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E-raamat: Teaching Drama With, Without and About Gender: Resources, Ideas and Lesson Plans for Students 1118 [Taylor & Francis e-raamat]

  • Formaat: 208 pages, 27 Tables, color; 47 Line drawings, color; 46 Halftones, color; 93 Illustrations, color
  • Ilmumisaeg: 30-Nov-2021
  • Kirjastus: Routledge
  • ISBN-13: 9781003080800
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  • Taylor & Francis e-raamat
  • Hind: 161,57 €*
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Teaching Drama With, Without and About Gender: Resources, Ideas and Lesson Plans for Students 1118Suurem pilt
  • Formaat: 208 pages, 27 Tables, color; 47 Line drawings, color; 46 Halftones, color; 93 Illustrations, color
  • Ilmumisaeg: 30-Nov-2021
  • Kirjastus: Routledge
  • ISBN-13: 9781003080800
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9781003080800
This exciting new book offers practical resources and lesson plans for exploring gender in the drama curriculum. It looks at how theatre performances throughout history have played with the concept of identity and gender and explains why drama lessons can provide a safe and considerate space for thinking about gender.

Drawing on theatre history, world theatre, theatre forms and theatre theory, each chapter focuses on key topics that will challenge students to play and explore gender roles as they choose. Introducing a new drama vocabulary drawn from archaeology and cartography, this book includes a wide range of materials for excavation from traditional stories, contemporary childrens literature, Greek mythology, Elizabethan and Restoration theatre, Japanese and Chinese theatre, mask, and physical theatre.

Providing new insight into how existing drama units can be redefined to create a space where the exploration of gender identity is not only allowed but something exciting and joyful to focus on, this is an essential resource for all drama teachers.
List of tables xvii
List of figures xviii
Acknowledgements xxi
Glossary xxii
Introduction
The learner-teacher-learner
1(2)
My first story
2(1)
To ostracize
2(1)
Drama and identity
3(6)
Identity is doing/drama is action
4(1)
About gender
Chapters 1 and 2
5(1)
With gender
Chapters 4 and 5
6(2)
Without gender
Chapters 3 and 6
8(1)
Resources
9(3)
Chapter 1 Tools and equipment of discovery
Expedition preparation
12(1)
Basecamp - practice as learning
12(1)
The ascent - a state of readiness
13(2)
Pedagogy of joy, pedagogy of risk
13(2)
Water rest - the safe space
15(3)
Nomad space and sedentary space
16(1)
A space of flow
16(1)
Civil space
17(1)
Brave or unsafe space
17(1)
Contact zone, neutral space or communities of disagreement
17(1)
The cliffhanger - a supportive community
18(1)
Teacher as ally
18(1)
The panorama - some easy ways to be inclusive today
19(1)
The descent - words can never hurt me
19(1)
Archaeology and cartography
20(1)
Resources
21(3)
Chapter 2 About gender - seeking identity
Stories and identity
24(1)
Resources
25(1)
Shifting the perspective - part 1
25(3)
Excavation One - object and verb
26(1)
Excavation Two - 'what's missing?' and/or 'what problem needs to be solved?'
26(1)
Excavation Three - what is naughty? Gender switch
26(1)
Excavation Four - names and pronouns
27(1)
Excavation Five - the turning point
27(1)
Excavation Six - links
28(1)
In conclusion, whole-class reckoning
28(1)
Resources, Peter Rabbit
28(1)
Shifting the perspective - part 2
28(5)
Excavation One - the power of language
29(1)
Excavation Two - abhinaya: guiding the performance towards the spectator
29(1)
Excavation Three - active versus passive
30(1)
Excavation Four - rasa: showing emotions
31(1)
Excavation Five - leaders and followers
32(1)
Excavation Six - not either/or, but also
33(1)
In conclusion, whole-class reckoning
33(1)
Resources, Sita's Ramayana
33(1)
Shapeshifters (growing sideways) - part 1
34(5)
Bristlehide synopsis
34(1)
Excavation One - masculine/feminine
35(1)
Excavation Two - metamorphosis
36(1)
Excavation Three - language
37(1)
Excavation Four - shapeshifting
37(1)
Excavation Five - inside out and outside in
37(1)
Excavation Six - disguise
38(1)
Excavation Seven - the reveal
38(1)
Excavation Eight - it's in the bag
38(1)
In conclusion, whole-class reckoning
39(1)
Resources, Bristlehide
39(1)
Shapeshifters (growing sideways) - part 2
39(3)
Excavation One - the resource
39(2)
Excavation Two - physicalize
41(1)
Excavation Three - internalize
41(1)
In conclusion, whole-class reckoning
41(1)
Resources, Metamorphoses
42(1)
Being invisible
42(1)
Excavation One - rules of engagement
42(1)
Excavation Two - the ally
42(1)
Excavation Three - postcards
43(1)
Excavation Four - writing
43(1)
Excavation Five - responding
43(1)
In conclusion, whole-class reckoning
43(1)
Resources, Postcards from No Man's Land
43(1)
Breaking out - mirrors windows doors
43(3)
Excavation One - mapping
44(1)
Synopsis
44(1)
Excavation Two - listening
44(1)
Excavation Three - opposition and ambiguity
45(1)
Excavation Four - to act or not to act?
45(1)
In conclusion, whole-class reckoning
45(1)
Resources, Before the Law
46(1)
Integration of identity (for now) - part 1
46(3)
Excavation One - just a regular Joey
46(1)
Excavation Two - what does normal look like?
46(1)
Excavation Three - Joey at home
47(1)
Excavation Four - Joey changes
47(1)
Excavation Five - disguise
47(1)
Excavation Six - reactions
48(1)
Excavation Seven - the expert
48(1)
Excavation Eight - forum discussion
48(1)
In conclusion, whole-class reckoning - where next?
48(1)
Resource, Just a Regular Joey
49(1)
Integration of identity (for now) - part 2
49(3)
The queen bee
49(1)
Synopsis
49(1)
Excavation One - outside looking in
50(1)
Excavation Two - whole-class-forum challenge
51(1)
Excavation Three - two worlds
51(1)
Excavation Four - the space between
52(1)
Excavation Five - flashforward
52(1)
In conclusion, whole-class reckoning
52(1)
Resource, Queen Bee
52(1)
Recognition of 'other'
52(3)
Excavation One - who?
53(1)
Excavation Two - for whom?
53(1)
Excavation Three - how?
53(1)
In conclusion, whole-class reckoning
54(1)
Resources, Recognition of 'Other'
55(1)
And finally...
55(1)
Resource, Critical Multicultural Analysis of Children's Literature
55(2)
Chapter 3 Without gender - mask
The face
57(1)
Mask design, or score
58(18)
Control and deceit
68(1)
Duration of emotions
69(1)
Technique: tilting
69(1)
Technique: getting into mask
69(1)
Excavation One - getting to know you
69(1)
Excavation Two - mask and spectator
70(1)
Excavation Three - mask as body
71(1)
Excavation Four - building a character
72(1)
Excavation Five - saying yes!
72(1)
Excavation Six - terrible twos conflicts
73(1)
Excavation Seven - interactions with other masks
73(1)
Excavation Eight - developing a scene
74(1)
Excavation Nine - masked and unmasked
75(1)
Whole-class reckoning
76(1)
Resources, Full Mask
76(1)
Traditional Chinese theatre painted face mask - erasing personal identity
76(18)
Face score lianpu - patterns in face painting and their meaning
77(1)
Painted face score: colour
78(1)
Painted face score: structure
78(6)
Painted face score: symbols
84(2)
Painted face score: symmetry
86(2)
Painted face score: essence versus realism
88(2)
Painted face score: age
90(1)
Painted face score: role type
90(3)
Painted face score: character biography
93(1)
Painted face score: details
93(1)
Excavation One - paint your face
93(1)
Whole-class reckoning
94(1)
Resources, Chinese Face Painting
94(1)
Commedia dell' arte
94(2)
Excavation One - stock character workshop
95(1)
Excavation Two - identify and transfer stereotypes
96(1)
Excavation Three - creating scenes
96(1)
Whole-class reckoning
96(1)
Resources, Commedia dell'arte
96(3)
Chapter 4 With gender - theatre history
Elizabethan theatre
99(10)
Stereotype and conventions of character
99(1)
The queen's two bodies
100(1)
What the audience knows
100(1)
Boy actors
101(1)
Female actors
101(1)
Excavation One - 'doublet and hose', 'skirt and petticoat' and 'young gentle'
102(2)
Excavation Two - layers of identity
104(1)
Excavation Three - war of the worlds
104(1)
Excavation Four - shifting environments on stage
105(1)
Excavation Five - the two Nats
106(1)
Excavation Six - stranger in an old world
107(1)
Excavation Seven - intersecting worlds
107(1)
Excavation Eight - safe worlds
108(1)
Excavation nine- the end of the world
109(1)
Whole-class reckoning
109(1)
Resources, Elizabethan theatre conventions
109(1)
The 17th century - men and women play women
109(8)
Gender fluidity in the turbulent 1600s
110(1)
Ned Kynaston (c.1640-1706), male actor of female roles
111(1)
Margaret Hughes (c.1645-1719), female actor of female roles
111(1)
Anne Bracegirdle, 1663-1748
112(1)
Excavation One - I don't know how to do it!
112(1)
Excavation Two - playing woman, playing man
113(2)
Excavation Three - 'Blind' casting
115(1)
Whole-class reckoning
116(1)
Resources, men and women play women
117(1)
Actor training from 1612 to 1727
117(9)
John Bulwer's Chirologia
117(1)
Arms akimbo and 'camp'
118(1)
Excavation One - the language of the hand
119(1)
Excavation Two - the forbidden hand
119(1)
Excavation Three - the everyday hand
120(5)
Excavation Four - Desdemona's hands
125(1)
Thomas Betterton's rules
125(1)
Excavation Five - graceless hands
126(1)
Whole-class reckoning
126(1)
Franziskus Lang, Jesuit priest and drama teacher
126(10)
On entering the stage
127(1)
On walking
127(3)
On hips
130(1)
On arm positions
130(3)
On gesture
133(1)
The ten key positions of acting prescribed by Lang
133(1)
Excavation Six - the learning play
133(1)
Excavation Seven - believability
134(2)
Excavation Eight - the 'tell'
136(1)
Whole-class reckoning
136(1)
Resources, actor training
136(2)
Chapter 5 With gender - world theatre
No theatre
138(6)
Performers
138(1)
Audience
138(1)
Excavation One - moulding a sequence - kata
139(1)
Excavation Two - symbolic topographies
139(2)
Excavation Three - rhythmic topographies of jo-ha-kyu
141(1)
Excavation Four - naming your stage
142(1)
Excavation Five - the female role
142(2)
In conclusion, whole-class reckoning
144(1)
Resources, No theatre
144(1)
Kabuki
145(6)
Performers
145(1)
Audience
145(1)
Men playing women - the onnagata
145(3)
Excavation One - onnagata female-in-form
148(1)
Musume Dojoji or Dojoji Temple
148(1)
Fuji Musume or Wisteria Maiden
148(1)
Narukami or Thunder God
149(1)
Sagi Musume or the Heron Maiden
149(1)
Kinkakuji or the Golden Pavilion
149(1)
Excavation Two - Hikinuki onstage transformations
149(2)
Excavation Three - the Kabuki drop or doncho
151(1)
In conclusion, whole-class reckoning
151(1)
Resources, Kabuki
151(1)
Takarazuka - female actors playing men
151(3)
Performers
152(1)
Audience
152(1)
Excavation One - stereotyping the male role
153(1)
Excavation Two - intention and action
154(1)
In conclusion, whole-class reckoning
154(1)
Resources, Takarazuka
154(1)
Yueju - women playing men playing women
155(8)
The actors
156(3)
Audience
159(1)
The Butterfly Lovers
159(1)
Synopsis
160(1)
Excavation One - deception
160(2)
Excavation Two - riddles in the landscape
162(1)
Excavation Three - riddles online
162(1)
Excavation Four - all-female troupes
163(1)
In conclusion, whole-class reckoning
163(1)
Resources, Yueju
163(2)
Chapter 6 Without gender - the body
Performance of chance - Merce Cunningham
165(11)
Process over product
166(1)
So random
166(1)
Circles
166(1)
Excavation One - walking
167(1)
Excavation Two - walking the circle
168(1)
Excavation Three - the dice
168(1)
Excavation Four - the cinematic eye
169(1)
Excavation Five - The only way to do it, is to do it (Walker Arts Centre)
170(5)
Excavation Six - falling is also moving
175(1)
Whole-class reckoning
176(1)
Resources, Merce Cunningham
176(1)
Interactive projection performance - Robert Lepage
177(5)
The RSVP system
177(1)
Triggers
178(1)
Synthesis of art forms
178(1)
Techno en scene
179(1)
Decalage - jet lag
179(1)
Framing
179(1)
Communion not communication
179(1)
Excavation One - digital impro
180(1)
Excavation Two - scale
180(1)
Excavation Three - techno en scene
180(1)
Excavation Four - score
181(1)
Excavation Five - valuaction
181(1)
In conclusion, whole-class reckoning
181(1)
Resources, Lepage
182(1)
Viewpoints - Anne Bogart
182(4)
Excavation One - table top
183(1)
Excavation Two - walking the grid
184(1)
Excavation Three - haiku
184(1)
Excavation Four - the walk of life
185(1)
In conclusion, whole-class reckoning
186(1)
Resources, Viewpoints
186(1)
Let the people dance a merry jig
187(13)
Ritual
188(1)
Scoring the dance
188(2)
Excavation One - leading and following
190(1)
Excavation Two - closed circle bingo
191(1)
Excavation Three - in a line
192(1)
Excavation Four - chaingang
192(1)
Excavation Five - endless chain
193(1)
Excavation Six - letting go
193(1)
Excavation Seven - the two step
193(1)
Excavation Eight - Taminations
194(1)
And finally: Kemp's jig
195(5)
In conclusion, whole-class reckoning
200(1)
Resources, let the people dance
200(3)
Index 203
Jo Riley, a graduate of Cambridge University, learnt Mandarin to study at the Central Academy of Drama in Beijing. With over 20 years international experience she has led workshops, published, translated and edited extensively on Chinese theatre, European theatre history and intercultural theatre. Her special focus is the kinetic language of bodies in space, and bodies as pictograms of an idea.
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