- Neil Anderson added an answer:What makes a great theatre performance?Something we cherish for being there and are not quite the same afterward. Many performances originate in an aesthetic or style, and thus ask to be judged in that way, but occasionally within a performance or as a new work something else occurs and we as audience are transported in ways we did not expect. What is taking place at such moments?
What makes a great theatrical performance? Over the years the stand out experiences for me were the productions of Peter Brook, Complicite, Bell's Pericles. I lived to London for 10 years from 1975 - 1985 and saw a lot of excellent theatre during that period and some of the street theatre I witnessed in Brazil was certainly engaging.
Since returning to Australia in 2000 I have certainly seen shock theatre, clever theatre, poor theatre ( quite charming at times), classic plays somehow communicating inspite of director's simplifications, but few moments of deep aesthetic experience.Following
- Emma Camarero added an answer:Can someone recommend a good book on production?Drama /movie/ documentary production.I agree Luis Iturra, Michael Rabinger, "Directing the Documentary" is a comprehensive manual if you are interested in making documentary films. I also like very much "Las claves del documental" of Nel Escudero Vilariño, but It's only avalaible in spanish.Following
- Usha Thiyam added an answer:Does anyone apply flipped classroom principles as guest speaker or supply teacher?I signed up to do a short course as a teaching artist. I understand the principles of "flipping the classroom" and getting more class participation. But has anyone tried to incorporate these principles into a guest lecture or when a supply teacher? I am struggling to see how a one-off session can be 'flipped', when you don't know how much the class already knows.Karen I like this idea "conversation" instead of lecture. Our focus is becoming more student-centric.Following
- Carol Shansky added an answer:What is performance in regards to research/peer review?I was recently told that performance is not scholarship because I'm merely playing what someone else wrote. I strongly disagree as the performer brings scholarship to the process of music performance. I am not only interested in your thoughts on that, but more, how does your institution accept/or not creativity as scholarship? Also, it would seem to me that "getting the call" for a performance, either because of your reputation or because you submitted a recording, would serve as peer review, but my institution says no. Thoughts?Hi all,
Thanks for all of the responses - sorry I'm late getting back! These are all great suggestions and I am pursuing many of them. The summer will certainly help!Following
- Peggy Murray added an answer:I am looking for examples in Baroque opera (any sub-genre) of characters that personify (are allegorical representatives of) places. Any ideas?Probably because of Baroque opera's heavy reliance on classical mythology there are several examples of allegorical characters personifying ideas -- from the muses to emotions (like love, discord, folly, etc.). Here, though, I'm looking for people who symbolize cities, countries, regions, continents, etc.Thanks! I like it!Following
- Anton Robert Krueger added an answer:Can Mindfulness Practice (specifically meditation) be used to enhance performance of actors/dancers/artists?I'm interested in looking specifically at Mindfulness and Performance Art, since they often seem to share a common vocabulary, with the use of concepts like "presence", "stillness", "awareness" and so on. I'll be introducing Mindfulness practice to a small group of Hons (post grad) students this year and I'm interested if anybody else is teaching it in performing arts curricula or has explored this with practitioners or in their own work. Thanks.Thanks Oscar & Judson.Following
- Jt Velikovsky added an answer:Transmedia Research Zurich October 2013 - looking for partners/ expertsResearch Project Zurich October 2013 - Looking for partners and advice
CAST/ Audiovisual Media at the Zurich University of the Arts currently develops a research project in the field of transmedia storytelling. We would like to analyze the levels and forms of audience participation around the Swiss transmedia and ARG project "Die Polder" (October 2013, Zurich) we observe and monitor the project and look how transmedia stories can activate and engage the audience. We are looking for partners to cooperate. You have experience in transmedia research and/or have knowledge in new transmedia audience measurement methods. We would be also thankful for references and examples of transmedia evaluation and research.Hi Martin,
just FYI, the book is also out now. (8 pounds, but should soon also be free, on EBSCO)
- Wendy Kooken added an answer:Evaluation of performing art exercises for health professional skills improvement?To improve nurse and field health professional relational skills we have run a specific educational intervention that used performing art and theatre (experiential laboratories).
Has anyone been involved in such experiences before? We are testing different evaluation methodologies but we are still far from understanding what is happening during and after the intervention.
A focus group, specifically observing greed and individual diary of the experience was conducted and analyzed. In one case, we have also used a controlled observation in a quasy-experimental setting since randomization was not possible.
Any suggestions, indications or reference suggestions are well-accepted.
Thanks a lot for the helpIt may be appropriate for you to consider using qualitative methodology as well. In a recent article my colleagues and I outline a strategy for measuring change in student nurse attitudes towards clients who are homeless. Such an idea might be helpful.
Worlds apart in the same town? A qualitative comparison of pre- and post-clinical themes assessing student nurse perceptions of homeless, mentally ill clients.
Wendy C Kooken, Julie K Baylor, Kelly R Schwend
Illinois Wesleyan University, 1312 Park Street, STV 214, Bloomington, IL 61701, United States. Electronic address: .
Nurse education today (Impact Factor: 0.91). 07/2013; DOI:10.1016/j.nedt.2013.06.005
ABSTRACT Student nurses' negative attitudes towards men who are homeless and mentally ill disrupt development of therapeutic relationships. Without therapeutic relationships these men may feel stigmatized. Assessing student attitudes allows for insights to improve students' abilities to develop therapeutic relationships. The purpose of this research was to assess student nurses' pre- and post-perceptions towards homeless mentally ill clients during a mental health clinical through analysis of pictorial data. Data was analyzed through a qualitative, phenomenological method. On the first and last days of clinical experience, students were asked to draw a picture in response to the question: "How far apart are you from these men?" We analyzed pre- and post-drawings separately and changes were compared. Four pre-attitude themes and two post-attitude themes were identified. Pre-attitude themes demonstrated student drawings as geographically distanced from the clients and living in two different worlds. Post-drawings reflected themes where clients and students were under the same roof and often physically touching. We suggest using this easily reproducible, inexpensive method to gain insights into student attitudes. The difference in the drawings objectively demonstrates the effectiveness of clinical experiences in changing student nurse attitudes towards men who are homeless and mentally ill.Following
- Emanuela Lacraru asked a question:Are any violin and viola performers and teachers interested in completing the survey?I am working on my doctoral monograph this semester and part of it is a survey investigating the opinions of college-level professors of violin and viola, and teachers of young violin or viola students about instrument setup (i.e. chin rests and shoulder rests) so that it can be made comfortable according to the individual student's body, minimizing the likelihood of performance related injury.
I was wondering if anybody would be interested in completing this survey. If yes, it is available at the following links:
https://www.surveymonkey.com/s/MTT5Q6Y (if you are a college professor of violin or viola)
https://www.surveymonkey.com/s/MTZJV3B (if you teach at the pre-college level, or adult amateurs)
The deadline for the purposes of my monograph is February 26th, and completing it should take about 5-10 minutes.Following
- Jane Drake Brody added an answer:What is the potential of CAD/CAM technology to visual and performing arts practice design studio pedagogy in higher education?I am interested in your opinion on integrating CAD/CAM technology into studio based design teaching and learning practice in the arts.At The Theatre School, Depaul University, all design students learn CAD.Following
- Jt Velikovsky added an answer:Can anyone recommend research on magic realism in theatre and dramaturgical research?Our theatre group is returning to the rehearsal room soon. We would like to put together some reading material and chart out the dramaturgical research. I am in search of books that explain theory, practice, politics, history and contemporary usage.Karen's (and Michael and Sarah's) article on Magic Realism in Lumina #3 was fantastic. ie http://www.aftrs.edu.au/explore/lumina/lumina-issue-contents-3.aspx
I can highly recommend it,
- Neil Anderson added an answer:Has there been any published research on actor, director and Chekhov teacher, Alan Harkness?Alan Harkness studied at Dartinghall Hall with Michael Chekhov and became a leading assistant of Michael Chekhov in teaching his method in England and later in America.There has been limited research published on Alan Harkness.
On his pre- Chekhov career, there are two articles by Thelma Afford, an Australian designer and performer, on the Ab- Intra Studio theatre in Adelaide, founded and run by Kester Berwick and Alan Harkness which she was also intimately involved in.
"Ab-Intra Studio Theatre in Adelaide 1931-35", Australasian Drama Studies n. 12-13, pp. 167–180. Bundoora, Vic. : Theatre and Drama Program, La Trobe University.
"The Most Experimental Little Theatre", Dreamers and Visionaries: Adelaide's Little Theatres from the 1920s to the early 1940s pp. 45–72. Sydney: Currency Press. (http://en.wikipedia.org/wiki/Kester_Berwick)
There are also references to Alan Harkness in Robert Dessaix’s novel Corfu based on the life of Kester Berwick.
There is some material and images held at Dartington Hall where Michael Chekhov ran a theatre school and where Alan Harkness met and studied under him. (http://www.dartington.org/archive/display/MC)
I also have some notes from Dennis Glenny, an Australian actor who was also at Dartington Hall at the same time as Alan Harkness and who has passed on some oral anecdotes about Alan and his teaching under Chekhov.
In addition there is also online Liisa Byckling’s article “Michael Chekhov as Actor, Teacher and Director in the West” (http://www.utoronto.ca/tsq/01/chekhovwest.shtml) which describes how significant Alan Harkness was a director in America with Chekov’s professional acting company. Finally there is also useful material on Mechtild Harkness’s website http://www.mechthildharkness.net/. (She being his wife and co-performer in Scenes from Shakespeare.)Following
- Erich Friend added an answer:Approaches to Succession Planning in the US Performing Arts?Looking for ideas about connecting Baby Boom and XY generations around succession planning in the (performing) arts, theories connected to (inter)generational exchange and shifts as well as organizational theory connected to transfer of knowledge, intangible knowledge, varied cultural values/backgrounds, etc.Having spaces in which to present that are comfortable and well-outfitted with current technology and up-to-date staff can help the artist to perform by building self-confidence, and help the audience to appreciate the artists' hard work and skill. The landscape is littered with poorly designed and/or out-dated venues, which in-turn alienate both the artist and the audience. This widens the gap in funding for the arts due to disinterest and dissatisfaction of the patrons. Schools are particularly bad about this in that they expend a disproportionate amount of money on athletics facilities and ignore the value of engaging students and parents early in the educational cycle. When you capture their hearts to enjoy the performing arts early it is something they will stick-with. Frustrated parents that cannot see or hear their children perform will avoid repeat attendance to recitals. This further drives a wedge in the family life that is difficult to repair. Students are emotionally crushed when parents don't enthusiastically support their performances and efforts.Following
- Maureen Hawkins asked a question:Grotowski quotationSometime ago, I heard it said that Grotowski, when asked why he adapted Marlowe's Dr. Faustus as he did, said something to the effect that he did so because he wanted to say something different to a 20th century audience than Marlowe wanted to say to a 16th century one. Does anyone know a source for & the exact wording of this quotation?Following