maud, Amours de Voyage, The Ring and the Book, and The Wasteland, the use of dramatic monologue raises questions of personality and perception. In the second part of the text, the author discusses the origins of Victorian and Modernist dramatic monologue in the dramatic complaint and the Ovidian verse epistle of earlier periods, offering a new interpretation of the value of dramatic monologue to Browning and Tennyson. Through his writing, Alan Sinfield successfully highlights the eternal vibrance of the form.
Dramatic Monologue (The New Critical Idiom)
by Glennis ByronThe dramatic monologue is traditionally associated with Victorian poets such as Robert Browning and Alfred Tennyson, and is generally considered to have disappeared with the onset of modernism in the twentieth century. Glennis Byron unravels its history and argues that, contrary to belief, the monologue remains popular to this day. This far-reaching and neatly structured volume: * explores the origins of the monologue and presents a history of definitions of the term* considers the monologue as a form of social critique* explores issues at play in our understanding of the genre, such as subjectivity, gender and politics* traces the development of the genre through to the present day. Taking as example the increasingly politicized nature of contemporary poetry, the author clearly and succinctly presents an account of the monologue's growing popularity over the past twenty years.
Dramatic Pause
by P. G. KainWill commercial fame crush a tween's hopes of serious stardom? Isabel Marak Flores has appeared in dozens of independent films and recently received glowing reviews for her role in a small Off-Broadway show. When an agent sees her on stage and suggests she go out for some commercial work, Isabel declines. How can a serious actress appear in television commercials for cupcake-scented deodorant and other silly products? However, when Isabel's parents tell her that they can't afford the tuition for the world-famous dramatic academy she has her heart set on, a few commercial auditions don't seem so bad. She just has to make sure her new crush, the adorable but slightly smug, Preston Banner III, doesn't find out about any of it. If he does, he might not be waiting for her in the wings after they play their scene from Romeo and Juliet for the Actor's Studio benefit. Isabel books a spot for a new energy drink which will only air in Japan. Seems perfect, but then she learns that the energy drink, HappyWow, is coming to America--and her face is about to be plastered on billboards, displayed in magazines, and looped endlessly on television. Can this serious actress learn how to enjoy life and not take everything quite so seriously during her brief dramatic pause?
Dramatic Pause
by P. G. KainWill commercial fame crush a tween's hopes of serious stardom? Isabel Marak Flores has appeared in dozens of independent films and recently received glowing reviews for her role in a small Off-Broadway show. When an agent sees her on stage and suggests she go out for some commercial work, Isabel declines. How can a serious actress appear in television commercials for cupcake-scented deodorant and other silly products? However, when Isabel's parents tell her that they can't afford the tuition for the world-famous dramatic academy she has her heart set on, a few commercial auditions don't seem so bad. She just has to make sure her new crush, the adorable but slightly smug, Preston Banner III, doesn't find out about any of it. If he does, he might not be waiting for her in the wings after they play their scene from Romeo and Juliet for the Actor's Studio benefit. Isabel books a spot for a new energy drink which will only air in Japan. Seems perfect, but then she learns that the energy drink, HappyWow, is coming to America--and her face is about to be plastered on billboards, displayed in magazines, and looped endlessly on television. Can this serious actress learn how to enjoy life and not take everything quite so seriously during her brief dramatic pause?
Dramatic Romances
by Robert BrowningDramatic Romances and Lyrics is a collection of English poems by Robert Browning, first published in 1845 as the seventh volume in a series of self-published books entitled Bells and Pomegranates
Dramatic Spaces: Scenography and Spectatorial Perceptions
by Jennifer LowFor literary scholars, plays are texts; for scenographers, plays are performances. Yet clearly a drama is both text and performance. Dramatic Spaces examines period-specific stage spaces in order to assess how design shaped the thematic and experiential dimensions of plays. This book highlights the stakes of the debate about spatiality and the role of the spectator in the auditorium – if audience members are co-creators of the drama, how do they contribute? The book investigates: Roman comedy and Shakespearean dramas in which the stage-space itself constituted the primary scenographic element and actors’ bodies shaped the playing space more than did sets or props the use of paid applauders in nineteenth-century Parisian theaters and how this practice reconfigured theatrical space transactions between stage designers and spectators, including work by László Moholy-Nagy, William Ritman, and Eiko Ishioka Dramatic Spaces aims to do for stage design what reader-response criticism has done for the literary text, with specific case studies on Coriolanus, The Comedy of Errors, Romeo and Juliet, Tales of Hoffman, M. Butterfly and Tiny Alice exploring the audience’s contribution to the construction of meaning.
Dramatis Personae
by Don NigroDrama / 4m, 7f / Unit Set / In April of 1946 the elderly Alison Armitage is sitting by her window. She is certain the young man she sees leaning against his black Chevy at the end of the lane is Death and that he has come for her. What is left of the Pendragon family is waiting downstairs to see her, but she refuses to let them in. As they wait they are forced to speak to each other for the first time in years, confronting some longstanding grudges and considering some looming dilemmas. Featuring characters from several other installments in the author's cycle of Pendragon plays, Dramatis Personae offers fascinating insights into this complex and compelling family.
Dramatists and their Manuscripts in the Age of Shakespeare, Jonson, Middleton and Heywood: Authorship, Authority and the Playhouse (Routledge Studies in Renaissance Literature and Culture #Vol. 6)
by Grace IoppoloThis book presents new evidence about the ways in which English Renaissance dramatists such as William Shakespeare, Ben Jonson, Thomas Heywood, John Fletcher and Thomas Middleton composed their plays and the degree to which they participated in the dissemination of their texts to theatrical audiences. Grace Ioppolo argues that the path of the transmission of the text was not linear, from author to censor to playhouse to audience - as has been universally argued by scholars - but circular. Extant dramatic manuscripts, theatre records and accounts, as well as authorial contracts, memoirs, receipts and other archival evidence, are used to prove that the text returned to the author at various stages, including during rehearsal and after performance. This monograph provides much new information and case studies, and is a fascinating contribution to the fields of Shakespeare studies, English Renaissance drama studies, manuscript studies, textual study and bibliography and theatre history.
Dramatizing Blindness: Disability Studies as Critical Creative Narrative (Literary Disability Studies)
by Devon HealeyDramatizing Blindness: Disability Studies as Critical Creative Narrative engages with the cultural meanings and movements of blindness. This book addresses how blindness is lived in particular contexts—in offices of ophthalmology and psychiatry, in classrooms of higher education, in accessibility service offices, on the street, and at home. Taking the form of a play written in five acts, the narrative dramatizes how the main character’s blindness is conceived of in the world and in the self. Each act includes an analysis where blind studies is explored in relation to disability studies. This work reveals the performative enactment of blindness that is lived in the public as well as in the private corners of the self, demonstrating how blindness is a form of perception. Devon Healey’s work orients to blindness as a necessary and creative feature of the sensorium and shows how blindness is a form of perception.
Dramatizing Time in Twentieth-Century Fiction (Routledge Studies in Twentieth-Century Literature)
by William VestermanHow have twentieth-century writers used techniques in fiction to communicate the human experience of time? Dramatizing Time in Twentieth-Century Fiction explores this question by analyzing major narratives of the last century that demonstrate how time becomes variously manifested to reflect and illuminate its operation in our lives. Offering close readings of both modernist and non-modernist writers such as Wodehouse, Stein, Lewis, Joyce, Hemingway, Faulkner, Borges, and Nabokov, the author shares and unifies the belief, as set forth by the distinguished philosopher Paul Ricoeur, that narratives rather than philosophy best help us understand time. They create and communicate its meanings through dramatizations in language and the reconfiguration of temporal experience. This book explores the various responses of artistic imaginations to the mysteries of time and the needs of temporal organization in modern fiction. It is therefore an important reference for anyone with an interest in twentieth-century literature and the philosophy of time.
Dramaturgies of Immersion: Analysing Poetics of Immersion and Emersion
by Janek Szatkowski Thomas Rosendal NielsenDramaturgies of Immersion draws on case studies from international productions to conceptualise and analyse the state of contemporary immersive theatre. Immersion appears in different forms, raising the core question: What is at stake in immersive theatre for participants, artists, and society? The answer depends on the underlying values of the different immersive poetics.The book takes a multifaceted approach to immersive theatre and its dramaturgies to explore the forms of emersion rendered possible by immersion in a number of cases from international and Danish performances. The edited collection examines how theatre in the 21st century finds adequate forms that allow it to both entertain and stay socially relevant. The chapters build on each other, developing a specific way of thinking about and analysing dramaturgies in immersive theatre, as well as offering tools for dramaturgical analysis.An insightful exploration of the potentials of immersive theatre, Dramaturgies of Immersion is essential for advanced undergraduate and postgraduate students of dramaturgy and immersive theatre, scholars and researchers in these fields, as well as theatre practitioners.
Dramaturgies of Love in Romeo and Juliet: Word, Music, and Dance (Routledge Studies in Shakespeare)
by Jonas KellermannBringing together current intermedial discourses on Shakespeare, music, and dance with the affective turn in the humanities, Dramaturgies of Love in Romeo and Juliet offers a unique and highly innovative transdisciplinary discussion of ‘unspeakable’ love in one of the most famous love stories in literary history: the tragic romance of Romeo and Juliet. Through in-depth case studies and historical contextualisation, this book showcases how the ‘woes that no words can sound’ of Shakespeare’s iconic lovers nevertheless have found expression not only in his verbal poetry, but also in non-verbal adaptations of the play in 19th-century symphonic music and 20th- and 21st-century theatre dance. Combining methodological approaches from diverse disciplines, including affect theory, musicology and dance studies, this study opens up a new perspective onto the artistic representation of love, defining amorous emotion as a generically transformative constellation of dialogic performativity. To explore how this constellation has become manifest across the arts, this book analyses and compares dramatic, musical, and choreographic dramatisations of love in William Shakespeare’s early modern tragedy, French composer Hector Berlioz’s dramatic symphony Roméo et Juliette (1839), and the staging of Berlioz’s symphony by German contemporary choreographer Sasha Waltz for the Paris Opera Ballet (2007).
Dramaturgy and Dramatic Character
by William StormDramatic character is among the most long-standing and familiar of artistic phenomena. From the theatre of Dionysus in ancient Greece to the modern stage, William Storm's book delivers a wide-ranging view of how characters have been conceived at pivotal moments in history. Storm reaffirms dramatic character as not only ancestrally prominent but as a continuing focus of interest. He looks closely at how stage figures compare to fictional characters in books, dramatic media, and other visual arts. Emphasis is sustained throughout on fundamental questions of how theatrical characterization relates to dramatic structure, style, and genre. Extensive attention is given to how characters think and to aspects of agency, selfhood, and consciousness. As the only book to offer a long view of theatrical characterization across this historical span, Storm's dramaturgical and theoretical investigation examines topics that remain vital and pertinent for practitioners, scholars, students of theatre and literature, and general audiences.
Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre
by Mladen OvadijaSound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably "betrays" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer's voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.
Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre
by Mladen OvadijaSound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably "betrays" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer’s voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.
Dramocles: An Intergalactic Soap Opera
by Robert SheckleyAn ordinary king finds himself on an extraordinary quest in this intergalactic soap opera by the acclaimed sci-fi author and &“precursor to Douglas Adams&” (The New York Times). Dramocles, an ordinary king on an ordinary planet, finds himself thrust into an adventure that combines soap opera, Greek tragedy, and Shakespearean drama as he unwillingly—and disastrously—seeks to fulfill his destiny. Unfortunately, that destiny is only revealed to him piece by piece. In the meantime, Dramocles manages to foment an interplanetary war, precipitate the disintegration of his family, lose all his friends, and uncover betrayal among his closest advisers as barbarian invaders besiege his realm.
Drape Expectations (A Caprice De Luca Mystery #4)
by Karen Rose SmithThese days, home stager Caprice De Luca's calendar is a full house. Her grandmother's health is failing, her wayward uncle is stirring the pot, and she's torn between two equally eligible suitors. With so much drama in her personal life, Caprice is grateful to have Ace Richland, a former 80s rock star, ask her to stage his girlfriend's house. But Alanna Goodwin is a tough customer who balks at Caprice's ideas and all but commandeers the staging. Caprice almost isn't surprised when the snappish Southern belle is strangled to death with a tieback from her tacky velvet drapes. But just as she draws back the curtains on the truth, Caprice realizes she may be next on a murderer's set list...
Drastic: Stories
by Maud CaseyMeet the college graduate working in a whole body–donation clinic; a young woman obsessed with Benedictine monks; a middle-aged woman who becomes a stand-in talk-show guest; unlikely friends who meet in a domestic violence shelter; a young girl and the father who stole her away to escape his wife's mental illness; a graduate student from a suburban family who believes her physical connection to the world is deteriorating. Maud Casey -- author of The Shape of Things to Come, a New York Times Notable Book -- explores how we survive modern crises of loss and love through the lives of emotional and geographic nomads. Each flirts with madness and self-destruction while reaching toward life. These simple gestures of optimism and vitality, gorgeously rendered, make drastic an unforgettable collection.
Drat! You Copycat! #7
by Nancy Krulik John And WendyBecky is the new girl in class 3A, and she's a great big copycat! She's trying to be just like Katie's best friend Suzanne. She follows Suzanne around, dresses like her, and steals Suzanne's class report topic. Suzanne can't stand Becky! Then, the magic wind turns Katie into Becky. Will Suzanne change her mind about the new girl? Will Katie turn back into herself without causing too much trouble?