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The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part. The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern: ■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals; ■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours; ■ the information to be provided to the public: announcements, posters, advertising, parades; ■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term; ■ sets, lighting, sound, makeup, costumes, props; ■ the relations established between actor and spectator; ■ the means of transport adopted by actors and even by spectators. Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.
Madeleine Levy was diagnosed with Asperger's syndrome at the age of eight. This is a book about her life growing up and the education system as she experienced it. When she was asked by her nursery school teacher what she wanted to be when she grew up, Madeleine's reply was very different to all the other children's: she wanted to be a cat. Later she was bullied for being different - for being bi-sexual, for having autism, or just for being, as she puts it, a weird goth kid. When I Grow Up I Want to Be a Cat is not just a brilliantly frank memoir but also in part a supportive guide for youngsters with autism and their parents or carers, and in part a critique of the education system whose standardised support Madeleine found lacking. It is a book that genuinely gives the perspective from someone on the autistic spectrum - and not just Madeleine's own voice but the voices of nine other individuals with autism spectrum disorder whom she has interviewed for the book. Whatever your interest in autism or whatever your reason for reading it, When I Grow Up I Want to Be a Cat is an unforgettable read in which Madeleine addresses the highs and the lows of her life with compelling honesty, and which ultimately carries a hugely positive message for anyone who is facing struggles in life just for being different.
This is the only textbook to cover the totallity of perioperative nursing, including infection control and risk management. Other areas of perioperative nursing not addressed in other texts are practice development, management, advanced practice and the roles of key team members. All three areas of the surgical experience are covered: pre-operative, intra-operative and post-operative care.
Includes its Report, 1896-1945.
Vols. 227-230, no. 2 include: Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.
This book chronicles the dawn of the age of creativity in business, when new ideas and practices based on creativity will drastically change the way we do business. Starting with an overview of the age of marketing, the book winds its way through the past and the present to show us the future of business, backed up with insights from sociology and psychology.
Edited by Nathan Stucky and Cynthia Wimmer, Teaching Performance Studies is the first organized treatment of performance studies theory, practice, and pedagogy. This collection of eighteen essays by leading scholars and educators reflects the emergent and contested nature of performance studies, a field that looks at the broad range of human performance from everyday conversation to formal theatre and cultural ritual. The cross-disciplinary freedom enacted by the writers suggests a new vision of performance studies--a deliberate commerce between field and classroom.