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Because of its powerful socializing effects, the school has always been a site of cultural, political, and academic conflict. In an age where terms such as 'hard-to-teach,' and 'at-risk' beset our pedagogical discourses, where students have grown up in systems plagued by anti-immigrant, anti-welfare, 'zero-tolerance' rhetoric, how we frame and understand the dynamics of classrooms has serious ethical implications and powerful consequences. Using theatre and drama education as a special window into school life in four urban secondary schools in Toronto and New York City, The Theatre of Urban examines the ways in which these schools reflect the cultural and political shifts in big city North American schooling policies, politics, and practices of the early twenty-first century. pResisting facile comparisons of Canadian and American schooling systems, Kathleen Gallagher opts instead for a rigorous analysis of the context-specific features, both the differences and similarities, between urban cultures and urban schools in the two countries. Gallagher re-examines familiar 'urban issues' facing these schools, such as racism, classism, (hetero)sexism, and religious fundamentalism in light of the theatre performances of diverse young people and their reflections upon their own creative work together. By using theatre as a sociological lens, emThe Theatre of Urban
Mark Jenkins is redefining sculpture as part of the urban environment. The Urban Theater, his first monograph, documents Jenkins's compelling, often disturbing street installations and demonstrates his talent for provoking reactions from passersby. For Jenkins, these spontaneous responses and interactions are an integral part of the life cycle of his works.
City Stages combines primary archival research with the scholarly literature emerging from both the humanities and social sciences.
Extensively illustrated with oringinal sketches, watercolours, plans and photographs of Urban's work both in Vienna and America, detailed biography covering the full breadth of his work, tall quarto bound in dark blue cloth, fine copy in fine dustwrapper, check postage a large heavy book which may require additional postage. Renaissance man Joseph Urban (1872-1933) is rediscovered in this first full-scale biography and appreciation. Urban acquired a reputation in fin-de-siecle Vienna for architecture, stage design, and book illustration. He arrived in America in 1911 to design productions for the Boston Opera and stayed to make an impact on theater stagecraft, opera and movie sets, Art Deco and International Style architecture, and industrial design. Relying on the vast Urban Archives at Columbia University and interviews with Urban's daughter Gretl, this rigorously researched and lavishly illustrated volume (with 282 images, 129 in color) revives the spirit and personality of one of the century's most talented designers. An important choice for academic and larger public libraries with specialized interests.
This book explores theatre and performance as participatory research practices for exploring the everyday of the city. Taking an inner-city suburb of Johannesburg, South Africa as its central case study, the book considers how theatre and performance might be both useful practical tools in considering the everyday city, as well as conceptual lenses for understanding it. The author establishes an understanding of space as ever evolving and formed through the ongoing relationship between things, human and non-human, and considers how theatre and performance offer useful paradigms for learning about and working with city spaces. As ephemeral, embodied, material artistic practices, theatre and performance mirror the nature of everyday life. The book discusses theatre and performance games and placemaking processes as offering valuable ways of discovering daily acts of place-making and providing insights that more conventional research methods may not allow. Yet the book also considers how seeing daily city life as a kind of performance, a kind of theatre in its own right, helps to further understandings of city spaces as ever evolving through complex webs of relationships. This book will be of interest to academics, academic practitioners and post-graduate students in the fields of theatre and performance studies, urban studies and cultural geography.
What makes young people care about themselves, others, their communities, and their futures? In Why Theatre Matters, Kathleen Gallagher uses the drama classroom as a window into the daily challenges of marginalized youth in Toronto, Boston, Taipei, and Lucknow. An ethnographic study which mixes quantitative and qualitative methodology in an international multi-site project, Why Theatre Matters ties together the issues of urban and arts education through the lens of student engagement. Gallagher’s research presents a framework for understanding student involvement at school in the context of students’ families and communities, as well as changing social, political, and economic realities around the world. Taking the reader into the classroom through the voices of the students themselves, Gallagher illustrates how creative expression through theatre can act as a rehearsal space for real, material struggles and for democratic participation. Why Theatre Matters is an invigorating challenge to the myths that surround urban youth and an impressive study of theatre’s transformative potential.
If the city is the theatre of urban life, how does architecture act in its many performances? This book reconstructs the spatial experiments of Art et Action, a theatre troupe active in 1920s Paris, and how their designs for theater buildings show how the performance spaces interacted with actors and spectators according to their type.
Explores the cultural, social, and poltical aspects of theatrical architecture, from the threatres of ancient Greece of the present.
Alan Read asserts that there is no split between the practice and theory of theatre, but a divide between the written and the unwritten. In this revealing book, he sets out to retrieve the theatre of spontaneity and tactics, which grows out of the experience of everyday life. It is a theatre which defines itself in terms of people and places rather than the idealised empty space of avant garde performance. Read examines the relationship between an ethics of performance, a politics of place and a poetics of the urban environment. His book is a persuasive demand for a critical theory of theatre which is as mentally supple as theatre is physically versatile.
Urban theatre can be described as theatre made with or by those whose lives are marked by the urban landscape and its social limits and possibilities. At the heart of this text lies the question of how theatre can illuminate the urban and how theatre is illuminated by the urban. The city, like a play, is a space where everything adopts multiple meanings. It is an objective thought and a subjective experience, a charged and symbolic thing, as well as a real, material, lived reality. The chapters in this book illustrate the theatre’s uncanny ability to narrate and symbolize the physical and psychic space of the city. Running through all of the pieces presented are the themes of power and of young people’s sense of agency within the structures they dwell in and are shaped by. Through drama education and applied theatre practices, the affinity between the urban and its theatres is radically replaced by marginal spaces, boulevards and schools. As Guillermo Gómez-Peña suggests, the theatre has gone to the people to serve their local and immediate need for a means of holding the urban and the self so that both can be interrogated and re-imagined; so that the various dystopias of urban existence can be envisaged as places of urban solidarity and as utopias, at least, of the mind. This book was originally published as a special issue of Research in Drama Education: The Journal of Applied Theatre and Performance.