Teaching Performance Studies

Edited by Nathan Stucky and Cynthia Wimmer, Teaching Performance Studies is the first organized treatment of performance studies theory, practice, and pedagogy. This collection of eighteen essays by leading scholars and educators reflects the emergent and contested nature of performance studies, a field that looks at the broad range of human performance from everyday conversation to formal theatre and cultural ritual. The cross-disciplinary freedom enacted by the writers suggests a new vision of performance studies--a deliberate commerce between field and classroom.

Drama and Education provides a practical, comprehensive guide to drama as a tool for teaching and learning. It is among the first practical drama and performance textbooks that address brain-based, neuroscientific research, making the argument that creativity is necessary in our lives, that embodied learning is natural and essential, and that contextual learning helps us find our place in society in relationship to other peoples and cultures. As well as a historical and theoretical overview of the field, it provides rationale and techniques for several specific methodologies: linear drama, process-oriented drama, drama for social justice, and performance art. Each approach is supplemented with sample lesson plans, activities, ideas for differentiation, and extensive bibliographies. The topics are discussed from five key angles: • Historical and theoretical foundations • Curricular applications • Practical toolkits for a range of classrooms and learning environments • Different strategies for lesson plans • Extension options for longer workshops. Alongside these core methods, the integration of other innovative forms—from performance art to Theatre of the Oppressed—into drama-based learning is explored, as well as the pragmatic concerns such as assessment, planning, and advocacy for arts learning and arts education partnerships. Drama and Education is the comprehensive textbook for teachers and students on Applied Theatre and Theatre and Education courses.

Publisher description

How can the studio teacher teach a lesson so as to instill refined artistic sensibilities, ones often thought to elude language? How can the applied lesson be a form of aesthetic education? How can teaching performance be an artistic endeavor in its own right? These are some of the questions Teaching Performance attempts to answer, drawing on the author's several decades of experience as a studio teacher and music scholar. The architects of absolute music (Hanslick, Schopenhauer, and others) held that it is precisely because instrumental music lacks language and thus any overt connection to the non-musical world that it is able to expose essential elements of that world. More particularly, for these philosophers, it is the density of musical structure—the intricate interplay among purely musical elements—that allows music to capture the essences behind appearances. By analogy, the author contends that the more structurally intricate and aesthetically nuanced a pedagogical system is, the greater its ability to illuminate music and facilitate musical skills. The author terms this phenomenon relational autonomy. Eight chapters unfold a piano-pedagogical system pivoting on the principle of relational autonomy. In grounding piano pedagogy in the aesthetics of absolute music, each domain works on the other. On the one hand, Romantic aesthetics affords pedagogy a source of artistic value in its own right. On the other hand, pedagogy concretizes Romantic aesthetics, deflating its transcendental pretentions and showing the dichotomy of absolute/utilitarian to be specious.

This book offers a unique and much-needed interrogation of the broader questions surrounding international performance research which are pertinent to the present and the future of Theatre and Performance studies. Marking the completion of eight years of the Erasmus Mundus MA Programme in International Performance Research (MAIPR) - a programme run jointly by the universities of Warwick (UK), Amsterdam (Netherlands), Helsinki/Tampere (Finland), Arts in Belgrade (Serbia), and Trinity College Dublin (Ireland) - the essays in this volume take stock of the achievements, insights and challenges of what international performance research is or ought to be about. By reflecting on the discipline of Performance Studies using the MAIPR programme as a case study in point, the volume addresses the broader question of the critical link between the discipline of Performance Studies and humanities education in general, examining their interactions in the contemporary university in the context of globalisation.

Performance Theories in Education: Power, Pedagogy, and the Politics of Identity breaks new ground by presenting a range of approaches to understanding the role, function, impact, and presence of performance in education. It is a definitive contribution to a beginning dialogue on how performance, as a theoretical and pragmatic lens, can be used to view the processes, procedures, and politics of education. The conceptual framework of the volume is the editors' argument that performance and performativity help to locate and describe repetitive actions plotted within grids of power relationships and social norms that comprise the context of education and schooling. The book brings together performance studies and education researchers, teachers, and scholars to investigate such topics as: *the relationship between performance and performativity in pedagogical practice; *the nature and impact of performing identities in varying contexts; *cultural and community configurations that fall under the umbrella of teaching, education, and schooling; and *the hot button issues of educational policies and reform as performances. With the aim of developing a clearer understanding of the effect, affect, and role of performance in education, the volume provides a crucial starting point for discourse among theorists and teacher practitioners who are interested in understanding and acknowledging the politics of performance and the practices of performative social identities that always and already intervene in the educational endeavor.

How to Complete and Survive a Doctoral Dissertation by David Sternberg Mastering these skills spells the difference between "A.B.D." and "Ph.D." -refuting the magnum opus myth -coping with the dissertation as obsession (magnificent or otherwise) -the fine art of selecting a topic -writing the dissertation with publication in mind -when to stand your ground and when to prudently retreat if the committee's conception of your thesis differs substantially from your own -dealing with obstructive committee members, and keeping the fences mended -how to reconsider "negative" findings as useful data -reviewing your progress, and getting out of the "dissertation dumps" -defending your paper successfully--distinguishing between mere formalities and a serious substantive challenge -exploiting the career potential of your dissertation -and much, much more

Research Methods in Performance Studies offers a unique approach for readers to engage with performance research and methods in practice. It examines ways of making performance, researching performance cultures, researching performers who themselves are engaged in research, and conducting research in the context of enduring and emergent themes of performance studies inquiry. This book features the work of eighteen scholar-artists currently working in performance studies who demonstrate—through applied projects—various methods for conducting performance research. The result is a wide array of novel scholarship including activist performance, slam poetry, video performance, stand-up comedy, adaptation for the Broadway stage, naturecultural performance, intersectional performance, performances of cultural and material preservation, and many others. Faculty, undergraduate and graduate students, and performance practitioners alike will benefit from the approaches to performance studies research methods articulated by the scholar-artists featured in this collection.