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In this groundbreaking book, noted director and educator William Wesbrooks provides an exciting and eminently practical approach for singers and actors who want to think about their work in a way that brings them a greater sense of vitality, freedom, and empowerment. Drawing upon his years of experience and a keen psychological insight, Wesbrooks utilizes our inherent attraction to storytelling. He presents an exciting process that allows you as a performer to extract from the dramatic circumstances of stories everything you need to bring the characters you play and the songs you sing to a place of vibrant realization. His approach will inspire you to trust in yourself and your own ability as you use your mind, body, and spirit, so as to begin “living inside” your stories in a way that brings them to life for yourself as well as your audience. The process is simple in its structure yet profound in its impact. Dramatic Circumstances will prove an invaluable resource for actors, singers, teachers, directors, and anyone else who knows and believes in the power of stories to inform and touch the lives of those who tell and hear them.
The original 36 Dramatic Situations was written in in French by Georges Polti in the 1850s. Polti synthesised all drama as belonging to combinations of 36 situations. In the book he illustrates each 'situation' with examples from classical and French theatre. When Mike Figgis used the book as an aid in putting together a treatment for a film, he found that his landscape of creativity had altered quite radically and ideas came forth with relative ease.He realised that Polti's book was system of reference which could be a powerful tool for writers. So he began updating all of the references, moving the focus away from theatre and focussing primarily on cinema. In the first half, each 'Dramatic Situation' is laid out under the 36 headings. The specific 'Situation' is then explained more fully, followed by an example from a specific film, accompanied by an explanation of how the device is used in the film. In the second half of the book there are a series of charts which analyse 150 great films (of all genres) based on the 36 situations.
The Thirty-Six Dramatic Situations is a descriptive list which was first proposed by Georges Polti in 1895 to categorize every dramatic situation that might occur in a story or performance. Polti analyzed classical Greek texts, plus classical and contemporaneous French works.
Reviews international research that is relevant to the teaching of English, language and literacy. This book locates research within theoretical context, drawing on historical perspectives.
Process drama is now firmly established, internationally, as a powerful and dynamic pedagogy. This clear and accessible book provides a practical, step-by-step guide to the planning of process drama. Grounded in theory and illustrated in practice, it identifies and explains the principles of planning and shows how they can be applied across age ranges and curricula. Drawing on the authors’ wide-ranging practical experience and research, examples are built up and run throughout the book, at each step showing how and why the teachers’ planning decisions were made. This second edition features: a wider range of examples illustrating the planning principles in practice two completely new chapters: one deals with planning for diverse learner groups and the other moves the reader on from the pre-action planning phase to the ‘planning on your feet’ required as the drama unfolds. incorporated new material to reflect recent understanding of how learning takes place Written as a conversation between reader and authors, Planning Process Drama will help practitioners to update and refine their practice and strengthen their understanding, skills and confidence. Planning Process Drama will be an essential guide for students undertaking initial teacher training at primary level, in addition to both Drama and English at secondary level, and a Masters in Drama in Education. It will also prove to be valuable reading for specialist and non-specialist teacher in both the primary and secondary sectors who teach, or wish to teach, process drama.
The claim that Revelation's hymns function as did Classical tragic choral lyrics insofar as they comment upon or interpret the surrounding narrative has become axiomatic in studies of Revelation. Justin Jeffcoat Schedtler marks an advance in this line of inquiry by offering an exegetical analysis of Revelation's hymns alongside a presentation of the forms and functions of ancient tragic choruses and choral lyrics. Evaluating the hymns in light of the varieties and complexities of ancient tragic choruses, he demonstrate that they are not best evaluated in terms of choral lyrics generally, but in terms of dramatic hymns in particular, insofar as they constitute mythological-theological reflections on the surrounding narrative, and function to situate the surrounding dramatic activity in a particular mythological-theological contexts.
This new book provides a clear and accessible guide on best practice to support teachers when using process drama in establishing creative learning partnerships with their students. It offers a detailed analysis and explores the roles of actor, director and playwright that the teacher must adopt in order to develop the ‘thinking on your feet’ skills and knowledge necessary to deliver a complete process drama experience. Addressing the dynamic nature of process drama, it provides a clear and rigorous explanation of the theory of process drama and links it to practice. Drawing on a wide range of detailed examples from the authors’ international and cross-cultural practice, it demonstrates how an effective process drama operates in action. Written to help practitioners and students produce powerful, artistic and educative experiences, chapters cover: pedagogy and the improvised nature of the art form; the structural framework and making shifts in the drama; the role of actor, director, playwright and teacher; monitoring emotional range; progression and the importance of reflection; the spiral of creative exchange and the complexities of co-creativity. Putting Process Drama into Action will be an essential guide for students undertaking initial teacher training at primary level, in addition to those studying both Drama and English at secondary level. It will also prove to be essential reading for specialist and non-specialist teachers in the primary and secondary sectors who teach, or wish to teach, process drama.