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"This book is both about plays, and about writing and staging them for immersive theater, particularly in the areas of juvenile detention, wartime interventions and immigration processes. It presents scripts and strategies for practitioners who want to create theatrical environments that are pedagogical, aesthetically evocative and politically provocative--and both simple and complex"--
Participatory theater. --- Theater --- Production and direction.
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Theatrical science --- drama [literature] --- audiences --- drama [discipline] --- Performing arts --- Participatory theater. --- Audiences.
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This book is the first full-length monograph to focus on Punchdrunk, the internationally-renowned theatre company known for its pioneering approach to immersive theatre. With its promises of empowerment, freedom and experiential joy, immersive theatre continues to gain popularity - this study brings necessary critical analysis to this rapidly developing field. What exactly do we mean by audience “immersion”? How might immersion in a Punchdrunk production be described, theorised, situated or politicised? What is valued in immersive experience - and are these values explicit or implied? Immersive Theatre and Audience Experience draws on rehearsals, performances and archival access to Punchdrunk, providing new critical perspectives from cognitive studies, philosophical aesthetics, narrative theory and computer games. Its discussion of immersion is structured around three themes: interactivity and game; story and narrative; environment and space. Providing a rigorous theoretical toolkit to think further about the form’s capabilities, and offering a unique set of approaches, this book will be of significance to scholars, students, artists and spectators.
Performing arts --- Participatory theater. --- Audiences. --- Audience participatory theater --- Immersive theater --- Participation theater --- Theater --- Audiences, Performing arts --- Performing arts audiences --- Arts audiences --- Theater. --- Theatre and Performance Studies. --- Cultural Studies. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors --- Cultural studies.
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This book offers a wide-ranging examination of acts of ‘virtual embodiment’ in performance/gaming/applied contexts that abstract an immersant’s sense of physical selfhood by instating a virtual body, body-part or computer-generated avatar. Emergent ‘immersive’ practices in an increasingly expanding and cross-disciplinary field are coinciding with a wealth of new scientific knowledge in body-ownership and self-attribution. A growing understanding of the way a body constructs its sense of selfhood is intersecting with the historically persistent desire to make an onto-relational link between the body that ‘knows’ an experience and bodies that cannot know without occupying their unique point of view. The author argues that the desire to empathize with another’s ineffable bodily experiences is finding new expression in contexts of particular urgency. For example, patients wishing to communicate their complex physical experiences to their extended networks of support in healthcare, or communities placing policymakers ‘inside’ vulnerable, marginalized or disenfranchised virtual bodies in an attempt to prompt personal change. This book is intended for students, academics and practitioner-researchers studying or working in the related fields of immersive theatre/art-making, arts-science and VR in applied performance practices.
Participatory theater. --- Audience participatory theater --- Immersive theater --- Participation theater --- Theater --- Theater. --- Performing arts. --- Applied Theatre. --- Contemporary Theatre. --- Performing Arts. --- Show business --- Arts --- Performance art --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors
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"In this examination of stand-up comedy, Rebecca Krefting establishes a new genre of comedic production, "charged humor," and charts its pathways from production to consumption. Some jokes are tears in the fabric of our beliefs--they challenge myths about how fair and democratic our society is and the behaviors and practices we enact to maintain those fictions. Jokes loaded with vitriol and delivered with verve, charged humor compels audiences to action, artfully summoning political critique. Since the institutionalization of stand-up comedy as a distinct cultural form, stand-up comics have leveraged charged humor to reveal social, political, and economic stratifications. All Joking Aside offers a history of charged comedy from the mid-twentieth century to the early aughts, highlighting dozens of talented comics from Dick Gregory and Robin Tyler to Micia Mosely and Hari Kondabolu. The popularity of charged humor has waxed and waned over the past sixty years. Indeed, the history of charged humor is a tale of intrigue and subversion featuring dive bars, public remonstrations, fickle audiences, movie stars turned politicians, commercial airlines, emergent technologies, neoliberal mind-sets, and a cavalcade of comic misfits with an ax to grind. Along the way, Krefting explores the fault lines in the modern economy of humor, why men are perceived to be funnier than women, the perplexing popularity of modern-day minstrelsy, and the way identities are packaged and sold in the marketplace. Appealing to anyone interested in the politics of humor and generating implications for the study of any form of popular entertainment, this history reflects on why we make the choices we do and the collective power of our consumptive practices. Readers will be delighted by the broad array of comic talent spotlighted in this book, and for those interested in comedy with substance, it will offer an alternative punchline"--amazon.com.
Participatory theater. --- Comedy --- Stand-up comedy --- Audience participatory theater --- Immersive theater --- Participation theater --- Theater --- Joking --- History and criticism. --- Comedy. --- Comédie --- Monologue comique --- PERFORMING ARTS --- Stand-up comedy. --- Théâtre --- Histoire et critique. --- Participation du public. --- United States.
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"When the topic is sex, fear and embarrassment prevent frank and meaningful communication between teens and adults. Using participatory theatre can break the uncomfortable silence, and with over 700 performances across Canada, Jane Heather's play Are We There Yet? has been an effective tool for teaching teen sexuality since 1998. The play and program were the subject of a major impact assessment and researchers of many kinds examined how and why theatre can make change. This comprehensive, well-organized volume by two leading experts offers a rich diversity of material and analysis. The play appears in the volume and is available for separate purchase as a reproducible PDF, and a video production of examples of theatrical participation is included on a pocketed DVD. Theatre, Teens, Sex Ed will be a valuable resource for academics, practitioners, and specialist readerships in the fields of theatre, sex education, sociology, and public health."--
Sex instruction for teenagers. --- Teenagers --- Participatory theater. --- Drama in education. --- Creative dramatics (Education) --- Theater in education --- Education --- Adolescent sexuality --- Teenage sexuality --- Sex instruction --- Audience participatory theater --- Immersive theater --- Participation theater --- Theater --- Sexual behavior. --- Heather, Jane. --- Sex Education. --- Teaching Methods. --- Theatre.
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Punchdrunk on the Classics: Experiencing Immersion in The Burnt City and Beyond draws attention to Punchdrunk’s use of ancient Greek literature in their creation of immersive theatre. The book documents and analyses the effects of utilising Greek tragedy within both Punchdrunk’s creative development windows, and the company’s final staged productions. It features material stretching from The House of Oedipus (2000) right through to The Burnt City (2022-23), on which the author worked as dramaturg. Chapters include rehearsal studies, explorations of how Greek literature can shape an audience’s experience in immersive theatre, and considerations of how The Burnt City might change our understanding of the poetics of immersion in antiquity. Overall, Punchdrunk on the Classics provides an unparalleled depth of insight into an individual Punchdrunk production, and highlights the until-now overlooked significance of antiquity within Punchdrunk’s practice. Emma Cole is Senior Lecturer in Drama at the University of Queensland, Australia; previously, she was Senior Lecturer in Liberal Arts and Classics at the University of Bristol. She is a classicist and a theatre historian and is an expert on Greek tragedy in contemporary theatre. Her previous book, Postdramatic Tragedies, was published in 2019.
Participatory theater. --- Theater --- Actors. --- Classical literature. --- Literature, Ancient. --- Adaptation (Literary, artistic, etc.). --- Contemporary Theatre and Performance. --- Performers and Practitioners. --- Classical and Antique Literature. --- Adaptation Studies. --- History.
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Participatory theater --- Theater and society --- Théâtre --- Théâtre et société --- History. --- Participation du public --- Histoire. --- Mothertongue Project. --- South Africa
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