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This book examines the history, ethics, and intentions of staging personal stories and offers theatre makers detailed guidance and a practical model to support safe, ethical practice. Contemporary theatre has crossed boldly into therapeutic terrain and is now the site of radical self-exposure. Performances that would once have seemed shockingly personal and exposing have become commonplace, as people reveal their personal stories to audiences with ever-increasing candor. This has prompted the need for a robust and pragmatic framework for safe, ethical practice in mainstream and applied theatre. In order to promote a wider range of ethical risk-taking where practitioners negotiate blurred boundaries in safe and artistically creative ways, this book draws on relevant theory and practice from theatre and performance studies, psychodrama and attachment narrative therapy and provides detailed guidance supporting best practice in the theatre of personal stories. The guidance is structured within a four-part framework focused on history, ethics, praxis, and intentions. This includes a newly developed model for safe practice, called the Drama Spiral. The book is for theatre makers in mainstream and applied theatre, educators, students, researchers, drama therapists, psychodramatists, autobiographical performers, and the people who support them.
Argues that institutional change must accommodate women’s professional and personal life stages. Staging Women’s Lives in Academia demonstrates how ostensibly personal decisions are shaped by institutions and advocates for ways that workplaces, not women, must be changed. Addressing life stages ranging from graduate school through retirement, these essays represent a gamut of institutions and women who draw upon both personal experience and scholarly expertise. The contributors contemplate the slipperiness of the very categories we construct to explain the stages of life and ask key questions, such as what does it mean to be a graduate student at fifty? Or a full professor at thirty-five? The book explores the ways women in all stages of academia feel that they are always too young or too old, too attentive to work or too overly focused on family. By including the voices of those who leave, as well as those who stay, this collection signals the need to rebuild the house of academia so that women can have not only classrooms of their own but also lives of their own.
Staging Authority: Presentation and Power in Nineteenth-Century Europe is a comprehensive handbook on how the presentation, embodiment, and performance of authority changed in the long nineteenth century. It focuses on the diversification of authority: what new forms and expressions of authority arose in that critical century, how traditional authority figures responded and adapted to those changes, and how the public increasingly participated in constructing and validating authority. It pays particular attention to how spaces were transformed to offer new possibilities for the presentation of authority, and how the mediatization of presence affected traditional authority. The handbook’s fourteen chapters draw on innovative methodologies in cultural history and the aligned fields of the history of emotions, urban geography, persona studies, gender studies, media studies, and sound studies.
This book investigates contemporary British and Irish performances that stage traumatic narratives, histories, acts and encounters. It includes a range of case studies that consider the performative, cultural and political contexts for the staging and reception of sexual violence, terminal illness, environmental damage, institutionalisation and asylum. In particular, it focuses on 'bodies in shadow' in twenty-first century performance: those who are largely written out of or marginalised in dominant twentieth-century patriarchal canons of theatre and history. This volume speaks to students, scholars and artists working within contemporary theatre and performance, Irish and British studies, memory and trauma studies, feminisms, performance studies, affect and reception studies, as well as the medical humanities.
In the early 1980s, Walt Disney Productions was struggling, largely bolstered by the success of its theme parks. Within fifteen years, however, it had become one of the most powerful entertainment conglomerates in the world. Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance argues that far from an executive feat, this impressive turnaround was accomplished in no small part by the storytellers recruited during this period. Drawing from archival research, interviews, and textual analysis, Peter C. Kunze examines how the hiring of theatrically trained talent into managerial and production positions reorganized the lagging animation division and revitalized its output. By Aladdin, it was clear that animation—not live action—was the center of a veritable “renaissance” at Disney, and the animated musicals driving this revival laid the groundwork for the company’s growth into Broadway theatrical production. The Disney Renaissance not only reinvigorated the Walt Disney Company but both reflects and influenced changes in Broadway and Hollywood more broadly.
Essential DIY Guide to Home Décor and Home Staging “…a must-read when selling your home. This book is a beautiful tutorial that will help you sell your home faster.” ―Cassandra Aarssen, professional organizer and author of The Clutter Connection #1 New Release in How-to & Home, House Plans, and Project Management Are you overwhelmed by the idea of home staging? Don’t know what to do or where to start? In Secrets of Home Staging, award-winning home stager, Karen Prince, guides you through the home staging process with easy home décor ideas, design tips, and advice on how to stage your home to sell. Home staging made simple. Secrets of Home Staging isn’t just an indispensable guide for the everyday homeowner, it’s also geared to realtors and those committed to real estate investing and flipping houses. With potential home buyers pre-shopping homes online and dismissing many of them in as little as three seconds, it is essential your home is staged to look its best. Secrets of Home Staging helps you navigate the home staging process with an easy-to-follow guide. For fans of Joanna Gaines and the real estate world. No matter what your house plan, Secrets of Home Staging offers home interior design advice and tools you need to make your home look great online and in-person. Featuring over 150 color photos, and many practical house interior design tips, Karen gives home sellers everything they need to receive more offers, faster sales, and higher selling prices. Inside you’ll find before-and-after photos and information on easy DIY home improvements that buyers love, project management tips, and: • The 6 steps to successful home staging • Decluttering and decorating ideas that sell • How to determine your “key” rooms If you enjoy real estate books, interior design books, or home decor books─like Elements of Style, Home Body, Life Changing Magic of Tidying Up, Habitat, Inspire Your Home, or The Book on Flipping Houses─you’ll love Secrets of Home Staging.
Difference, Dialogue, and Development is an in-depth exploration of the collected works of Mikhail Bakhtin to find relevance of key concepts of dialogism for understanding various aspects of human development. Taking the reality of differences in the world as a given, Bandlamudi argues that such a reality necessitates dialogue, and actively responding to that necessity leads to development. The varied works of Bakhtin that span several decades passing through the most tumultuous period in Russian history, are brought under one banner of three D’s – Difference, Dialogue and Development – and the composite features of the three D’s emerge as leitmotifs in every chapter.
The Ghana Dance Ensemble takes Ghana's national culture and interprets it in performance using authentic dance forms adapted for local or foreign audiences. Often, says Paul Schauert, the aims of the ensemble and the aims of the individual performers work in opposition. Schauert discusses the history of the dance troupe and its role in Ghana's post-independence nation-building strategy and illustrates how the nation's culture makes its way onto the stage. He argues that as dancers negotiate the terrain of what is or is not authentic, they also find ways to express their personal aspirations, discovering, within the framework of nationalism or collective identity, that there is considerable room to reform national ideals through individual virtuosity.