Acknowledgements |
|
x | |
Preface |
|
xii | |
Introduction |
|
1 | (22) |
|
|
1 | (5) |
|
|
1 | (2) |
|
|
3 | (1) |
|
|
3 | (3) |
|
|
6 | (4) |
|
Anti-pedagogical prejudice |
|
|
6 | (2) |
|
Disembody, disempower, `disembrain' |
|
|
8 | (2) |
|
|
10 | (4) |
|
|
11 | (1) |
|
|
11 | (2) |
|
|
13 | (1) |
|
|
14 | (9) |
|
PART I Shaping a Methodology |
|
|
23 | (48) |
|
1 Feminist Underpinnings in Acting: Re-Making Mimesis |
|
|
25 | (20) |
|
Unlearning and the hidden curriculum of acting |
|
|
26 | (3) |
|
The female ontology of acting: The matter of doubling, vision and vulnerability |
|
|
29 | (8) |
|
The matter of doubling: Being like a girl |
|
|
30 | (3) |
|
The matter of vision: Seeing like a girl |
|
|
33 | (2) |
|
The matter of vulnerability: Feeling like a girl |
|
|
35 | (2) |
|
Re-making mimesis: New feminist materialisms and acting |
|
|
37 | (8) |
|
2 Feminist Interventions: Via Positiva and Critical Acting Pedagogy |
|
|
45 | (26) |
|
Acting and pedagogical frameworks |
|
|
46 | (11) |
|
Foundational pedagogies: Play and the `via negativa' |
|
|
49 | (4) |
|
Feminist interventions: Power, affirmativity and the `via positiva' |
|
|
53 | (4) |
|
Towards a Critical Acting Pedagogy: Difference, the critical position and feminist acting approaches |
|
|
57 | (14) |
|
|
57 | (1) |
|
|
58 | (3) |
|
Feminist acting approaches |
|
|
61 | (10) |
|
PART II Considering Practice |
|
|
71 | (127) |
|
3 Women and the Matter of Voice |
|
|
73 | (27) |
|
Jane Boston: Thinking through voice |
|
|
76 | (10) |
|
|
79 | (4) |
|
|
83 | (3) |
|
Nadine George: The healing voice |
|
|
86 | (14) |
|
Touching feeling in voice |
|
|
89 | (2) |
|
|
91 | (9) |
|
4 Women and the Matter of Movement |
|
|
100 | (34) |
|
Feminist ways and movement teaching |
|
|
104 | (4) |
|
Vanessa Ewan: The cultural body |
|
|
108 | (8) |
|
Foundational practices: Learning `to see' through keys and codes |
|
|
109 | (2) |
|
`Doing' gender: Gender as technique |
|
|
111 | (3) |
|
`Doing' intimacy: Intimacy as technique |
|
|
114 | (2) |
|
Niamh Dowling: The ecological body |
|
|
116 | (18) |
|
Foundational practices: Towards a nomadic pedagogy |
|
|
117 | (5) |
|
|
122 | (12) |
|
5 Women and the Matter of Acting |
|
|
134 | (28) |
|
Kristine Landon-Smith: Intra-cultural acting |
|
|
137 | (8) |
|
`All these little parts of yourself' |
|
|
140 | (3) |
|
|
143 | (2) |
|
Alison Hodge: The relational actor |
|
|
145 | (17) |
|
Foundational practices: Sensuality, touch and feeling |
|
|
149 | (4) |
|
|
153 | (9) |
|
6 Women and the Matter of Directing |
|
|
162 | (36) |
|
Katie Mitchell: Schooling actors |
|
|
165 | (13) |
|
Feminist director pedagogue |
|
|
167 | (6) |
|
Re-making mimesis: Vital materialism |
|
|
173 | (3) |
|
Agential realism and cyborgs |
|
|
176 | (2) |
|
Emma Rice: A school for wise children |
|
|
178 | (20) |
|
Pedagogy for the collective imagination |
|
|
181 | (5) |
|
Vital materialism and the feminine masquerade' |
|
|
186 | (2) |
|
Bric-a-brac, thing-ness and agential realism |
|
|
188 | (10) |
|
|
198 | (17) |
|
Changing the culture: A feminist manifesto for acting |
|
|
200 | (3) |
|
A Feminist Manifesto for Acting |
|
|
200 | (3) |
|
Theoretical underpinnings: A Critical Acting Pedagogy |
|
|
203 | (4) |
|
Pedagogical practices: Implementing a Critical Acting Pedagogy |
|
|
207 | (8) |
Index |
|
215 | |