Atnaujinkite slapukų nuostatas

El. knyga: Staging the Personal: A Guide to Safe and Ethical Practice

  • Formatas: EPUB+DRM
  • Išleidimo metai: 05-Sep-2020
  • Leidėjas: Springer Nature Switzerland AG
  • Kalba: eng
  • ISBN-13: 9783030465551
  • Formatas: EPUB+DRM
  • Išleidimo metai: 05-Sep-2020
  • Leidėjas: Springer Nature Switzerland AG
  • Kalba: eng
  • ISBN-13: 9783030465551

DRM apribojimai

  • Kopijuoti:

    neleidžiama

  • Spausdinti:

    neleidžiama

  • El. knygos naudojimas:

    Skaitmeninių teisių valdymas (DRM)
    Leidykla pateikė šią knygą šifruota forma, o tai reiškia, kad norint ją atrakinti ir perskaityti reikia įdiegti nemokamą programinę įrangą. Norint skaityti šią el. knygą, turite susikurti Adobe ID . Daugiau informacijos  čia. El. knygą galima atsisiųsti į 6 įrenginius (vienas vartotojas su tuo pačiu Adobe ID).

    Reikalinga programinė įranga
    Norint skaityti šią el. knygą mobiliajame įrenginyje (telefone ar planšetiniame kompiuteryje), turite įdiegti šią nemokamą programėlę: PocketBook Reader (iOS / Android)

    Norint skaityti šią el. knygą asmeniniame arba „Mac“ kompiuteryje, Jums reikalinga  Adobe Digital Editions “ (tai nemokama programa, specialiai sukurta el. knygoms. Tai nėra tas pats, kas „Adobe Reader“, kurią tikriausiai jau turite savo kompiuteryje.)

    Negalite skaityti šios el. knygos naudodami „Amazon Kindle“.

This book examines the history, ethics, and intentions of staging personal stories and offers theatre makers detailed guidance and a practical model to support safe, ethical practice. 

Contemporary theatre has crossed boldly into therapeutic terrain and is now the site of radical self-exposure. Performances that would once have seemed shockingly personal and exposing have become commonplace, as people reveal their personal stories to audiences with ever-increasing candor. This has prompted the need for a robust and pragmatic framework for safe, ethical practice in mainstream and applied theatre. 

In order to promote a wider range of ethical risk-taking where practitioners negotiate blurred boundaries in safe and artistically creative ways, this book draws on relevant theory and practice from theatre and performance studies, psychodrama and attachment narrative therapy and provides detailed guidance supporting best practice in the theatre of personal stories. The guidance is structured within a four-part framework focused on history, ethics, praxis, and intentions. This includes a newly developed model for safe practice, called the Drama Spiral.

The book is for theatre makers in mainstream and applied theatre, educators, students, researchers, drama therapists, psychodramatists, autobiographical performers, and the people who support them.      




1 Introduction
1(18)
Short Summary of This Book
1(1)
The Rapid Rise of the Theater of Personal Stories
2(3)
The Need for a Robust Practice Framework
5(2)
Summary of the
Chapters
7(1)
The Aim of This Book
8(2)
The Impetus for Writing This Book
10(5)
Five Episodes Leading Me to Write This Book
11(4)
References
15(4)
2 History: An Archeology of the Theater of Personal Stories
19(46)
Introduction
19(2)
Burgeoning Forms of Personal and Collective Narratives in the Theater
21(6)
Autobiographical Theater
22(1)
Documentary and Investigatory Theater
23(1)
Theater and Drama-Based Workshops That Use Personal Story
24(1)
Theater and Drama-Based Workshops Where Personal and Fictional Stories Are Used
25(1)
A Caveat Regarding the Notion of `Influence'
26(1)
Socio-Cultural, Artistic and Historic Trends and Contexts
27(25)
Concluding Thoughts
52(1)
References
53(12)
3 Ethics: Principles and Guidelines for Ethical Practice When Using Personal Stories in the Theater
65(50)
Introduction
65(1)
Defining and Contrasting Classical and Modern Ethics
65(3)
Levinas, Alterity and the Face-to-Face Encounter with the Other
67(1)
Working with Vulnerability and Risk Through Drama
68(5)
Understanding Power and Abusive Dynamics in Drama Processes
73(5)
Existing Guidance on Ethical Practice
78(7)
Guidelines for Ethical Practice When Using Personal Stories
85(20)
Implications for Training Theater Practitioners
105(1)
References
105(10)
4 Praxis: The Drama Spiral
115(56)
Introduction
115(1)
The Impetus for Creating the Drama Spiral
116(1)
The Process of Developing the Drama Spiral
117(1)
The Rhizomatic Design of the Drama Spiral
118(4)
The Drama Spiral as a Decision-Making Tool
122(1)
The Four Quadrants Around the Outer Edge of the Spiral
123(6)
Identify
124(2)
Explore
126(1)
Present
127(1)
Evaluate
127(2)
Description of Drama Processes at Each Ring of the Spiral
129(16)
First Ring: Games and Creative Activities
129(2)
Second Ring: Fictional/Distant Stories
131(2)
Third Ring: Fictionalized Personal Stories
133(1)
Fourth Ring: Positive Personal Stories
134(4)
Fifth Ring: Difficult and Resolved Stories
138(4)
Sixth Ring: Difficult and Unresolved Stories
142(3)
The Colors of the Six Rings of the Spiral
145(1)
The Icons for Each Ring of the Spiral
146(1)
Factors Influencing Which Part of the Spiral Is Used
146(3)
Drama-Based Strategies for Regulating Distance
149(7)
Case Study: Re-Live's Memoria
156(8)
The Work of Re-Live
157(1)
Looking at Memoria Through the Lens of the Drama Spiral
158(6)
Applying the Drama Spiral: Some Conclusions
164(2)
References
166(5)
5 Intentions: The Integrative Imperative in the Theater of Personal Stories
171(54)
Introduction
171(2)
Intentions of Using People's Personal Stories in the Theater
173(2)
Intentions at the Sixth Ring of the Spiral
175(2)
Healing in Action: Psychodrama
177(16)
Elements of Psychodrama
181(1)
Key Psychodrama Concepts
181(2)
The Five Types of Catharsis
183(3)
Psychodrama Techniques
186(3)
Psychodrama and the Theater of Personal Stories: A `Second World'
189(1)
Examples from Psychodrama Practice
190(3)
Working Therapeutically with Personal Narrative: Attachment Narrative Therapy
193(6)
The Instinctive and Healing Impulse Behind Storytelling
193(1)
The Integration of Psychodrama and Personal Narrative
194(4)
Knowing the Terrain of Narrative Integration
198(1)
Promoting Integration and Healing in the Theater of Personal Stories
199(2)
Five Levels of Integration
201(10)
Level One: Integration of Mind and Body
203(2)
Level Two: Integration of the `Parts' of Oneself
205(1)
Level Three: Integration of Memory and Self-Narrative
206(2)
Level Four: Integration with Other People/Relationships
208(2)
Level Five: Integration of the Self with the Wider World/Higher Consciousness
210(1)
Braidotti's Nomadic Theory
211(1)
A Caveat Regarding Working with People with Unresolved Trauma
212(2)
A Continuum of Integration
214(1)
Conclusion
215(2)
References
217(8)
Appendix: Teaching the Drama Spiral--A Lesson Plan 225(1)
Drama Spiral Workshop Lesson Plan (One-Day Workshop) 225(9)
Reference 234(1)
Index 235
Clark Baim is the Director of the Birmingham Institute for Psychodrama and Honorary President of the British Psychodrama Association. After touring as a performer with the original USA company, in 1987 he was the founding Director of Geese Theatre Company UK, using applied theatre in criminal justice and social welfare settings. He is now on their Board of Trustees. Clark is co-author of the Geese Theatre Handbook (2002) and has published widely on applied theatre, psychodrama, criminal justice interventions and attachment-based practice. He does extensive international work and regularly teaches on university drama courses. He holds a PhD from the University of Exeter.