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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.
Di Benedetto considers theatrical practice through the lens of contemporary neuroscientific discoveries in this provoking study, which lays the foundation for considering the physiological basis of the power of theatre practice to affect human behavior. He presents a basic summary of the ways that the senses function in relation to cognitive science and physiology, offering an overview of dominant trends of discussion on the realm of the senses in performance. Also presented are examples of how those ideas are illustrated in recent theatrical presentations, and how the different senses form the structure of a theatrical event. Di Benedetto concludes by suggesting the possible implications these neuroscientific ideas have upon our understanding of theatrical composition, audience response, and the generation of meaning.
Daniel has escaped Nazi Germany with nothing but a desperate dream that he might one day find his parents again. But that golden land called New York has turned away his ship full of refugees, and Daniel finds himself in Cuba. As the tropical island begins to work its magic on him, the young refugee befriends a local girl with some painful secrets of her own. Yet even in Cuba, the Nazi darkness is never far away . . .
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.
This ground-breaking anthology is the first to be dedicated to assessing critically the role of the human sensorium in performance. Senses in Performance presents a multifaceted approach to the methodological, theoretical, practical and historical challenges facing the scholar and the artist. This volume examines the subtle actions of the human senses including taste, touch, smell and vision in all sorts of performances in Western and non-Western traditions, from ritual to theatre, from dance to interactive architecture, from performance art to historical opera. With eighteen original essays brought together by an international ensemble of leading scholars and artists including Richard Schechner and Philip Zarrilli. This covers a variety of disciplinary fields from critical studies to performance studies, from food studies to ethnography from drama to architecture. Written in an accessible way this volume will appeal to scholars and non-scholars interested in Performance/Theatre Studies and Cultural Studies.
How can theatre and Shakespearean performance be used with different communities to assist personal growth and development, while advancing social justice goals? Employing an integrative approach that draws from science, actor training, therapeutical practices and current research on the senses, this study reveals the work being done by drama practitioners with a range of specialized populations, such as incarcerated people, neurodiverse individuals, those with physical or emotional disabilities, veterans, people experiencing homelessness and many others. With insights drawn from visits to numerous international programs, it argues that these endeavors succeed when they engage multiple human senses and incorporate kinesthetic learning, thereby tapping into the diverse benefits associated with artistic, movement and mindfulness practices. Neither theatre nor Shakespeare is universally beneficial, but the syncretic practices described in this book offer tools for physical, emotional and collaborative undertakings that assist personal growth and development, while advancing social justice goals. Among the practitioners and companies whose work is examined here are programs from the Shakespeare in Prison Network, the International Opera Theater, Blue Apple Theatre, Flute Theatre, DeCruit and Feast of Crispian programs for veterans, Extant Theatre and prison programs in Kolkata and Mysore, India.
Do you support a child or adult with sensory perceptual issues or cognitive impairment? For people with challenging sensory and cognitive conditions, everyday life can become so unpredictable and chaotic that over time, lack of engagement can often lead to a state of learned helplessness. In this insightful text, Paul Pagliano shows how ‘learned helplessness’ can be transformed into learned optimism through multisensory stimulation, and explains how a programme of support can be designed and modulated to match the person’s needs, interests and abilities. Full of practical, easy to use multisensory assessment tools and intervention strategies, this book will help: foster a feeling of ease with the environment the child or adult experience pleasure and happiness kick-start their desire to explore encourage improved learning, social well-being and quality of life. The author offers an abundance of exciting multisensory stimulation ideas that can be applied to communication, play, leisure and recreation, therapy and education. Practical resources also show how to monitor and review applications to ensure they are being used in the most effective and enjoyable ways possible. Informed by an astute, up-to-date, comprehensive overview of research and theory, The Multisensory Handbook will appeal to primary professionals from a wide range of disciplines including education, health and social care.
Artability Empathy is a verb Art is fun catalytic art Play with animals therapy dogs Art is therapy bathe an elephant Paint the sounds you hear tactile painting Primordial sounds Ohm mask and eye contact Art is inclusion facemask Paint your body paint your face Move, move your limbs teletherapy Movement/dance know your self Blind with the camera hear the sound and paint
Theatre presents readers with an introduction to the role theatre plays in human health and wellbeing. It presents an overview of scientific evidence, case studies on how theatre can be employed in different settings, practical advice for bringing the benefits of theatre into health and social, public health campaigns, and the family home.
This volume tackles the role of smell, under-explored in relation to the other senses, in the modern rejection, reappraisal and idealisation of antiquity. Among the senses olfaction in particular has often been overlooked in classical reception studies due to its evanescent nature, which makes this sense difficult to apprehend in its past instantiations. And yet, the smells associated with a given figure or social group convey a rich imagery which in turn connotes specific values: perfumes, scents and foul odours both reflect and mould the ways in which a society thinks or acts. Smells also help to distinguish between male and female, citizens and strangers, and play an important role during rituals. The Smells and Senses of Antiquity in the Modern Imagination focuses on the representation of ancient smells - both enticing and repugnant - in the visual and performative arts from the late 18th century up to the 21st century. The individual contributions explore painting, sculpture, literature and film, but also theatrical performance, museum exhibitions, advertising, television series, historical reenactment and graphic novels, which have all played a part in reshaping modern audiences' perceptions and experiences of the antique.