This book is for both art-based researchers and research-informed artists, exploring the theatrical genre known as Collective Creation, or Playbuilding. Performers generate data around chosen topics— from addiction and sexuality to qualitative research—by compiling scenes from their disparate voices. Audience members become involved in the investigation, and the performed scenes do not end the conversation but challenge and extend it. Through discussion and audience participation, the process examines how knowledge is defined and how data is mediated.
This book is for both art-based researchers and research-informed artists, exploring the theatrical genre known as Collective Creation, or Playbuilding. Audience members become involved in the investigation, and the performed scenes do not end the conversation but challenge and extend it.
| Preface |
|
9 | |
| PART I The Background |
|
15 | |
|
Chapter 1 Introduction: Toward a Theory of Playbuilding as Research |
|
|
17 | |
|
Chapter 2 "A" Research to Performance Process |
|
|
39 | |
|
Chapter 3 History of Mirror Theatre |
|
|
65 | |
| PART II The Scripting |
|
89 | |
|
Chapter 4 Pressures: Understanding Peer Pressure and Sexual Activity through Sculpting and Readers Theatre |
|
|
93 | |
|
Chapter 5 The "M" Word: Understanding Sexuality through Improvisation and Personal Testimony |
|
|
105 | |
|
Chapter 6 Funky Shirt: Problematizing Clothing Communication through Voices Off and a Dream Sequence |
|
|
119 | |
|
Chapter 7 Cattle Call: Understanding Discrimination through Shadow Screen and Video |
|
|
129 | |
|
Chapter 8 I Expect: Understanding the Politics of Student Teaching through Voice Collar |
|
|
141 | |
|
Chapter 9 The Party: Understanding Status, Power, and Bullying through Gibberish and Body Language |
|
|
151 | |
|
Chapter 10 Dares: Understanding Risk Taking through Variations of a Theme |
|
|
159 | |
|
Chapter 11 Are You Really listening? Understanding Prejudice through Inner Dialogue |
|
|
167 | |
|
Chapter 12 Who's with Whom? Understanding Prejudice through Mime |
|
|
175 | |
|
Chapter 13 Whose Pencil Is It Anyway? Understanding Conflict through Standard Dramatization and Scene Reconstruction |
|
|
183 | |
|
Chapter 14 Distillation: Understanding Qualitative Research through Metaphorical Machines |
|
|
195 | |
| PART III The Performance Workshop |
|
203 | |
|
Chapter 15 Participatory Dissemination: Working "with" an Audience |
|
|
205 | |
| Appendices |
|
|
|
|
237 | |
|
|
|
239 | |
|
|
|
241 | |
|
|
|
243 | |
|
|
|
245 | |
|
F: Expecting Respect Questionnaire Summary |
|
|
249 | |
|
|
|
251 | |
| References |
|
253 | |
| Index |
|
265 | |
| About the Author |
|
271 | |
Joe Norris was a co-founder and the artistic director of the Mirror Theatre, a social issues focused touring theatre troupe, and he co-edited the book Learning to Teach Drama: A Case Narrative Approach. He has served as the Theatre-in-Education Network Chair and Research Network Chair for the American Alliance for Theatre and Education. He presently teaches courses on integrating the arts in the curriculum, learning through drama, curriculum theory, qualitative research, drama as a way of knowing, and the principles of learning at St. Francis Xavier University.
Biežāk uzdotie jautājumi par e-grāmatām