Practical exploration of issues surrounding the teaching and study of drama
Includes a number of exercises for implementation in group workshops
Stresses the development and relevance of physical performance skills as well as textual analysis
CHRISTOPHER MCCULLOUGH is a Senior Lecturer in Drama at the University of Exeter. He previously lectured in Drama in the Department of English at the University of Wales, Swansea, and was an Art and Drama teacher in a comprehensive school. His publications include several contributions to edited collections, and his own book
Theatre and Europe 1957-1995 was published in 1996. He has worked internationally as a professional director in Europe and the USA on texts ranging from Shakespeare to Gogol.
This collection of essays is in no way an attempt to instruct people in ways to teach Drama. Nor is it homogeneous in its range of arguments. What is attempted is a lively discourse on a variety of practices that, by recognising their clearly rooted and often diverse ideologies, we may term
praxis. The challenge here is that no practice may claim an ideological innocence, appealing to some vague transcendental natural state of existence. One of the problems when we encounter practical work in the context of the university Drama department is its uneasy relationship with the more conventionally accepted disciplines. Often the answer has been in the form of a retreat into subjectivity and mystery; denying the place of practice in the material world. Each of the essays in this volume challenges that perception, but all of them challenge it in very different ways. What they do have in common is a rejection of the idea that learning is a passive activity.
General Introduction; Christopher McCullough.- PART 1: EMPOWERMENT Introduction;
Christopher McCullough.- Creative Actor (empowering the performer);
Dorinda Hulton.- Performing Identities (empowering performers and spectators);
Lesley Wade Soule.- Learning Through Story (empowering teachers);
Stephen Cockett.- PART 2: DIALOGUES WITH TEXTS Introduction;
Christopher McCullough.- An Approach to Playreading;
Peter Thomson.- Ancient Greek Theatre and Society: Problems of Study, Reception and Understanding;
Graham Ley.- Approaches to Adaptation;
James MacDonald.- PART 3: CASE STUDIES IN RESEARCHED PERFORMANCE Introduction;
Christopher McCullough.-
Timor Mortis: Improvising Tragedy and Epic;
Anthony Frost.- Melodrama and Methodism;
Peter Thomson.- The Politics of Theatricality;
Christopher McCullough.- Index.
This collection of essays is in no way an attempt to instruct people in ways to teach Drama. Each of the essays in this volume challenges that perception, but all of them challenge it in very different ways.
Über den Autor
CHRISTOPHER MCCULLOUGH is a Senior Lecturer in Drama at the University of Exeter. He previously lectured in Drama in the Department of English at the University of Wales, Swansea, and was an Art and Drama teacher in a comprehensive school. His publications include several contributions to edited collections, and his own book Theatre and Europe 1957-1995 was published in 1996. He has worked internationally as a professional director in Europe and the USA on texts ranging from Shakespeare to Gogol.
Inhaltsverzeichnis
General Introduction; Christopher McCullough.- PART 1: EMPOWERMENT Introduction; Christopher McCullough.- Creative Actor (empowering the performer); Dorinda Hulton.- Performing Identities (empowering performers and spectators); Lesley Wade Soule.- Learning Through Story (empowering teachers); Stephen Cockett.- PART 2: DIALOGUES WITH TEXTS Introduction; Christopher McCullough.- An Approach to Playreading; Peter Thomson.- Ancient Greek Theatre and Society: Problems of Study, Reception and Understanding; Graham Ley.- Approaches to Adaptation; James MacDonald.- PART 3: CASE STUDIES IN RESEARCHED PERFORMANCE Introduction; Christopher McCullough.- Timor Mortis: Improvising Tragedy and Epic; Anthony Frost.- Melodrama and Methodism; Peter Thomson.- The Politics of Theatricality; Christopher McCullough.- Index.
Klappentext
This collection of essays is in no way an attempt to instruct people in ways to teach Drama. Nor is it homogeneous in its range of arguments. What is attempted is a lively discourse on a variety of practices that, by recognising their clearly rooted and often diverse ideologies, we may term praxis. The challenge here is that no practice may claim an ideological innocence, appealing to some vague transcendental natural state of existence. One of the problems when we encounter practical work in the context of the university Drama department is its uneasy relationship with the more conventionally accepted disciplines. Often the answer has been in the form of a retreat into subjectivity and mystery; denying the place of practice in the material world. Each of the essays in this volume challenges that perception, but all of them challenge it in very different ways. What they do have in common is a rejection of the idea that learning is a passive activity.
Practical exploration of issues surrounding the teaching and study of drama
Includes a number of exercises for implementation in group workshops
Stresses the development and relevance of physical performance skills as well as textual analysis
