Download Theatre Praxis: Teaching Drama Through Practice by Christopher McCullough PDF

By Christopher McCullough

In the founding of the 1st drama division in a Britsih college virtually fifty years in the past, a debate used to be instituted in regards to the nature of the self-discipline. was once the self-discipline educational in a traditional sesne? the place did useful theatre making healthy into the curriculum? If there has been to be theatre perform, how was once it diverse from the paintings already undertaken via the drama conservatoires? Theatre Praxis addresses the talk past those now general questions, looking to outline perform by way of praxis ; that's, useful paintings that doesn't declare an ideological neutrality, yet seeks to theorize perform as praxis ; that's, a convention that acknowledges its strength for change.

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Gesture, for example, might be used as a means of showing or 'signing', rather than 'feeling', an emotion: within a particular cultural context the 'V' sign will indicate aggression, irrespective of the energy with which it is performed; within another context, the same sign, but with the palm facing away from the body, would indicate victory. (3) Expressive imagery attempts to embody; that is, it seeks to find a physical or vocal form for emotions. (4) Metaphoric imagery involves the student actor in finding a substitute action which might imitate, indicate or express an important element within the event.

1) Select three short fragments of text from a sheet of newspaper. (2) Generate three different movement actions related to an image, say, 'chaos', which can be repeated. (3) Generate three expressive sounds which are outside your normal vocal range. (4) Sitting in a circle, pass one piece of text to the person on your right, one to the person on your left and keep one yourself. Do the same with the movements and then the sounds. Each person should now have an arbitrary collection of nine fragments of material.

Prentice Hall, New York. Baal, A. (1992) Games for Actors and Non-Actors. Routledge, London. Chaikin, J. (1992) The Presence of the Actor. McClelland and Stewart, New York. de Bono, E. (1977) Lateral Thinking. Pelican Books, London. de Bono, E. (1992) I'm Right You're Wrong. Penguin Books, London. Iyengar, B. K. S. (1977) The Art of Relaxation. Theatre Papers, Dartington College of Arts, Devon. Kirby, M. (1995) 'Happenings', in Happenings and Other Acts, ed. M. R. Sandford. Routledge, London, pp.

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