Staging The Personal

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.

Staging Lives in Latin American Theater: Bodies, Objects, Archives examines twenty‐first‐century documentary theater in Latin America, focusing on important plays by the Argentine director Vivi Tellas, the Argentine playwright and director Lola Arias, the Mexican theater collective Teatro Línea de Sombra, and the Chilean playwright and director Guillermo Calderón. Paola S. Hernández demonstrates how material objects and archives—photographs, videos, and documents such as witness reports, legal briefs, and letters—come to life onstage. Hernández argues that present-day, live performances catalog these material archives, expanding and reinterpreting the objects’ meanings. These performances produce an affective relationship between actor and audience, visualizing truths long obscured by repressive political regimes and transforming theatrical spaces into sites of witness. This process also highlights the liminality between fact and fiction, questioning the veracity of the archive. Richly detailed, nuanced, and theoretically wide-ranging, Staging Lives in Latin American Theater reveals a range of interpretations about how documentary theater can conceptualize the idea of self while also proclaiming a new mode of testimony through theatrical practices.

The "Makeover Guy" helps women recognize and fix problems that they confront as they age, in a practical guide that offers simple tips and tricks for women to target their problem areas, create their own self-expression, and turn around all-too-common mistakes. Original. 25,000 first printing.

Staging Democracy responds to compelling calls in democratic theory for communication and coalition across social difference by asking how we realize these ideals in concrete terms. It shifts the focus from if and why marginalized difference should find entry into politics, to the practical question of how this is to be done. What explains those rare moments when marginalized voices break through in contemporary politics? And how might a closer look at the strategies and resources at play within such moments enhance how we understand and enact civic engagement? Political theory and practice have traditionally overlooked the performing arts as a site of civic politics, and yet marginalized communities continually turn to them to communicate, challenge, and catalyze change. This book brings vivid moments of creative practice from three continents together with performance studies and political scholarship to argue that artistic performance offers a potent form of democratic voice for claims from the margins. Across political contexts, democratic aims, and artistic genres, Staging Democracy shows how the very qualities that lead some to think of the arts as unclear, irrational, and irresponsible – and thus politically suspect – shape artistic performance’s distinct capacity to enact democratic engagement in conditions of deep difference and inequality.

This unique text has been written as a practical reference for detectives, crime scene investigators, and prosecutors on how to recognize a staged scene and how this offender behavior could be used as evidence in subsequent trials. The book is designed to help those actively engaged in conducting criminal investigations identify the red flags or those common findings at a crime scene that point to the scene being staged or altered and thereby assist the investigative process. The text is not only research based but also includes the authorsf 30-year experience and personal observations in conducting hundreds of different crime scene investigations ranging from homicide and death, burglary and other property crimes, to rape and other sexual crimes. This experience also includes interviewing hundreds of victims and suspects, and conducting investigations from initiation of cases through prosecution. The authors have located hundreds of examples of staging and have included many of them as case studies throughout the text. Many of the case studies presented are based on the authorsf personal involvement in them. In addition to defining and categorizing the various aspects of staging, the reader is also introduced to new terminology describing the different elements of staging based on offender motive and the dynamics of the events. Other major discussions include primary and secondary staging as well as the two subcategories of primary staging: premeditated and ad hoc staging. Staging by individuals other than the offender and victim, described as tertiary/incidental scene alterations, are included as are several chapters on a variety of crimes and how to identify the red flags relevant to them. A final chapter is written especially for prosecutors and offers suggestions and references on how the concept of staging might be introduced in court. A very thorough Appendix provides reviews of many appellant court decisions from across the U.S. and Canada specifically addressing issues of staging.

The way you live in a home and the way you sell it are twodifferent things. That's the premise of Staging*, a concept thatteaches you to look at your home through a buyer's eyes and makeadjustments to improve its appeal and value. In any real estate market, Staged homes sell faster or sell formore money--or both. With Home Staging, you'll learn how to play upyour home's strong points and improve its presentation. Byrearranging furniture, trimming overgrown bushes, painting a room,and clearing out the clutter, Home Staging will help you spotlightyour property for a fast, profitable sale. Filled with organizing tips and checklists, plus before-and-Stagedphotographs that dramatically show how Staging can transform yourhome inside and out, Home Staging has all the answers you'll needwhen looking to increase the sale price of your home. *Staging is a federally registered trademark of StagedHomes.com

Is your house going up for sale on the real estate market? Are you wondering how you can make your house as appealing as the other houses you see on the market? Chances are, the other properties that you reviewed online have been "staged." Hiring a professional to stage your home will cost you easily several hundreds or even thousands of dollars. The reality is, home staging is simpler and easier than most people think. A common misconception is that you need to have interior design background to do home staging. This is just not true. Another common mistake people make is to confuse home staging with home decorating. In fact, staging your home to sell is something you can do yourself and get similar results as the professionals. Yes you could have a better way to sell any home. It truly is possible, but you just need to know how. Just imagine being able to set up your home for a quick sale in just 7 days (or less) without becoming frustrated or wasting your time. This is what "Home Staging Like A Pro" was written for. Here's some of the things you will learn in "Home Staging Like A Pro": - How to get a great first impression to your home... - 3 little known, yet simple ways to creating focal points within your home... - Understanding the layout of any home and how to make it work for you... - 2 simple keys (that are right in front of your eyes) to targeting potential buyers with home staging... - Home staging tips to sell your home for top dollar - How to arrange a room for the appearance of space... - WARNING: things you should never do when it comes to staging your home for sale... - You'll discover in just a few short minutes how to differentiate between home staging and home decorating... - Time tested and proven strategies to linking colors and emotions... - 9-point checklist to stage your home perfectly... - And much more...

An anthropologist recounts an Algerian theater troupe’s 2016 US tour, detailing the highs and lows of the cross-cultural exchange. Staging Cultural Encounters tells stories about performances of cultural encounter and cultural exchange during the US tour of the Algerian theater troupe Istijmam Culturelle in 2016. Jane E. Goodman follows the Algerian theater troupe as they prepare for and then tour the United States under the auspices of the Center Stage program, sponsored by the US State Department to promote cross-cultural dialogue and understanding. The title of the play Istijmam produced was translated as “Apples,” written by Abdelkader Alloula, a renowned Algerian playwright, director, and actor who was assassinated in 1994. Goodman take readers on tour with the actors as they move from the Kennedy Center in Washington, D.C. to the large state universities of New Hampshire and Indiana, and from a tiny community theater in small-town New England to the stage of the avant-garde La MaMa Theater in New York City. Staging Cultural Encounters takes up conundrums of cross-cultural encounter, challenges in translation, and audience reception, offering a frank account of the encounters with American audiences and the successes and disappointments of the experience of exchange. “This is a ground-breaking and beautifully written work in the anthropology of performance as well as an intervention in experimental anthropology, wherein theater play is both ethnographic subject and method. The book is accompanied by a detailed website of audio-visual examples, making this a hyper-text, a multi-modal way of knowing. It is a tour de force.” —Deborah Kapchan, author of Theorizing Sound Writing “In this engrossing ethnography [Goodman] brings to life the excitements, hopes and disappointments of their staged cultural encounter. We are shown in fascinating detail what lies behind and before the tour: the actors’ intense disciplined dedication to avant garde theatre practices, the political and economic constraints of contemporary Algeria, the labour of translation, the performance traditions of the Algerian market place. . . . Subtle, searching and empathetic, with touches of wry humor, Goodman’s study will become an instant classic in anthropology, theatre and performance studies.” —Karin Barber, London School of Economics, author of A History of African Popular Culture