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French Play: Exploring Theatre 'Re-creatively' with Foreign Language Students [Pehme köide]

  • Formaat: Paperback / softback, 270 pages, kõrgus x laius x paksus: 228x152x18 mm, kaal: 430 g, 22 black & white photos
  • Ilmumisaeg: 30-Oct-2006
  • Kirjastus: University of Calgary Press
  • ISBN-10: 1552382133
  • ISBN-13: 9781552382134
Teised raamatud teemal:
French Play: Exploring Theatre 'Re-creatively' with Foreign Language StudentsSuurem pilt
  • Formaat: Paperback / softback, 270 pages, kõrgus x laius x paksus: 228x152x18 mm, kaal: 430 g, 22 black & white photos
  • Ilmumisaeg: 30-Oct-2006
  • Kirjastus: University of Calgary Press
  • ISBN-10: 1552382133
  • ISBN-13: 9781552382134
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781552382134.html
Märksõnad:
Essif (French studies, U. of Tennessee, Knoxville) intends this book primarily for foreign language instructors (undergraduate and above), and secondarily for teachers of English, English as a second language, and drama. He guides teachers, step-by-step, in the selection, interpretation, preparation, and production of a play in a language foreign to the student-actors, especially for students with little theater experience. As models, he uses his own direction of Ubi Roi and other French plays based on well-known stories (e.g. Macbeth, Candide, and Cyrano), but his strategies are meant to apply to plays in any language. Exercises, critical approaches, and theory are all included in this discussion of the act of "re-creating" a theater text on the stage. Advice includes strategies for using the process to educate, collaboratively assigning roles, taking the play on tour, and evaluating student actors. The appendices contain sample rewrites, press releases, evaluation forms, and other model materials. This book is distributed by Michigan State U. Press. Annotation ©2007 Book News, Inc., Portland, OR (booknews.com)

The French Play is a step-by-step guide to the challenging process of producing and directing a foreign-language play with English-speaking student actors. Using his own student productions of French-language plays as models, author Les Essif leads readers through the process of exploring drama and building a successful play with an eye toward applying re-creative strategies.



The French Play is a step-by-step guide to the challenging process of producing and directing a foreign-language play with English-speaking student actors. Using his own student productions of French-language plays as models, author Les Essif leads readers through the process of exploring drama and building a successful play with an eye toward applying re-creative strategies. Essif promotes an array of new strategies for planning, producing, analyzing, and theorizing theatre, covering such essential topics as: exercises to produce a total, corporeal expression of the foreign language; performance semiotics; organization of rehearsal schedules; the collaborative assignment of roles; audience participation; publicity and promotion; taking the play on tour; and the evaluation of student actors. Aimed at university drama students, The French Play is also a must-have for scholars and teachers of performance and dramatic staging, foreign languages, English as a second language, and anyone else who requires a strong theoretical and critical approach to foreign language drama.


List of Illustrations
xiii
Acknowledgments xv
Introduction 1(6)
The Pedagogy of Performance by and for Students of Foreign Language
7(3)
The Creativity-Complexity Matrix by Recreative Design
10(3)
Theories 1: Performance and Re-creative Language Learning
13(2)
Theories 2: The Spect-actorial View of Performance
15(4)
Theories 3: Teaching Literary-Dramatic Texts as Culture-in-Process
19(6)
Theories 4: Regenerating the Creative Principle of the Text
25(6)
Prologue: Advance Preparation for the Project
31(148)
Selecting the Play
31(4)
Selecting the Rehearsal and Performance Spaces
35(2)
Recruiting the Students
37(2)
Day One -- You're On!
39(18)
Discussing the Syllabus and the Project: Organizing the Class Sessions and Semester, and Setting the Rehearsal Schedule
40(4)
Setting a Creative-Critical-Performative Tone for the Project
44(2)
The Introductory Re-creative Exercise
46(7)
Assessment of the Re-creative Exercise
53(2)
Homework
55(2)
The First Six Weeks of Performance Awareness and Textual Analysis
57(36)
Creating a Performance Space, Challenging Habit, Trusting the Teacher-Director
57(1)
Questions
58(1)
Class Roster
58(1)
Recap
59(1)
Warm-Up Exercises
59(4)
Interactive Dramatic Games
63(1)
La Petite Mise-en-Scene (The Short Sketch)
64(1)
Textual Analysis
65(2)
A Performative Approach to the Text
67(2)
Guidelines for Performative-Textual Analysis
69(3)
The Journal
72(2)
Schedule of Re-creative Sketches (Petites Mises-en-Seenes) for Each Class
74(2)
Inducing a Semiotic Understanding of the Performance Work: Vive la Difference!
76(2)
The Discovery of Semiotics through Recreation and Re-creation
78(1)
Introducing the ``Systems'' of Style, Costume, Prop, and Music, and the Styles of Jeanne d'Arc
79(11)
Day Three and Beyond
90(3)
The Collaborative Re-Creation of the Original Text
93(16)
The ``How To'' Guidelines for the Comprehensive Re-creational Assignment
93(4)
D-Day: Pieces Come Together and the Full Story Takes Shape
97(2)
Collaborative Examination of the Re-created Texts
99(1)
My Weekend from Hell!
99(4)
Discussing the Text and Giving It and Ourselves a Name
103(2)
Casting: The Anti-(Lone) Star System, or, Every Star Has a Prominent Place in the Constellation
105(4)
Co-operatively and Re-creatively Rehearsing, Revising, Refining, and Promoting the Performance
109(24)
Early Rehearsals
110(1)
Blocking the Text
111(2)
Memorizing Text and Individual Work with Voice-Accent-Intonation-Expression
113(1)
The Journal
114(1)
The Week before Spring Break
114(2)
After the Break: Discovering and Claiming Our Space
116(2)
The Material Genesis of the Play: Set, Costumes, Props, Sound, and Light
118(4)
Collaborative, Co-operative Duties: Stage Management and Promotion
122(5)
Poster and Program Design
127(1)
Financing the Production and Ticket Sales
128(1)
Activist Promotion: ``Storming'' the Foreign-Language Classrooms
129(2)
The Final Rehearsal Phase
131(2)
The Opening Show: C'est fini!... Ce n'est pas fini!
133(14)
Inevitable Doubts and Problems
134(1)
Rehearsing the Audience
135(4)
Audience Feedback: The Survey
139(1)
Photographing and Videotaping the Process and the Performance
140(3)
On the Road: Another Space, Another Audience
143(4)
Post-Performance Student Evaluation of the Performance and the Project
147(4)
The Analytical-Subjunctive Art of Combining Texts and Con-fusing Character Identities
151(28)
Regeneration through Combination
152(11)
Reinterpreting the Absurdity of Cruelty through the Con-fusion of Character Identities in Ionesco's Macbett
163(8)
Taking Combination and Con-fusion to Another Level: ``Dom Juan, Ubu, Hamm: Quelque chose suit son cours'' (``Dom Juan, Ubu, Hamm: Something Is Taking Its Course'')
171(8)
Conclusion
179(6)
Appendices
185(54)
Appendix A: Sample Course Description and Syllabus
185(6)
Appendix B: Sample Interactive Dramatic Games and Exercises
191(10)
Appendix C: Sample Study and Performance Guide for a Critical-Creative-Performative Approach to Ubu Roi
201(3)
Appendix D: Pavis's Questionnaire
204(4)
Appendix E: Textual Re-creation: Guidelines for Ubu 2000
208(5)
Appendix F: Sample Excerpts and Materials from Rewritten Plays
213(17)
Appendix G: Sample Promotional Materials and Methods
230(5)
Appendix H: Audience Survey
235(1)
Appendix I: Instructions for Final Undergraduate and Graduate Written Assignments
236(3)
Works Cited 239(4)
Notes 243
Les Essif is the author of Empty Figure on an Empty Stage: The Theatre of Samuel Beckett and His Generation, and numerous articles on French theatre and theories of drama and performance. He is a former New York City police officer and currently a Professor of French Studies at the University of Tennessee, Knoxville.