| Foreword |
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ix | |
| Preface |
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xiii | |
| Acknowledgements |
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xv | |
| Introduction |
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xvii | |
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Chapter 1 Thinking Spatially, Speaking Visually: Robert Wilson and Christopher Knowles |
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1 | (14) |
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"Autism as an Aesthetic Anchor" |
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1 | (1) |
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Performance Always Starts with the Body |
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2 | (2) |
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Wilson's Intersection with Disability |
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4 | (1) |
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5 | (1) |
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Spatial Thinking and Language |
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6 | (1) |
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7 | (1) |
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8 | (1) |
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8 | (2) |
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Autistic Parallels in Einstein on the Beach |
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10 | (1) |
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Multiplicity in Wilson's Opera |
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11 | (4) |
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Chapter 2 Behold, Chekhov Lizardbrain |
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15 | (12) |
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16 | (1) |
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16 | (1) |
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17 | (1) |
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Temple Grandin's Theories on Autism |
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17 | (1) |
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18 | (1) |
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19 | (1) |
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Clowning and the Role of Physical Theatre |
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20 | (1) |
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20 | (1) |
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21 | (2) |
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Connecting Wilson, Chaikin, and Pig Iron |
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23 | (1) |
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24 | (1) |
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Pig Iron's Place in Experimental Theatre |
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25 | (2) |
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Chapter 3 The Wanderer: Staging Autism as a Service-Learning Project |
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27 | (22) |
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27 | (1) |
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Observations at the School |
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28 | (1) |
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Citizenship and Service-Learning |
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29 | (1) |
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Background to Theatre for Social Change |
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30 | (1) |
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30 | (1) |
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Different Learning Pathways |
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31 | (1) |
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32 | (1) |
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Scene 1 The First Doorway |
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33 | (1) |
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Scene 2 The Dancing Fields |
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33 | (2) |
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Scene 3 Fortress of Solitude |
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35 | (2) |
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37 | (2) |
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39 | (2) |
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41 | (1) |
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42 | (1) |
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"Performance of Possibilities" |
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43 | (1) |
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Questions of Representation |
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44 | (1) |
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The Model of Augusto Boal's Forum Theatre |
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44 | (1) |
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45 | (1) |
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46 | (3) |
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Chapter 4 Autistic Techne: Thinking in Pictures and Starring in Film |
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49 | (12) |
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Heidegger's Notion of Techne |
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49 | (1) |
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Portrayals of Autistic Behavior |
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50 | (1) |
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Getting Inside Temple Grandin |
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51 | (1) |
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51 | (1) |
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52 | (1) |
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52 | (1) |
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Learning from Another's Disability |
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53 | (1) |
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54 | (1) |
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Redesigning Cattle Chutes |
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55 | (1) |
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56 | (1) |
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57 | (1) |
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58 | (3) |
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Chapter 5 Disney dialogues: No Sidekick Left Behind |
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61 | (10) |
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61 | (1) |
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61 | (1) |
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62 | (1) |
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63 | (1) |
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63 | (1) |
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64 | (1) |
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64 | (1) |
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"I am the Protekter of Sidekicks" |
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65 | (1) |
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65 | (1) |
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Searching for the Hero within |
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66 | (1) |
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Making Room for Improvisation |
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66 | (1) |
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67 | (1) |
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The Power of Story in Shaping Our Lives |
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68 | (1) |
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69 | (1) |
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69 | (1) |
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Autism-Friendly Performance on Broadway |
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69 | (1) |
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"Follow Your Passion: Find Your Place" |
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70 | (1) |
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Chapter 6 Arts Therapy for Autism: Translating a New Theory of Mind |
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71 | (16) |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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Capacity for Symbolic Thought |
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73 | (1) |
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73 | (1) |
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74 | (1) |
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Visuals Aids as Road Maps |
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75 | (1) |
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Developing a Toolkit of Skills |
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75 | (1) |
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Alternate Means of Communication |
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76 | (1) |
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77 | (1) |
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78 | (1) |
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Autism and Theatre Practice |
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78 | (1) |
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79 | (1) |
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The Role of Performance Skills |
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80 | (1) |
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Exercises of Healing and Development of Empathy |
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81 | (1) |
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Breaking Down Scenes into Small Steps |
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81 | (1) |
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Neuroplasticity: Change through Experience |
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82 | (1) |
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82 | (1) |
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83 | (1) |
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Embodied Pleasure: Autistic Behavior and the Dance of Social Interaction |
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84 | (3) |
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Chapter 7 Faces of Autism |
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87 | (4) |
| Bibliography |
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91 | |
