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Building on Robert J. Landy's seminal text, Handbook of Educational Drama and Theatre, Landy and Montgomery revisit this richly diverse and ever-changing field, identifying some of the best international practices in Applied Drama and Theatre. Through interviews with leading practitioners and educators such as Dorothy Heathcote, Jan Cohen Cruz, James Thompson, and Johnny Saldaña, the authors lucidly present the key concepts, theories and reflective praxis of Applied Drama and Theatre. As they discuss the changes brought about by practitioners in venues such as schools, community centres, village squares and prisons, Landy and Montgomery explore the field's ability to make meaning of a vast range of personal and social issues through the application of drama and theatre.
Sensory Theatre: How to Make Interactive, Inclusive, Immersive Theatre for Diverse Audiences by a Founder of Oily Cart is an accessible step-by-step guide to creating theatre for inclusive audiences, such as young people on the autism spectrum or affected by other neuro-divergent conditions and children under two. Conventional theatre relies on seeing and hearing to involve its audience; sensory theatre harnesses the power of five or more senses to address its participants who have different ways of relating to the world around them. This book is an insightful history of Oily Cart and its pioneering development of work for the very young, including Baby Theatre, and for neuro-divergent audiences including those on the autism spectrum. It gives a clear introduction to the fundamental concepts of this theatre, suggests a host of practical techniques drawn from over forty years of experience, and describes some of Oily Cart’s most radical innovations, including theatre on trampolines, in hydrotherapy pools, and with flying audiences in the company of aerial artists. The book also includes copious photos from the Oily Cart’s archives and links to videos examples of the company’s work. Readers will learn how to: Research the intended audience while not being led astray by labels. Create a welcoming, immersive sensory space in classrooms, nurseries, school halls, and playgrounds. Devise sensory stories that can be adapted to suit different audiences. Recruit, audition, cast, and run rehearsals. Ensure that the production is truly sensory and interactive. Written for Theatre for Young Audiences, Drama in Education, and specialized Applied Theatre courses, as well as educators and theatre practitioners interested in creating inclusive, interactive productions, Sensory Theatre offers a goldmine of ideas for making work that connects with audiences who can be the hardest to reach.
Why is everyone so bloody obsessed with hashtags? What on earth do you want to do with a hashtag? Can you use it to shoot your way out of here? Tisana, Ruhab and Haleema are three normal teenage girls who have been best friends forever. But when they are kidnapped from their hometown, each must find their own way to survive. Girls explores enduring friendship, girlhood and the stories behind the headlines that quickly become yesterday's news. Theresa Ikoko's funny and fiercely passionate play is a Verity Bargate Award finalist and winner of the Alfred Fagon Award (2015) and George Devine Award (2016). Girls received its world premiere at HighTide Theatre Festival 2016 on 8 September 2016 in a production by HighTide, Soho Theatre and Talawa.
Written by a teacher with many years of experience with pupils with PMLD, this book offers a well-tried approach to delivering the curriculum, with particular emphasis on the core subjects. It aims to complement and supplement existing material and provides a useful resource for busy teachers.
Actor-musicianship is a permanent feature of the musical theatre landscape. Actor-musician shows can be seen from Bradford to Broadway, from village halls to international arena tours. However, with the exception of a couple of academic papers, there has been nothing written about this fascinating area of theatre practice. Jeremy Harrison's book addresses this deficit, operating as both a record of the development of the actor-musician movement and as a practical guide for students, educators, performers and practitioners. It explores the history of actor-musicianship, examining its origins, as well as investigating – and offering guidance on – how this specialist form of music theatre is created. It, in turn, acts as a means of defining an art form that has to date been left to lurk in the shadows of musical theatre; a subset with its own distinctive culture of performer, maker and audience, but as yet no formal recognition as a specialism in its own right. The actor-musician show is multifarious and as such this book targets those interested in mainstream commercial work, as well as alternative and avant-garde theatre practice. The book draws together expertise from a range of disciplines with contributions from many of the leading figures in this field, including performers, directors, teachers, MDs, producers and writers. It also features a foreword by theatre director John Doyle.
In the first conceptual overview of current practices and debates in theatre education, Helen Nicholson explores the contribution that professional theatre practitioners make to the education of young people. She maps the environments in which theatre and learning meet, and looks at how the educational concerns and artistic inventiveness of people living in different times and places have inflected theatre and changed education. This inspiring book tells the story of ground-breaking developments of twentieth century theatre education, and explores the ways in which current theatre practitioners have upheld these radical traditions. Helen Nicholson investigates the effects on theatre education of a newly globalised economy, and asks pertinent questions such as: how can theatre education continue to encourage debates about social justice in the political landscape of the twenty-first century? How do the practices, policies and principles of theatre speak to different generations? Offering diverse illustrations of practice from around the world, Helen Nicholson draws on much personal experience and expert knowledge to demonstrate how cutting edge performance practices continue to engage young people today.
This book presents qualitative research narratives on children’s engagement and learning in play and arts experiences. Using The Artground Singapore - a registered arts charity that offers interactive visual art spaces for children - as a site of study, the book also offers reflective and practical insights into the professional development and incubation of art practitioners dedicated to the creation and implementation of works for young audiences. With reference to other such purpose-built arts spaces specifically dedicated to the engagement and learning of young audiences through play and varied arts experiences, such as The Ark in Dublin and ArtPlay in Melbourne, the authors show how these spaces are also dedicated to the development and creation of new quality works for young audiences through various professional development programmes. The Artground Singapore was developed along similar lines of interest, and provides a dedicated arts space for children and their caretakers to explore, play and create together through its interactive visual arts play space, as well as arts programmes that include music, theatre and dance, amongst others. Sharing critical insights into the aesthetical, logistical, and management aspects of providing a dedicated arts space for children, this book will be of interest to arts practitioners, child educators, and cultural studies scholars interested in dance, drama and music performance and pedagogy.
This comprehensive text is the first survey to explore the theory, history and practice of immersive theatre. Charting the rise of the immersive theatre phenomenon, Josephine Machon shares her wealth of expertise in the field of contemporary performance, inviting the reader to immerse themselves within this abundantly illustrated text. The first section of the book introduces concepts of immersion, situating them within a historical context and establishing a clear critical vocabulary for discussion. The second section then presents contributions from a wealth of immersive artists. Assuming no prior knowledge with its critical commentary, this is a rich resource for lecturers and students at all levels and internationally, including undergraduates and post-graduates, as well as practitioners and researchers of contemporary performance. This would also be an ideal text for general enthusiasts and readers with an interest in immersive theatre.
Introducing creativity to the classroom is a concern for teachers, governments and future employers around the world, and there has been a drive to make experiences at school more exciting, relevant, challenging and dynamic for all young people, ensuring they leave education able to contribute to the global creative economy. Creative Learning to Meet Special Needs shows teachers how to use creativity in the curriculum for key stages 2 and 3 to support the learning of pupils with special educational needs in a way which effectively engages them and leaves a lasting impact on their school experiences and later lives. Describing the different ways in which a creative approach can help pupils with SEN access the curriculum, with activities and practical materials for teachers, this book will explain: why creativity is central to making the curriculum accessible how to use personalised learning with pupils with SEN how to promote achievements and motivation through creative experiences how the curriculum can be extended and represented in innovative ways for pupils with SEN how to use interactive methods of teaching and alternative methods of communication. Providing case studies and examples of the ways in which teachers have delivered the curriculum creatively to pupils with special educational needs, this book is an invaluable guide for all those involved in teaching and engaging young people with special needs.
Undoubtedly great music outlives the musicians who create it. But octogenarian greats such as John Lee Hooker or Cuba's Buena Vista Social Club outlive the initial popularity of their musical genre and then decades later it is their late careers that make the music live on and catch fire to new generations, audiences and markets across the globe, as musical currents and tides, like the 1960's UK blues boom or the 1990's (and still continuing) world music phenomenon, work their unpredictable magic. The Algerian Jewish master of PianOriental, Maurice El Médioni, will turn 88 this year. His innovative piano style, indomitable spirit and the turbulent panorama of his long career in Algerian chaabi and rai music has followed a similar trajectory. The music should have stopped or at least petered out several times for personal, political and historic reasons. But instead he has become a revered and iconic artist in world music, though in fact even 20 years ago he was largely a forgotten and unknown figure.