Toward A Just Pedagogy Of Performance

This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they've received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book--not traditional chapters, but manifestos, experiences, articles, conversations, and provocations--raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.

This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.

Examines performance art and the powerful implications it holds for teaching in the schools.

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.

This edited collection investigates the myriad ways in which disability performance travels in a globalized world. Disability arts festivals are growing in different parts of the world; theatre and dance companies with disabled artists are increasingly touring and collaborating with international partners. At the same time, theatre spaces are often not accessible, and the necessity of mobility excludes some disabled artists from being part of an international disability arts community. How does disability performance travel, who does not travel – and why? What is the role of funding and producing structures, disability arts festivals and networks around the world? How do the logics of international (co-)producing govern the way in which disability art is represented internationally? Who is excluded from being part of a touring theatre or dance company, and how can festivals, conferences, and other agents of a growing disability culture create other forms of participation, which are not limited to physical co-presence? This study will contextualize disability aesthetics, arts, media, and culture in a global frame, yet firmly rooted in its smaller national, state, and local community settings and will be of great interest to students and scholars in the field.

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.

This book uses the metaphors of practice spaces and practice sessions to demonstrate the connection between creative and performance practices, and critical pedagogy. It offers a conceptual framework for using performance and creative practices as starting points for developing philosophies and practices of teaching that are grounded in aesthetic, creative, and critical approaches to education. The practice sessions for pedagogy presented include a range of creative endeavours, such as performance workshops, musical routines, crafting practices, and writing. By focusing on the critical function of creative practices, the book emphasizes the ways creativity can reveal the relationship between everyday acts, and social and cultural ideologies and structures. Creative practices also present the opportunity for imagining new, more socially just and inclusive, configurations of these relationships. This book is designed for teachers and students interested in critical pedagogy, performance, and creative educational practices.

Performing Pedagogy examines the theory and practice of performance art as an art of politics. It discusses the different ways in which performance artists use memory and cultural history to critique dominant cultural assumptions, to construct identity, and to attain political agency. In doing so, Garoian argues, performance artists like Rachel Rosenthal, Guillermo Gómez-Peña, Robbie McCauley, Suzanne Lacy, and the performance art collective Goat Island engage in the practice of critical citizenship and radical forms of democracy that have significant implications for teaching in the schools. Finally, Garoian contextualizes performance art pedagogy within his own cultural work to illustrate how his own memory and cultural history have informed his production of performance art works and his classroom teaching practices.