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Stages of Reckoning is a crucial conversation about how racialized bodies and power intersect within actor training spaces. This book provokes embodied and intellectual discomfort for the reader to take risks with their ideologies, identities, and practices and to make new pedagogical choices for students with racialized identities. Centering the voices of actor trainers of color to acknowledge their personal experience and professional pedagogy as theory, this volume illuminates actionable ideas for text work, casting, voice, consent practices, and movement while offering decolonial approaches to current Eurocentric methods. These offerings invite the reader to create spaces where students can bring more of themselves, their communities, and their stories into their training and as fodder for performance making that will lead to a more just world. This book is for people in high/secondary schools, higher education, and private training studios who wish to teach and direct actors of color in ways that more fully honor their multiple identities.
The instant New York Times and USA Today bestseller America is suffering from PTSD—The Reckoning diagnoses its core causes and helps us begin the healing process. For four years, Donald J. Trump inflicted an onslaught of overlapping and interconnected traumas upon the American people, targeting anyone he perceived as being an “other” or an enemy. Women were discounted and derided, the sick were dismissed as weak and unworthy of help, immigrants and minorities were demonized and discriminated against, and money was elevated above all else. In short, he transformed our country into a macro version of his malignantly dysfunctional family. How can we make sense of the degree to which our institutions and leaders have let us down? How can we negotiate a world in which all sense of safety and justice seems to have been destroyed? How can we—as individuals and as a nation—confront, process, and overcome this loss of trust and the ways we have been forever altered by chaos, division, and cruelty? And when the dust finally settles, how can we begin to heal, in the midst of ongoing health and economic crises and the greatest political divide since the Civil War? Mary L. Trump is uniquely positioned to answer these difficult questions. She holds a Ph.D. in clinical psychology specializing in trauma, has herself been diagnosed with post-traumatic stress disorder, and happens to be Donald J. Trump’s only niece. In The Reckoning, she applies her unique expertise to the task of helping us confront an all-encompassing trauma, one that has taken an immense toll on our nation’s health and well-being. A new leader alone cannot fix us. Donald J. Trump is only the latest symptom of a disease that has existed within the body politic since America’s inception—from the original sin of slavery through our unceasing, organized commitment to inequality. Our failure to acknowledge this, let alone root it out, has allowed it to metastasize. Now, we are confronted with the limits of our own agency on a daily basis. Whether it manifests itself in rising levels of rage and hatred, or hopelessness and apathy, the unspeakable stress of living in a country we no longer recognize has affected all of us for a long time, in ways we may not fully understand. An enormous amount of healing must be done to rebuild our lives, our faith in leadership, and our hope for this nation. It starts with The Reckoning.
The essay deals with the question of all questions: a Christian's identity in Christ, The emphasis is on what St, Paul has said about the topic.
Madrid. Unfinished. Man dying. A great painter lies on his deathbed, synapses firing, writhing and reveling in pleasure and pain as a lifetime of chaotic and grotesque sense memories wash over and envelop him. In this bold and brilliant short work of experimental fiction by the author of Grief Is the Thing with Feathers and Lanny, Max Porter inhabits Francis Bacon in his final moments, translating into seven extraordinary written pictures the explosive final workings of the artist's mind. Writing as painting rather than about painting, Porter lets the images he conjures speak for themselves as they take their revenge on the subject who wielded them in life. The result is more than a biography: The Death of Francis Bacon is a physical, emotional, historical, sexual, and political bombardment--the measure of a man creative and compromised, erotic and masochistic, inexplicable and inspired.
Critical Acting Pedagogy: Intersectional Approaches invites readers to think about pedagogy in actor training as a research field in its own right: to sit with the complex challenges, risks, and rewards of the acting studio; to recognise the shared vulnerability, courage, and love that defines our field and underpins our practices. This collection of chapters, from a diverse group of acting teachers at different points in their careers, working in conservatoires and universities, illuminates current developments in decolonising studios to foreground multiple and intersecting identities in the pedagogic exchange. In acknowledging how their positionality affects their practices and materials, 20 acting teachers from the United Kingdom, the United States, Europe, and Oceania offer practical tools for the social justice acting classroom, with rich insights for developing critical acting pedagogies. Authors test and develop research approaches, drawn from social sciences, to tackle dominant ideologies in organisation, curriculum, and methodologies of actor training. This collection frames current efforts to promote equality, diversity, and inclusivity in the studio. It contributes to the collective movement to improve current educational practice in acting, prioritising well-being, and centering the student experience.
In Shakespeare's England, credit was synonymous with reputation, and reputation developed in the interplay of language, conduct, and social interpretation. As a consequence, artful language and social hermeneutics became practical, profitable skills. Since most people both used credit and extended it, the dual strategies of implication and inference—of producing and reading evidence—were everywhere. Like poetry or drama, credit was constructed: fashioned out of the interplay of artifice and interpretation. The rhetorical dimension of economic relations produced social fictions on a range of scales: from transitory performances facilitating local transactions to the long-term project of maintaining creditworthiness to the generalized social indeterminacy that arose from the interplay of performance and interpretation. Fictions of Credit in the Age of Shakespeare examines how Shakespeare and his contemporaries represented credit-driven artifice and interpretation on the early modern stage. It also analyses a range of practical texts—including commercial arithmetics, letter-writing manuals, legal formularies, and tables of interest—which offered strategies for generating credit and managing debt. Looking at plays and practical texts together, Fictions of Credit argues that both types of writing constitute “equipment for living”: practical texts by offering concrete strategies for navigating England's culture of credit, and plays by exploring the limits of credit's dangers and possibilities. In their representations of a world re-written by debt relations, dramatic texts in particular articulate a phenomenology of economic life, telling us what it feels like to live in credit culture: to live, that is, inside a fiction.
Road rage, animal rights, cyberporn, crystal healing, doctor-assisted suicide — everywhere we look, the signs all tell us we’re living in a post-Christian culture. Or are we? Leonard Sweet -- cultural historian, preacher, futurist, creatologist, and preeminent thinker -- firmly believes we live today in a pre-Christian society, fraught with challenges, dangers, critical choices, and above all, tremendous potential for the church. The outcome will depend on our response to today’s flood of religious pluralism that threatens to sweep us away. What will we do? Deny the reality of the incoming surge? "Hunker in the bunker," hermetically sealing ourselves in an increasingly out-of-touch church counterculture? Or will we boldly hoist our sails, and -- looking to God for guidance and strength -- move with confidence and purpose over the waves. SoulTsunami is a fascinating, even mind-numbing look at the implications of our changing world for the church in the 21st century. With uncanny wisdom and trademark wit, Leonard Sweet explores ten key "futuribles" (precision guesses that fall short of predictions), expanding on and relating topics ranging from the reentry of theism and spiritual longing in contemporary society, to the impact of modern technology, to the global renaissance, to models for the church to reach people caught in the cultural maelstrom. Here are eye-opening perspectives on the church from within and from without — from its surrounding society.Lively, well-written, and provocative, SoulTsunami is a clarion call for Christians to remove their tunnel-vision glasses and take a good look at the swelling postmodern flood. It also is a voice of encouragement, affirming the church in its role as God’s lifeboat. And it is a passionate, prophetic guide, pointing the way to reach a world swept out to sea.