| Description |
1 online resource : illustrations |
| Series |
Creativity theory and action in education ; volume 2 |
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Creativity theory and action in education ; v. 2.
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| Contents |
Intro; Preface; Acknowledgments; Contents; List of Figures; List of Tables; Part I: Are Actors Creative?; Chapter 1: The Actor's Real Role on the Production Team; 1.1 Introduction; 1.2 Application of Actors' Creativity to a Societal Problem; 1.3 Overview of the Chapter; 1.4 History of Acting Training; 1.5 Application of Acting Exercises to Creativity; 1.6 Empirical Research Findings; 1.7 Acting and Current Theories of Creativity; References; Chapter 2: Creative Acting; 2.1 Introduction; 2.2 The 3 ‛I's; 2.2.1 Investigation; 2.2.2 Inference; 2.2.3 Invention |
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2.3 The Character's Past, Present and Future2.4 Other Ways in: Abstraction, Behavior Modalities, Conditioning Forces; 2.4.1 Abstraction; 2.4.2 Behavior Modalities; 2.4.3 Conditioning Forces; 2.5 Shaking it out; References; Part II: Activities for Teaching Creativity; Chapter 3: The Improv Paradigm: Three Principles that Spur Creativity in the Classroom; 3.1 Introduction; 3.2 Three Improv Principles; 3.3 The Improv Paradigm; 3.4 The Improv Paradigm in Practice; 3.5 Conclusion; References; Chapter 4: Dreamwork for Dramatic Writing: An Organic Approach to Magic and Theatricality |
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4.1 Introduction to Dreamwork4.2 Discovering Your Dreams: Dreamwork for Dramatic Writing; 4.2.1 Step 1: Working with Dreams-Getting into the Flow; 4.2.2 Step 2: Devising Your Dream Cache-Gathering the Stuff of Your Imagination; 4.3 Creating with Dream Elements; 4.3.1 Step 3: Writing a Dream-Freeing your Natural Creativity; 4.3.2 Step 4: Creating a Dream Play Idea-Germinating the Seed of Your Invention; 4.4 Summary; References; Chapter 5: Performative Embodiment as Learning Catalyst: Exploring the Use of Drama/Theatre Practices in an Arts Integration Course for Non-Majors; 5.1 Introduction |
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5.2 Theories Underpinning FA 308: Arts Integration for Multidisciplinary Connections5.2.1 Performative Embodiment in Arts Integration; 5.2.2 Locating Performative Embodiment with/in Creative Teaching and Learning; 5.2.3 Developing a Deep Understanding of New Knowledge over Time: A Triple, Loop Learning Framework; 5.3 The Study, Sample, and Methods; 5.3.1 The Study Context; 5.3.2 The Study Sample and Data Sources; 5.3.3 Methods; 5.4 Analysis and Cross-Case Discussion of Findings; 5.4.1 Reflecting on the Creative Process and Skills of Theatre; 5.4.1.1 Recipe for Me: Analysis |
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5.4.1.2 Recipe for Me: Cross-Case Discussion5.4.2 Reflexive Considerations on the Use of the Creative Process for Educational and Societal Improvement: A Missed Opportunity; 5.4.2.1 Arts in our World: Analysis; 5.4.2.2 Arts in our World: Cross-Case Discussion; 5.4.3 Innovating Relevant Professional Contexts through Performative Embodiment: Learning How to Learn; 5.4.3.1 Arts-Integrated Learning Experience and Reflection: Analysis; 5.4.3.2 Arts-Integrated Learning Experience and Reflection: Cross-Case Discussion; 5.5 Conclusion; References |
| Summary |
People who don't know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere "interpreters" of the dramatist's vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading actors demanded plays be changed to fatten their roles. The late 19th and 20th centuries saw "the rise of the director," in which director and playwright struggled for creative dominance. But no matter where the balance of power rested, good theatre artists of all kinds have created powerful experiences for their audience. The purpose of this volume is to bridge the interdisciplinary abyss between the study of creativity in theatre/drama and in other fields. Sharing theories, research findings, and pedagogical practices, the authors and I hope to stimulate discussion among creativity and theatre scholar/teachers, as well as multidisciplinary research. Theatre educators know from experience that performance classes enhance student creativity. This volume is the first to bring together perspectives from multiple disciplines on how drama pedagogy facilitates learning creativity. Drawing on current findings in cognitive science, as well as drama teachers' lived experience, the contributors analyze how acting techniques train the imagination, allow students to explore alternate identities, and discover the confidence to take risks. The goal is to stimulate further multidisciplinary investigation of theatre education and creativity, with the intention of benefitting both fields |
| Bibliography |
Includes bibliographical references |
| Notes |
Online resource; title from PDF title page (EBSCO, viewed September 26, 2018) |
| In |
Springer eBooks |
| Subject |
Theater -- Study and teaching
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Creative ability -- Study and teaching
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Teaching skills & techniques.
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Teacher training.
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Teaching of a specific subject.
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PERFORMING ARTS -- Theater -- General.
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Creative ability -- Study and teaching
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Theater -- Study and teaching
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| Form |
Electronic book
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| Author |
Burgoyne, Suzanne, editor
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Senff, Sarah A., editor
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Perales Simkins, Simonita, editor
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| ISBN |
9783319789286 |
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3319789287 |
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