Applied Drama: A Facilitator?s Handbook For Working In Community by Monica PrendergastApplied Drama: A Facilitator?s Handbook For Working In Community by Monica Prendergast

Applied Drama: A Facilitator?s Handbook For Working In Community

byMonica Prendergast, Juliana Saxton

Paperback | July 15, 2013

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A companion to Intellect’s award-winning Applied Theatre: International Case Studies and Challenges for Practice, Applied Drama fulfills the need for an introductory handbook for facilitators and teaching artists working in community settings through dramatic process, drawing on the best practices to transfer into the diverse settings within which applied drama projects occur. Crafted for use in schools, classrooms, community groups, healthcare organizations, and all manner of social institutions, this book aids practitioners to develop and hone the skills needed to best serve the needs of these diverse communities.

Monica Prendergast is assistant professor of drama and theater education in the Department of Curriculum and Instruction at the University of Victoria. Juliana Saxton is professor emerita in the Department of Theatre at the University of Victoria and the recipient of a Lifetime Achievement Award from the American Alliance for Theatre a...
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Title:Applied Drama: A Facilitator?s Handbook For Working In CommunityFormat:PaperbackDimensions:241 pages, 9 × 7 × 0.7 inPublished:July 15, 2013Publisher:Intellect LtdLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1841507407

ISBN - 13:9781841507408

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Table of Contents


Acknowledgements
Preface
How is applied drama different applied theatre?
How to read this book?

Chapter one: Introduction to the Filed
1.1 What is applied drama?
1.2 Who does applied drama and what are the benefits?
1.3 How is applied drama done?
1.4 What is the nature of applied drama?
1.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter two: Foundations of the Field
2.1 What is the nature of dramatic process?
2.2 How does the key component of role function in applied drama?
2.3 How does the component of improvisation function in applied drama?
2.4 What are the challenges of applied drama?
2.5 Questions for Reflection, Suggested Activity and Further Reading

Section One: Entering the Process

Chapter Three: Building a Community
3.1 Learning about Participants
3.2 Entering a community/drama contract
3.3 Creating a safe space
3.4 Drama structure: Investing the Circle
3.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter Four: Risking, Trusting and Being
4.1 Building trust/creating community
4.2 Encouraging risk-taking/accepting failure
4.3 Creating composite characters
4.4 Drama Structure: Being 14
4.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter Five: Role Playing
5.1 Using role Play
5.2 Levels and dynamics of role
5.3 About Sitting-Down Drama
5.4 Drama structure: Sitting-Down Drama
5.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter Six: Embodying Thought and Feeling
6.1 Communicating with our bodies
6.2 Balancing the mind-body relationship
6.3 Exploring movement through music
6.4 Drama Structure: Interpreting Music as Dramatic Text
6.5 Questions for Reflection, Suggested Activity and Further Reading

Section Two: Exploring Together

Chapter Seven: Talking and Listening
7.1 Fostering communication
7.2 Drawing on personal histories
7.3 Distancing through narrative voice
7.4 Drama structure: Life Lessons
7.5 Questions for Reflection and Further Reading

Chapter Eight: Topics, Themes, Talk and Action
8.1 Generating ideas and materials
8.2 What is a theme?
8.3 Tableaux and Image Theatre
8.4 Drama Structure: Exploring a Theme
8.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter Nine: Improvisation
9.1 Learning to improvise
9.2 Vocabulary of improvisation
9.3 Ways to improvise
9.4 Drama Structure: Improvising from a Source
9.5 Questions for Reflection, Suggested Activity and Further Reading

Section Three: Focusing the Work

Chapter Ten: Moving into Devising
10.1 Deciding to share the work
102. Conducting research and the RSVP Cycle
10.3 Sharing research through drama
10.4 Drama Strategies: Working with Research in Dramatic Ways
10.5 Questions for Reflection: Suggested Activity and Further Reading

Chapter Eleven: Creating Monologues
11.1 Collaborative solo speech
11.2 From the personal to the political
11.3 From nonfictional to fictional representation
11.4 Drama structure: Generating and Working with Monologues
11.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter Twelve: Crafting Scenes
12.1 Panning for gold
12.2 Understanding dramatic structure
12.3 Reviewing and reflecting on improved scenes
12.4 Drama structure: Improving Scenes from Research Materials
12.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter Thirteen: Modes of Sharing
13.1 Thinking about the audience
13.1 Putting it all together
13.3 Processing the process
13.4 Drama Strategies: Ideas for Presentation
13.5 Questions for Reflection, Suggested Activity and Further Reading

Chapter Fourteen: Reflecting, Exiting and Assessing
14.1 Reflecting on Presentation
14.2 Reflecting on the Process
14.3 Exiting a Community
14.4 Reporting strategies
14.5 Summary

Appendices
Bibliography
Index