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The Economies of Applied Theatre

Michael Balfour

Michael Balfour

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Sheila Preston

Sheila Preston is Head of Performing Arts at the University of East London, UK. Previously she was a senior lecturer in Applied Theatre at the Central School of Speech and Drama, University of London. She co-edited with Tim Prentki The Applied Theatre Reader (Routledge, 2009). Author affiliation details are correct at time of print publication.

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Applied Theatre: Economies

Methuen Drama, 2018

Books

...Applied Theatre Consultants Ltd (ATCo) is a limited liability company, owned and run by Company Directors Peter and Briar O’Connor. In 2012, they employed a part-time National Programmes Manager and had a small team on contracts to run...

Applied Theatre and New Cultural Economies

Michael Balfour

Michael Balfour

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Sheila Preston

Sheila Preston is Head of Performing Arts at the University of East London, UK. Previously she was a senior lecturer in Applied Theatre at the Central School of Speech and Drama, University of London. She co-edited with Tim Prentki The Applied Theatre Reader (Routledge, 2009). Author affiliation details are correct at time of print publication.

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Applied Theatre: Economies

Methuen Drama, 2018

Books

...This chapter focuses on contemporary forms of income generation that are largely new to the literature of applied theatre. These are forms that have emerged or been reframed within what Jen Harvie describes as the neoliberalization of arts...

Distributed Cognition, Memory and Theatrical Performance

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Memory is a subject divided by a common vocabulary. The term is used so variously that common ground in discussing the subject can be difficult to achieve. As Robert Wilson has suggested, disciplinary boundaries mark very different ways...

Action, Memory and Meaning: Embodied Cognition and the Actor’s Fictional Present

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...As an embodied art, theatre requires actors to engage in most, if not all, of the cognitive processes that humans conduct in daily life. Actors display expertise in eliciting and regulating features of behaviour that most people simply...

Already Seen, Already Heard, Already Visited: Constructing the Experience of Déjà States within Live Intermedial Performance

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Introduction This chapter considers our collaborative Practice as Research in performance as a mode of intersubjective memory-making, and specifically as a way of activating and exploring the subjective experience of déjà vu...

Learning Complex Actions through Physical vs. Observational Experience: Implications and Applications for Dance and Other Performing Arts

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Introduction Observing a model is often a first step towards learning a new motor skill. When learning a complex new movement, such as a triple jump in figure skating or a challenging chord progression...

A Narrowing Sphere: Economization and Applied Theatre

Michael Balfour

Michael Balfour

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Sheila Preston

Sheila Preston is Head of Performing Arts at the University of East London, UK. Previously she was a senior lecturer in Applied Theatre at the Central School of Speech and Drama, University of London. She co-edited with Tim Prentki The Applied Theatre Reader (Routledge, 2009). Author affiliation details are correct at time of print publication.

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Applied Theatre: Economies

Methuen Drama, 2018

Books

...When I began the research on which this book is based, ‘economy’ did not feel like my word, ‘economics’ even less so. I had set out to examine funding and management in applied theatre but quickly found these concepts encroaching into my...

Introduction: Studying the Cognition of Memory in the Performing Arts

Pil Hansen

Pil Hansen is an Assistant Professor and Graduate Program Director at the School of Creative and Performing Arts, University of Calgary, Canada; a founding member of Vertical City Performance; and a dramaturg. Her empirical and PaR experiments examine cognitive dynamics of memory and perception in creative processes. With Bruce Barton, she developed the multi-disciplinary research model ‘Research-Based Practice’. Hansen chairs the PSi Working Group on Dramaturgy and Performance; her award-winning creative work has toured nationally and internationally; and her scholarly research is published in Connection Science, Journal of Dramatic Theory and Criticism, TDR: The Drama Review, Performance Research, Theatre Topics, and Koreografisk Journal among other journals and ten essay collections on dramaturgy, cognitive performance studies, and research methods. Hansen co-edited the essay collection Dance Dramaturgy: Modes of Agency, Awareness and Engagement (2015). Current and recent artistic collaborators are: Kaeja d’Dance, Theatre Junction Grand, Toronto Dance Theatre, and Public Recordings. Author affiliation details are correct at time of print publication.

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Bettina Bläsing

Bettina Bläsing is a responsible investigator at the Center of Excellence Cognitive Interaction Technology (CITEC) at Bielefeld University, Germany. She studied Biology at Bielefeld University and Applied Animal Behaviour and Welfare at the University of Edinburgh, Scotland. Bettina worked as science journalist and editor, and as a postdoctoral researcher at the Max Planck Institute for Evolutionary Anthropology and University of Leipzig before joining the Neurocognition and Action Research Group at Bielefeld University in 2006. Her main research interests are mental representations of body, movement and space; the control and learning of complex movements and manual actions; and expertise in dance. Author affiliation details are correct at time of print publication.

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Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...The authors’ research described here has been supported by CITEC, the VW Foundation, the Faculty of Arts at the University of Calgary and the Canadian Social Sciences and Humanities Research Council (SSHRC). This collection...

A Phenomenology of Physical Impairment

Shaun May

Shaun May is a Lecturer in Drama and Theatre at the University of Kent, UK. Prior to joining the faculty at Kent he was an AHRC Postdoctoral Research Associate in the Philosophy department of the University of Liverpool and he taught at the Royal Central School of Speech & Drama and the Royal College of Art. He is co-convenor of the London Comedy Forum, a network of researchers with an interest in comedy and humour, and he has worked as a theatre director, producer and puppeteer. Author affiliation details are correct at time of print publication.

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A Philosophy of Comedy on Stage and Screen : You Have to be There

Bloomsbury Methuen Drama, 2015

Books

...In this chapter, I address a range of bodily impairments within comic performance. First, I will turn my attention to the three categories of ‘malfunction’, ‘temporary breakdown’ and ‘permanent breakdown’, which we previously addressed...

Olfactory

~playauthor~Written by~ Shaun May

Methuen Drama, 2012

Modern Plays

Playtext

Roles: Total (1), Female (0), Male (1), Unassigned (0)

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Summary
...Over 10,000 different smells drift across our planet in various configurations. Olfactory gives you a choice to craft your identity and to decode the invisible molecules floating through the air. Who do you want to be in the future...