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E-raamat: Temporary Stages II: Critically Oriented Drama Education

  • Formaat: 175 pages
  • Sari: Theatre in Education
  • Ilmumisaeg: 01-May-2013
  • Kirjastus: Intellect Books
  • Keel: eng
  • ISBN-13: 9781783200894
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  • Formaat: 175 pages
  • Sari: Theatre in Education
  • Ilmumisaeg: 01-May-2013
  • Kirjastus: Intellect Books
  • Keel: eng
  • ISBN-13: 9781783200894

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Theater teachers are forced to adapt constantly. Whether responding to advancing technologies, cuts to (or the growth of) their program, or ever-changing governmental mandates, they struggle to serve both their students and their craft. Using a theater arts program at one at a Midwestern high school, this book explores how change, good or ill, directly impacts students as well as teachers. Building on the work of the previous edition of Temporary Stages, Jo Beth Gonzalez shows teachers how to sustain confidence and outlines “critically conscious” teaching, a technique that encourages students to practice self-agency and critical awareness. Essential reading for all theater teachers, this indispensable resource is a font of innovative classroom and production practices.

Arvustused

'Temporary Stages offers powerful ideas for pre-service and practicing theatre teachersas well as teachers of teachersto contemplate. Directly relevant to teaching methods, yet far from a how-to text, the book inspires all readers with its fresh, provocative and accessible ideas.' -- Joan Lazarus, Head, BFA Theatre Studies Program, The University of Texas at Austin 'I was pleasantly surprised to read that teaching artists were engaged in the bold goal of developing a critical model of collaborative leadership for high school musical theatre. This kind of aim hardly ever shows up in strategic plans, mission statements, or on school websites. As Gonzalez makes clear, the infrastructure must be put in place to invite students to engage with the pedagogical and the aesthetic, but also to make them feel comfortable and validated.'  -- Dr. Lorenzo Garcia, Associate Professor of Theatre for Young Audiences, University of North Texas 'Temporary Stages integrates practice with research in ways both compelling and honest. Jo Beth Gonzalezs integrity, passion and forthright prose make this a useful addition for teachers interested in exploring social justice and identity through performance.'  -- Dr. Stephani Etheridge Woodson, Associate Director, School of Theatre & Film, Arizona State University 'This volume is an essential addition to the literature on high school theatre teaching. I believe it will take high school production and classroom practice into the twenty-first century and respond to shifts both in demographics and curriculum reform. It is essential reading for any student considering working in secondary education, whether in a formal classroom context, as a teaching artist, or in applied theatre. '  -- Drew Chappell,Youth Theatre Journal

Foreword xi
Acknowledgments xv
Section One: Critically Oriented Drama Education Shapes Growth 1(66)
Chapter 1 Stepping From Temporary Stages to Temporary Stages II
3(18)
Rethinking Power Relationships in the Theatre Classroom and Rehearsal
6(1)
Sections of the Book
6(2)
Promoting Critical Consciousness: The CODE Classroom and Rehearsal
8(2)
National Trends Demonstrate Need for Critical Investigation of Secondary Theatre Education
10(1)
Seven Guiding Concepts of Temporary Stages II
11(7)
Power
11(1)
Authority
12(1)
Student Artistry
13(1)
Incomplete Understandings
14(1)
Change
14(1)
Privilege
15(2)
Place
17(1)
The Adventure of Teaching Theatre for Self-Agency and Critical Consciousness
18(3)
Chapter 2 Characterizing CODE Classrooms and Rehearsal Spaces
21(8)
Self-Reflection: The Gateway to Critically Conscious Classrooms and Rehearsals
24(1)
Qualities of a CODE Classroom
24(2)
Positioning the Listening Ear
26(1)
Reflection as Evaluation: What About Grades?
27(2)
Chapter 3 Balancing Passion and Censorship
29(18)
Promoting Critical Consciousness Through Drama/Theatre Education
31(3)
Daily Demands and Tradition Hinder Change
34(2)
Language and Homosexuality Prompt Censorship
36(3)
Plays With Themes of War Prompt Censorship
39(2)
Treading the Divides of Partial Understanding
41(3)
Personal Commitment to the Social Cause Contributes Conditions for Change
44(3)
Chapter 4 Discovering CODE in Musical Theatre
47(20)
Critical Directing Challenges Conventional Hierarchies in Musical Theatre
49(16)
Challenge #1 Asking "Where Are the Stars?"
52(1)
Challenge #2 Involving Students in All Aspects of Artistry and Production to Strengthen the Whole
53(1)
Challenge #3 Securing Confidence in Collaborative Leadership
54(1)
Challenge #4 Steering Away from Stereotypes by Designing Rehearsals that Foster Critical Consciousness
55(2)
Challenge #5 Questioning Assumptions of Privilege: Dramaturgy Unveils Identity
57(4)
Challenge #6 Contemplating Complexities of Cultural Border-Crossing
61(4)
Postscript
65(2)
Section Two: Critically Oriented Drama Education Alters Traditional Power Dynamics 67(66)
Chapter 5 Examining Power Dynamics in a CODE Theatre Design Classroom
69(20)
Perpetuating Dominance In Spite of Principles
71(3)
Evolution of a Design
72(2)
Resisting Authority and Authorizing Resistance: Students and Teachers Negotiate Control
74(1)
Whose Vision Is This? On Artistry and Compromise
75(4)
Co-Authored Vision: The Winter's Tale
75(2)
Teacher's Vision: Much Ado About Nothing
77(2)
Artistic Compromise and Compromising Artistry
79(5)
Much Ado About Trees
79(2)
The Winter's Tale of Trees
81(2)
A Midsummer Night's Nightmare
83(1)
Binaries Blend When Students Exercise Power
84(5)
The Teacher/Student Binary
84(1)
The Actor/Crew Binary
85(1)
The Leader/Follower Binary
86(3)
Chapter 6 Emerging Conflict, Paradox, and Social Change When Students Exercise Power
89(12)
Multiple Perspectives Fuel Power Struggles
91(2)
Paradox: Democratic Teacher and Director Authority
93(1)
Conflict Arises from Paradox: Democratic Teacher or Authoritative Director?
94(1)
Social Change Evolves from Conflict: Democratic Teaching Strengthens the Co-curricular Theatre Program
95(2)
Conventional Mindsets Rear Heads When New Ideas Depart From Tradition
97(4)
Chapter 7 Shaping an Ensemble Approach to Casting Understudies with a Mindset for CODE
101(14)
Critical Partnership versus Conventional Substitution
103(2)
Conditions for Understudy/Principal Critical Partnership
105(10)
Technique #1 Play Selection
106(1)
Technique #2 Terminology
106(2)
Technique #3 Shadowing
108(2)
Technique #4 Ensemble Roles
110(1)
Technique #5 Ensemble Improvisations and Workshops
111(1)
Technique #6 Switching Out
112(1)
Technique #7 Added Time
113(2)
Chapter 8 Adjusting to a New Theatre with Critical Awareness
115(18)
Adjusting With Unease to a Place of Privilege
118(3)
Effective Power Dynamics Manage Transition into a Performing Arts Center
121(1)
Scheduling Activities in the New Performing Arts Center: Feminist Leadership Involves All
122(1)
Top-Down Management Seeps In
123(1)
The Politics of Danger: Technology Presents New Cautions
124(2)
Evaluating Co-Governance in a Technological Environment
126(2)
A State-of-the-Art Space: The Creativity/Technology Binary
128(1)
Technology and the Spirit of Theatre
129(1)
Technology: The Science/Theatre Binary
130(1)
Performing Arts Center-Turned-Classroom Engages Science Students in a Fresh Way
131(2)
Section Three: Critically Oriented Drama Education Examines Controversy and Oppression 133(61)
Chapter 9 Establishing a Foundation for Examining Tough Issues
135(10)
Evolution of Original Scripts with Controversial Themes
138(1)
Leading Discussions of Controversial Subject Matter
139(3)
Exploring What Works...And What Doesn't: Sometimes Traditional Teaching Methods Are Best
142(1)
Testimonies Contribute Substance to Research
143(2)
Chapter 10 Unfolding Ongoing Reflective Practice Through Five CODE Strategies
145(20)
Students Resist Teacher-Fed Script
147(1)
CODE Conditions in a Classroom Support Student-Written Scenes on Hot Topics
148(17)
Strategy #1 The Spoonful of Sugar-Incorporate Satire to Advance Serious Work
149(2)
Scene 1 "The Best Drunk Driver"
150(1)
Scene 2 "Fagzilla"
150(1)
Strategy #2 Invite Self-Disclosure
151(2)
Strategy #3 Build Trust to Raise Social Consciousness and Express Emotion Honestly
153(4)
Strategy #4 Integrate Teacher Voice to Model Vulnerability as Strength
157(2)
Strategy #5 Involve Tempered Teacher Authority as Process Evolves into Product
159(6)
Chapter 11 Investigating Student and Teacher Identity
165(16)
Positioning Student Identity in the Classroom
167(1)
Positioning Teacher Identity in Rehearsal
168(3)
The CODE Classroom: A "Safe Space" With Consequences
171(2)
Seeing the Opposite Reveals Identity
173(1)
Strong Critical Classroom Experience is an Ongoing Process
174(2)
Unveiling Whiteness in a "Safe Space With Consequences"
176(2)
Positioning Whiteness in Performance When the Joke is on Who?
178(3)
Chapter 12 Preparing for the Audience
181(13)
Working Through the Audience "Fear Factor"
183(3)
When Emotions Aren't Enough: Integrating Facts for Healthy Digestion of Controversial Material
186(4)
The Responsibilities of Democratic Teaching Include Preparing for the Audience
190(4)
Postscript 194(3)
Epilogue 197(6)
Works Cited 203(10)
Index 213
Jo Beth Gonzalez has been a classroom teacher of speech, English and theatre for 27 years, the past nineteen at Bowling Green High School in Ohio, where she also directs the theatre program.