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Book SynopsisThis book presents the recent positions, theories, and methods of artistic research in jazz, inviting readers to critically engage in and establish a sustained discourse regarding theoretical, methodological, and analytic perspectives.A panel of eleven international contributors presents an in-depth discourse on shared and specific approaches to artistic research in jazz, aiming at an understanding of the specificity of current practices, both improvisational and composed. The topics addressed throughout consider the cultural, institutional, epistemological, philosophical, ethical, and practical aspects of the discipline, as well as the influence of race, gender, and politics. The book is structured in three parts: first, on topics related to improvisation, theory and history; second, on institutional and pedagogical positions; and third, on methodical approaches in four specific research projects conducted by the authors.In thinking outside estabTable of ContentsArtistic Research in Jazz: An Introduction Michael KahrPart I: Improvisation, Theory, and History1. Improvising Artistic Research Marcel Cobussen2. Improvising Touch: Musical Improvisation Considered as a Tactile PracticeVincent Meelberg3. Mapping Jazz’s Affect: Implications for Music Theory and AnalysisChris Stover4. Artistic Research in Jazz: Historical ContextsMichael KahrPart II: Institutional and Pedagogical Considerations5. Wordplay: Negotiating the Conservatory ‘Culture Clash’Petter Frost Fadnes6. The Lessons of Jazz: What We Teach When We Teach Jazz in CollegeTracy McMullen 7. It Don’t Mean a Thing Without My Web Fan Base Thing: A Dance of Cultural Relevancy in Jazz Education Culture TodayWilliam C. BanfieldPart III: Specific Projects8. Silent Groove, Frames and Applied Improvisation in Miles Davis’ "Shhh/Peaceful" and austraLYSIS’ "Silent Waves": Practice-led Research Beckons to Research-led PracticeRoger T. Dean 9. Analysis and Observations of Pre-learnt and Idiosyncratic Elements in Improvisation: A Methodology for Artistic Research in JazzRobert L. Burke 10. Articulating Musical Practice and Research: Notes on a South African Recording ProjectMarc Duby11. Embodied Hope: An Empathically Creative Approach to Contemporary Jazz Andrew Bain

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Book SynopsisThis volume explores how the Cultural Cold War played out in Africa and Asia in the context of decolonization. Both the United States and the Soviet Union as well as East European states undertook significant efforts to influence cultural life in the newly independent, postcolonial world.The different forms of influence are the subject of this book. The contributions are grouped around four topic headings. Networks and Institutions looks at the various ways Western-style theatre became institutionalized in the decolonial world, especially Africa. Cultural Diplomacy focuses on the activities of the Soviet Union in India in the late 1950s and 1960s in the very different arenas of book publishing and the circus. Artists and Agency explores how West African filmmakers (Ousmane Sembène and Abderrahmane Sissako) and European authors (Brecht and Ibsen) were harnessed for different kinds of Cold War strategies. Finally, Cultures of Things investigates how everyday objects such aTable of Contents1. Introduction 2. Aesthetic World-Systems: Mythologies of Modernism and Realism Part 1: Networks and Institutions 3. Cold War Mobilities: Eastern European Theatre Going Global 4. Theatre for Influence: American Cultural and Philanthropic Missions in West Africa During the Early Cold War Part 2: Cultural Diplomacy 5. "Propaganda Was Almost Nil"?: Soviet Books and Publishing in India in the 1960s 6. Indo-Soviet Circus Exchanges During the Cold War: State Propaganda or a People’s Art Form? Part 3: Artists and Agency 7. Narratives of Education and Migration: From La Noire de… (1966) to Octobre (1993) 8. Brecht as a Tool for Cultural Development: East German ITI Events for Theatre Artists from the "Third World" 9. "Clean Tablets to Write Upon": Ibsen’s Brand in Riga and Moscow in the 1970s Part 4: Cultures of Things 10. Soviet Books, Geopolitical Imagination and Eclectic Solidarities in India 11. National Theatres in Africa Between Modular Modernity and Cultural Heritage

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Book SynopsisNutrition for Dance and Performance is the first complete textbook written by an experienced dietitian specialising in the field of dance nutrition. It seeks to provide both dancers-in-training and instructors with practical advice on dance nutrition for health and performance. It is also highly relevant for dance professionals. With an in-depth and extensive coverage on all nutrition topics relevant to dancers, this book covers nutrition for the scenarios dancers face, including day-to-day training and rehearsals, peak performance, injuries, immunonutrition, nutrition and stress management. Information is included on topics applicable to individual dancers including advice for dancers with Type 1 diabetes and clinical conditions relating to gut health. The book guides the reader through the macronutrients making up the diet, their chemical structure and their role in health and optimal performance. Readers are shown how to estimate energy and nutrieTable of Contents1. Dance Nutrition2. Food and the Dancer3. Energy for Dance 4. Carbohydrate for Training and Performance 5. Protein for Strength and Body Maintenance6. Dietary Fat for Health and Longevity7. Hydration for Stamina and Performance Optimisation8. Supplements to Support Health and Performance (To Supplement Food Not Replace It)9. Body Composition10. Disordered Eating 11. Health and Performance12. Plant Based Diets for Dancers 13. Clinical Nutrition

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Book SynopsisCreative Bodies in Therapy, Performance and Community champions several diverse and innovative approaches in the professional engagement with the creative body as a catalyst for change in therapy, education, somatics and performance. With contributors from the wide-ranging fields of performance and visual arts, psychotherapy, dance and somatics, this book articulates practice-based experiences in a creative language. The readers are invited to move from the process of reading, into the experience of being in and making sense of the world through a moving body. The book meanders purposefully through practice-led embodied approaches in research that generate new knowledge, methodological frameworks that have emerged in response to the needs of different contexts, as well as offerring a window on first-hand experience as practice.The book will appeal to a wide range of practitioners and trainees in Dance Movement Psychotherapy, arts therapies, counselling and psyTrade Review‘Frizell and Rova’s book is fizzing with ideas, thoughts and bodies of all kinds that continually touch, move and morph into new assemblages. The book is unsettling – in the best sense of the word: questioning, probing and deconstructing established binaries and norms, and in the process revealing new vistas of humanity’s capacity for compassion, connection and depth. Reading this book was a stirring experience for me, not dissimilar to that of reading David Abram’s Spell of the Sensuous, which is high praise indeed.’ - Dr Farhad Dalal, psychotherapist, group analyst and author, UK‘Caroline Frizell and Marina Rove have brought together an inspiring collection of voices that weave a picture of contemporary embodied research and practice as creatively, politically, critically and evocatively alive and kicking. As co-editors, authors and co-authors of chapters, they bring a spirit of spontaneity, inclusiveness, warmth and humour to a complex and rigorous intersectional enquiry. The book spans a range of research, theoretical and practical approaches to creative, movement, dance and community psychotherapy, its contributors representing and working with a truly diverse set of people and contexts. This anthology walks its talk or rather dances it….as the construction of the book, its layers, and the dialogue within and between each chapter, shimmer and resonate. Each chapter takes us through steps of embodied knowing towards transformation that goes beyond the personal and into wider social change.’ - Roz Carroll, psychotherapist, trainer and author, UK‘Self-reflective, experimental and full of warmth, this collaborative book is a welcome example of creative non-fiction that deepens the project of integrating the embodied and the relational.’ - Jane Ryan, Founder and Creative Director of Confer, UK‘Frizell and Rova’s book is fizzing with ideas, thoughts and bodies of all kinds that continually touch, move and morph into new assemblages. The book is unsettling – in the best sense of the word: questioning, probing and deconstructing established binaries and norms, and in the process revealing new vistas of humanity’s capacity for compassion, connection and depth. Reading this book was a stirring experience for me, not dissimilar to that of reading David Abram’s Spell of the Sensuous, which is high praise indeed.’ - Dr Farhad Dalal, psychotherapist, group analyst and author, UK‘Caroline Frizell and Marina Rove have brought together an inspiring collection of voices that weave a picture of contemporary embodied research and practice as creatively, politically, critically and evocatively alive and kicking. As co-editors, authors and co-authors of chapters, they bring a spirit of spontaneity, inclusiveness, warmth and humour to a complex and rigorous intersectional enquiry. The book spans a range of research, theoretical and practical approaches to creative, movement, dance and community psychotherapy, its contributors representing and working with a truly diverse set of people and contexts. This anthology walks its talk or rather dances it….as the construction of the book, its layers, and the dialogue within and between each chapter, shimmer and resonate. Each chapter takes us through steps of embodied knowing towards transformation that goes beyond the personal and into wider social change.’ - Roz Carroll, psychotherapist, trainer and author, UK‘Self-reflective, experimental and full of warmth, this collaborative book is a welcome example of creative non-fiction that deepens the project of integrating the embodied and the relational.’ - Jane Ryan, Founder and Creative Director of Confer, UKTable of ContentsTable of contents List of Figures Acknowledgements List of contributors Foreword: Dr Jill Westwood Chapter 1Arriving, becoming and arriving again Caroline Frizell and Marina RovaChapter 2Check- in, please! Exploring movement check-ins as a tool for embodied psychotherapeutic practiceHeidrun PanhoferChapter 3Arts-based research and self-reflexive autobiographical performance Ditty DokterChapter 4Kinaesthetic entanglements and creative immersion in embodied performanceMarina RovaChapter 5The cat, the foal and other meetings that make a difference: Posthuman research that re-animates our responsiveness to knowing and becomingCaroline FrizellChapter 6Offerings tells the stories of our lives in movementSarah Black-Frizell and Angela Pierre LouisChapter 7Lives transformed through dance: The art of dance as a catalyst for personal transformationEllen SteinmüllerChapter 8Breath, belly and back: Dropping into body as ground Paul BeaumontChapter 9‘Is that yoga or are you just making it up?’ Helen PoynorChapter 10Being seen and seeing self: Explorations in the creative process in performance and therapyClaire Burrell Chapter 11Finding my way home: An embodied journey to building an inclusive dance community Juliet DienerChapter 12Dancing in the kitchen: Using creativity and embodiment to promote a decolonising approach to psychotherapyArchana BallalChapter 13Sing your way home: Designing a creative group intervention in the women’s prison as a Dance Movement Therapist in SingaporeAgnes LawChapter 14Borderlands: Exploring creativity as a practice of liminality in the arts therapies Marina Rova and Marrianne BehmChapter 15Indominus Rex; developing mentalisation with offenders through externalisation and creativity in a Dance Movement Psychotherapy Group Dawn BatcupChapter 16Dancing with Stephen: Reconnecting with the body in a search for closureGoretti Barjacoba-SoutoChapter 17The matriarch and the mollusc and all things in betweenCaroline Frizell and Helen PoynorChapter 18Happening upon a cobwebCaroline Frizell and Marina RovaIndex

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Book SynopsisDance on the American Musical Theatre Stage: A History chronicles the development of dance, with an emphasis on musicals and the Broadway stage, in the United States from its colonial beginnings to performances of the present day. This book explores the fascinating tug-and-pull between the European classical, folk, and social dance imports and Americaâs indigenous dance forms as they met and collided on the popular musical theatre stage. This historical background influenced a specific musical theatre movement vocabulary and a unique choreographic approach that is recognizable today as Broadway-style dancing. Throughout the book, a cultural context is woven into the history to reveal how the competing values within American culture, and its attempts as a nation to define and redefine itself, played out through developments in dance on the musical theatre stage. This book is central to the conversation on how dance influences and reflects society, and will be oTable of Contents1. 1492–1776: The Earliest Beginnings 2. 1776–1866: John Durang and the Dawn of American Theatrical Dance 3. 1866–1914: Building a Musical Theatre Dance Vocabulary 4. 1914–1929: The Dance Director: Front and Center 5. 1929–1943: Depression Ferments New Visions: Ballet and Modern Dance 6. 1943–1957: Integration: Dance Narrates 7. 1957–1968: Triple Threats Grow as Director-Choreographers Rise 8. 1968–1975: The Concept Musical Makes Room for Dance 9. 1975–1996: The Age of the Director-Choreographer Wanes 10. 1996–2020: Choreography and the Musical Break Open

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The Live Event Video Technician covers terms, format types, concepts, and technologies used in video production for corporate meetings, concerts, special events, and theatrical productions.The book begins by providing a history of the industry and an overview of important roles and functions therein. It then discusses various display technologies such as LED walls and video projection, as well as video systems for converting and switching of various types of sources. Presenting the cornerstone formats, connectors, and methodologies of visual technology, this book offers a strong foundation to help readers navigate this ever-changing field. Written in an accessible tone, the book clarifies jargon and is an overarching source of knowledge for the role of the video technician, for which there has previously been little formal training.The Live Event Video Technician provides a wealth of practical information for students of media and communications courses

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Book SynopsisWhat are cultural centers for? This book offers a unique and dynamic guide to managing these organizations, and the challenge of reconciling cultural aims with business success.Drawing on research and practice, it provides case-based insights into common managerial problems and their solutions. Although international research demonstrates that culture has positive economic impact and many cultural institutions are multimillion dollar institutions, there has been little research on how cultural centers are managed to combine cultural and economic impact. Due to the diversity of their missions and purpose, cultural centers in Europe often struggle to find business success. By drawing on recent cases from Finland and Sweden, and focusing on the challenges that face both managers and organizations, this book explores the incentives that underpin the foundation of cultural centers, and what is needed to make them a success. By defining the complex challenges that face cultuTable of Contents1. Cultural Centers: A Short Introduction 2. The Business Approach and the Core Values 3. New Nordic Initiatives Paving the Way for New Solutions 4. Rethinking the Incentive: What Drives a Cultural Center? 5. Concluding Words

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Book SynopsisNetworked Music Performance (NMP) is the essential guide to both playing music online and ensemble music through networks. Offering a range of case studies, from highly technical solutions to inclusive community projects, this book provides inspiration to musicians to try NMP whatever their level of technical expertise.Drawing upon recent research to examine the background and history of the practice as well as specific practical approaches, technical and musical considerations are included for readers, as are ideas around accessibility and creativity. Accessibility is considered in the context of the opportunities that NMP gives to musicians working remotely, as well as some of the barriers to participation in NMP and how these can be overcome. Synchronous and asynchronous approaches to NMP are explored in detail, examining the technical and musical affordances and challenges of working remotely for musicians.Networked Music Performance will appeal to Trade Review"Today’s musician works online, yet we haven’t even begun to plumb the depths of creative collaboration over the Internet. Iorwerth's book illuminates why Networked Music Performance is an emerging force: culture and technology become more sophisticated when driven by both social necessity and obviously rich rewards of new musical and cultural opportunities."Rebekah Wilson"The thorough technical treatment in Miriam Iorwerth's book Networked Music Performance lays a groundwork for describing the present moment where it seems that whatever can go online will go online. It is not only about networks of the kind our devices are attached to but also the social aspects of music and music teaching, the human networks that emerged when going online was the only way to go. Accelerated by the COVID-19 pandemic, tools and practices for connected musical collaboration increased dramatically and this book takes stock of the moment, comprehensively."Chris Chafe, Director, Center for Computer Research in Music and Acoustics, Stanford UniversityTable of Contents1. Introduction 2. Music over the internet 3. Synchronous networked music performance 4. Asynchronous networked music performance 5. Online music teaching and community music 6. Accessibility in networked music performance

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Book SynopsisDecentered Playwriting investigates new and alternative strategies for dramatic writing that incorporate non-Western, Indigenous, and underrepresented storytelling techniques and traditions while deepening a creative practice that decenters hegemonic methods.A collection of short essays and exercises by leading teaching artists, playwrights, and academics in the fields of playwriting and dramaturgy, this book focuses on reimagining pedagogical techniques by introducing playwrights to new storytelling methods, traditions, and ways of studying, and teaching diverse narratological practices.This is a vital and invaluable book for anyone teaching or studying playwriting, dramatic structure, storytelling at advanced undergraduate and graduate levels, or as part of their own professional practice.Trade Review"One of the great challenges for 21st century writers is how one forges one's own poetics to resist the 'realistic', well-made play, and the strictures of Aristotle and Stanislavski. How can we write for our communities and embrace the rich legacies of non-Aristotelian practice? What extraordinary conversations are gathered here in these pages."Paula Vogel, Pulitzer Prize-winning playwright of How I Learned to Drive and Indecent, USA"This is the kind of playwriting education I wish that I would have had. It makes me excited for the next generation of theater makers who will emerge from studying this book."Larissa FastHorse (Sicangu Lakota), MacArthur Fellow and playwright of The Thanksgiving Play, USA"This book offers us a radically hopeful vision of how we might teach playwriting—and think about the well-making of plays—if we wish to disrupt the relationship between systems of oppression and systems of theatre-making."Megan Sandberg-Zakian, Artistic Director, Boston Playwrights’ Theatre and Boston University MFA Playwriting Program, USA"Decentered Playwriting represents an extraordinary gathering of diverse scholars and artists, all posing fundamental questions about how drama might be conceived and created above, beyond, and without the hegemony of Aristotelian thinking. The collection addresses a deeply felt pedagogical need that has been left untended for far too long, and in this respect promises to become an essential text in the teaching of playwriting and dramaturgy."Art Borreca, Associate Professor and Co-Director of Iowa Playwrights Workshop and MFA Programs in Playwriting & Dramaturgy, USA"Decentered Playwriting leaps over the anxiety and reductive thinking swirling around our 'diversity problem' by showing how much we all have to gain by decolonizing our craft. There’s no theater maker or theater educator in this country not wrestling in some way with these issues right now. This book offers a revelatory and practical vision of the way forward."Lisa Kron, Tony Award-winning lyricist of Fun Home, USA"An invaluable resource for those looking to depart from received ways of play-making, either in pursuit of new collaborative approaches or alternative forms of storytelling. This will be a useful guidebook for those venturing off the beaten path."Alex McLean, Zuppa Theatre, CanadaTable of ContentsPart 1: Decenter(Ed) Playwriting: Alternative Tools, Techniques, and Structures; 1. Playwrights as Architects of Third Space: The Dramaturgy of Japanese Traditional Performing Arts; 2. The Dramaturgy of Nothingness; 3. Poetic Expression in Kānaka Maoli Playwriting Praxis; 4. On Disaesthetics in Hip Hop Dramaturgy: Ruminations on Thinking and Doing; 5. Context/Culture: Using Some of the Complex Dramaturgy of Black Theatre of the 19th Century to Build Contemporary Work; 6. Decentering Humans: Writing Our Way Out of the Apocalypse; 7. Write Where You Are; Part 2: Decenter(Ing) Playwriting: Community Practices, Ritual, and Healing; 8. Horizontal Theatre: Democratic Practices of the New Docudrama; 9. Toward Self-Construction: A Filipinx Dramaturgy in the Diaspora; 10. Writing with Irene: Sustaining the Fornés Playwriting Method; 11. First People First: Community-Based Theatre Praxis in Native American and Indigenous Spaces; 12. "Aruku-Improv," Playwriting and Performance Devising Dramaturgy Part 3: Case Studies in Decentered Processes: Models and Testimonies; 13. Outsider Indian: A Decentered Narrative on the Long Journey of Native Playwriting; 14. Deconstructing and Reconstructing Zimbabwean Ndebele Izaga: A Conversation on Playwriting as Auto-Ethnographic Experiment; 15. Unarcheology: Anticolonial Aesthetics and Putting Things Back in the Ground; 16. Indigenous Placemaking and Storyweaving: An Interview with Murielle Borst-Tarrant (Kuna, Rappahannock)

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Book SynopsisFemale musical theatre singers produce some of the most exciting and expressive singing an audience can experience. They also face a unique and specific set of issues when approaching their craft, from negotiating the registers of their voice to enable them to belt, to vocal health challenges such as premenstrual voice syndrome. This is the only book that offers a full and detailed guide to tackling those issues and to singing with full expression and technical excellence. Musical Theatre for the Female Voice covers the origin of singing in musicals, from the bel canto style of 300 years ago through to the latest developments in high belting, in shows such as Wicked and Waitress. It offers the reader exercises and methods that have been used to train hundreds of singers at some of the UK's leading musical theatre training institutions and are underpinned by the latest academic research in journals on singing, psychology, and health. Every element of aTrade Review"I can recommend this book to students and professionals alike who can trust the insights given through Shaun's exhaustive study of voice production. This is not just a description of singing but a helpful guide to improvement and best practice." — Sylvia Young OBE, Founder and Principal of the Sylvia Young Theatre School, UK"The book lays out an approach to the singing voice that is filled with the warmth and wisdom of its experienced practitioner author, Shaun Aquilina. Not only is the book informative but it is accessible in tone and avoids any hint of expert condescension. It is clearly a must have for the singer who wishes to discover more about the full story of their voice from posture to performance in order to enhance their vocal artistry." — Jane Boston, Principal Lecturer Voice, The Royal Central School of Speech and Drama, UKTable of ContentsPart 1: Whole-Body Engagement, 1. Posture, 2. Breath, 3. Voice, 4. Vocal Health, Part 2: Expressive Singing, 5. Impression-Expression, 6. Words and Music

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Book SynopsisThis volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces.Imagination is arguably the architect's most crucial capacity, underpinning memory, invention, and compassion. No simple power of the mind, architectural imagination is deeply embodied, social, and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr'actes arranged in three sections: Bodies, Settings, and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India, Iran, and Japan. Topics include the central role of the human body in design; the city as a place of political drama, protest, and phenomenal play; and world-making throTrade Review'Readers in architecture, theater, anthropology, philosophy, and other fields will discover here not only the interdependencies of these disciplines, but their roles in the configurations of imaginings that endow human life with its most eloquent communications. Face-to-face, hand-to-hand, at rest or while moving, dramatic actions performed spontaneously or seasonally, in houses or on streets, are shown to situate and orient us in the world, as we alternately succeed and struggle with interpersonal and environmental justice.' David Leatherbarrow, Emeritus Professor, University of Pennsylvania, USA 'This collection establishes embodied architecture as an essential theatrical, imaginative and compassionate practice. The sacred, the magical and the political appear with surprising architectural relevance and dramatic force. The scholarship is impeccable; the stories engaging and inspiring.' Marcía Feuerstein, Associate Professor at Virginia Tech’s School of Architecture, Washington Alexandria Architecture Center, USA and co-editor of Architecture as a Performing Art, among other publications'From the performativity of public spaces to theaters of the world reinterpreted as eco-ethical dramas, this highly original book puts into play new notions of memory theater for contemporary architectural discourse. Critical examples from antiquity to post-colonial contexts provide timely reflections that will enliven readers’ architectural imagination.' Federica Goffi, Professor of Architecture, Carleton University, Canada and editor of Marco Frascari’s Dream House: A Theory of Imagination, among other publicationsTable of Contents1. Introduction Part 1: Bodies 2. The dramatization of architecture: bodies in the drawings of Álvaro Siza 3. Die Turnstunde: Hans Hollein’s museum performing itself 4. Theatrical metaphors in Bruno Schulz’s prose: a play of imagination for potential architecture 5. Lecoq's Mimodynamics for architects: practicing a renewal of architectural imagination 6. Projecting the eccentric theatre: representations of the synesthetic experience at the Bauhaus 7. Performing the common: political imagination of protest in place Entr’acte A Constructing table – between anamorphic disguise and dissection: a polyphonic drawing experiment Part 2: Settings 8. Roman theatre’s scaenae frons as a thematic edifice 9. A Question of décor: political theatre in Renaissance Ferrara 10. Public spaces as theatres of action: Lawrence Halprin’s phenomenological perspective on cities 11. "The play’s the thing": on theatricality and modern public space 12. Imagining a participatory theatre in Ahmedabad 13. Relations among things: Aldo Rossi and Seville’s Semana Santa Entr’acte B Manifestos on architecting social imaginaries A Good Host Black Box of Imagination: deconstructing the notion of theatres of imagination Part 3: (Inter)Actions 14. A Tale of two foyers: on space between thresholds 15. The palace and the plaza: a post-war convergence 16. A delegated performance for public space: The Mile Long Opera 17. Monsters of architecture and the magical function of theatre: a look at Balinese temples 18. An encounter with wholeness: Vis and Ramin at Persepolis Entr’Acte C Drumming in the hall of the mountain 19. Earthly theatres: moving grounds, suffusing airs, sentient surrounds 20. Janus / In Time: universal openings via live arts – theatre, dance and architecture

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Book SynopsisBurridge and Svendler Nielsen bring together many perspectives from around the world on dancing experiences through life of senior artists and educators, whether as professionals working with community dance groups, in education or for recreation and well-being. Broadening our understanding of the burgeoning sector of maturing dances and dancers, this book incorporates a range of theoretical approaches with an emphasis on cultural and experiential dimensions. It includes examples of how artists, community practitioners, teachers, policy makers and academics work to better understand, promote and create new ways of thinking and working in the field of dance performance, education and well-being. Each section of the book includes a mixture of chapters based on research and case narratives focusing on practitioners' experience, as well as conversations between world-renowned mature dance artists and choreographers. It features an eclectic mix of lived experiences, wisdom, deep kTrade ReviewBringing together a wealth of perspectives from an array of cultures, Dance On! Dancing through Life is an essential contribution to our knowledge about intergenerational dance. Through in-depth case studies and the flow of conversation, it communicates the vital ways that dancing changes perceptions of what the body can do, regardless of age. Expert practitioners share their experiences and contemplate a future for dance that, freed from the prejudice of ageism, is open to the prodigious possibilities of dancing wise and dancing long. Professor Carol Brown, Choreographer and Head of Dance, Faculty of Fine Arts and Music, University of Melbourne.Dance On! Dancing through Life is a unique and much needed collection of perspectives on dance for all ages. With this book, the editors, Stephanie Burridge and Charlotte Svendler Nielsen, bring their broad experience, fruitful collaboration on previous editorial work, and passion for social justice in the field of dance to a fruition. The book adds to the literature relevant to dance practitioners, researchers and students of all ages and across diverse dance forms. I warmly recommend this valuable reading to anyone, also beyond the dance field. Professor, Eeva Anttila, Head of Dance Pedagogy, University of the Arts Helsinki, Finland.Table of ContentsIntroduction Section 1: Conversations Conversation 1.1 A conversation about junctions, milestones and thresholds Germaine Acogny and ‘Funmi Adewole with Helmut Vogt translating and contributingConversation 1.2 A life travelling in dance Aida Amirkhanian in conversation with Artsvi BakhchinyanConversation 1.3 Dancing is shape-shifting Elizabeth Cameron Dalman and Michael Keegan-Dolan Conversation 1.4 A conversation about life in dance: A crossing of two paths Henry Danton and Ravenna Tucker WagnonConversation 1.5 The love and kindness of teachers: Reflecting on working with senior Javanese masters Alex Dea conversing with Javanese senior dance artists Rama Sas, S. Ngaliman, Bu Yudanegoro and Bu Tarwa.Conversation 1.6 A life in dance: Collaborating and working together Anca Frankenhaeuser and Patrick Harding-Irmer with Eileen KramerConversation 1.7 The joy of life experience in contemporary dance Graeme Murphy and Janet Vernon in conersation with Shirley GibsonConversation 1.8 A sense of place and creating together Antonio Vargas with Stephanie Burridge Section 2: Professional Dance Practice Chapter 2.1 Too old to dance! Says who?: Senior professional dancers defying ageismSonia York-Pryce Chapter 2.2 Creating in the liminal space: connecting pathways of embodied experience.Stephanie Burridge Chapter 2.3 ‘Open Culture’ as practiced by three Singaporean dance pioneersMelissa Quek and Tan Ngiap Heng Chapter 2.4 (K)not in Dance: bodies and dancing as states of becomingGerard M. Samuel Chapter 2.5 Dance, is "who you are; it’s who you are known as"Amy DeanChapter 2.6 A full and creative lifeMary DaviesSection 3: Community Dance Practice and PerformanceChapter 3.1 An idea, a passion, a shot of tequila and a whole lot of loveLiz Lea Chapter 3.2 Still Ripening: evolving a practice through reflection.Gail Hewton Chapter 3.3 From viral hit to vital troupe: the "dancing grannies" of Angthong and their revival of Lakhon Chatri during a pandemicPornrat Damrhung Chapter 3.4 Fine Lines: a dance collective of mature artists - the story so far.Katrina Rank and Jenny Barnett Chapter 3.5 Dance matters: Crows Feet Dance Collective Jan Bolwell Section 4.0: Pedagogy and Recreational Dance PracticeChapter 4.1 Becoming an affirmative community: mature dancers’ experiences in an age-aware contemporary dance classPirkko Markula, Allison Jeffrey, Jennifer Nikolai & Simrit DeolChapter 4.2 From the stage to the next stage – Transitioning from a learner to a teacher: Amala Shankar’s journey Urmimala Sarkar MunsiChapter 4.3 Learning in creative dance: adults and children share the spaceAnn Kipling BrownChapter 4.4 Managing expectations: teaching mature dancers in lutrawita/TasmaniaLesley GrahamChapter 4.5 Traditional apprenticeship in contemporary times – Lim Fei Shen Caren Carino Section 5.0: Dance Therapy and Well-beingChapter 5.1 An examination of the facilitation of dance practice for older adults: a focus group discussion between practitioners working in community settings across New Zealand, Australia and England.Francine Hills and Barbara SnookChapter 5.2 The happiest hour in the week: Memory Dance and Dance Movement Therapy for elderly people with dementiaHelle WintherChapter 5.3 Feeling the touch: integrating sensations into dance activities for the elderly with dementia Szu-Ching ChangChapter 5.4 Everyday Waltzes for Active Ageing: a creative intervention for seniors and training programme for eldercare staff Angela Liong Chapter 5.5 WINGSPAN - A seated dance performance Paige Gordon

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Book SynopsisIs artificial intelligence (AI) becoming more and more expressive, or is human thought adopting more and more structures from computation? What does it mean to perform oneself through AI, or to construct one's subjectivity through AI? How does AI continue to complicate what it means to have a body? Has the golden age of AI, especially with regards to creative applications, already ended?Choreomata: Performance and Performativity after AI is a book about performance and performativity, but more specifically, it is a book about the performance of artificiality and the performance of intelligence. Both humans and human-designed computational forces are thoroughly engaged in an entangled, mutual performance of AI. Choreomata spins up a latticework of interdisciplinary thought, pairing theoretical inquiry from philosophy, information theory, and computer science with practical case studies from visual art, dance, music, and social theory.Through cross-discTable of ContentsTable of ContentsForewordPrefaceList of ContributorsA. Performing Artificiality, Performing IntelligenceSubjectivity0-Degree Plane of Neuroelectronic Continuity: AI & Psychosocial Evaporation Marek Poliks & Roberto Alonso Trillo 2. Performing the Automated Image Anna Munster & Ned Rossiter 3. Negative Aesthetics: AI and Non-Performance Luciana Parisi 4. Performance, Performativity, and Subjectivity at the Intersection of Art and Digital Cultures Barbara BoltCreativity 5. Performing Creativity: Text-to-Image Synthesis and the Mimicry of Artistic Subjectivity Keith Tilford 6. Galatea Reloaded: Imagination Inside-Out Imagine Reza NegarestaniRepresentation 7. Intelligent Company: Co-creative AI as Anamnesis Jonathan Impett 8. Autonomy, Intention, Performativity: Navigating the AI Divide Jon McCormack 9. Interaction Grammars: Beyond the Imitation Game AA CaviaB. Choreomatic BestiaryEncounter 10. Choreomata Sofian Audry 11. The Musicality of Imperfection Davor Vincze 12. Robot Choreography, Choreorobotics, and Humanist Technology: A Conversation between Dr. Madeline Gannon and Dr. Ken Goldberg Catie CuanProliferation 13. Ars Autopoetica: On Authorial Intelligence, Generative Literature, and the Future of Language Sasha Stiles 14. AI, Architecture, and Performance: Walt Disney Concert Hall Dreams Refik Anadol & Pelin Kivrak 15. Performing AI-Generated Theater Plays Klára Vosecká & Tomáš Musil & Rudolf RosaAnnihilation 16. Identity Dissolution: Using Artificial Intelligence for Artistic Exploration of Identity Models Alexander Schubert 17. Noise and Subjectivity in the Era of Machine Learning MattinAfter-Body 18. Descendent: AI and the Body beyond Hybridization Roberto Alonso Trillo 19. Descendent: Understanding the Digital Production Process from Human Interpretation to Algorithmic Interpolation to AI Inference Peter Nelson 20. Ghosts of the Hidden Layer People & Things Jennifer Walshe

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Book SynopsisThe Routledge Companion to the Anthropology of Performance provides a cutting-edge, comprehensive overview of the foundations, epistemologies, methodologies, key topics and current debates, and future directions in the field. It brings together work from the disciplines of anthropology and performance studies, as well as adjacent fields. Across 31 chapters, a diverse range of international scholars cover topics including: Ritual Theater Storytelling Music Dance Textiles Land Acknowledgments Indigenous Identity Visual Arts Embodiment Cognition Healing Festivals Politics Activism The Law Race and Ethnicity Gender and Sexuality Class Religion, Spirituality, and Faith Disability Leisure, Gaming, and Sport In addition, the included Appendix offers tools, exercises, and activitiesTable of ContentsIntroduction: Performance as Anthropological Focus and Framework, Lauren Miller Griffith and David Syring; ; Part I: Histories, Theories, and Frameworks; 1. Body and Mind: The Making of the Anthropology of Performance, Anya Royce ; 2. In the Spirit of Experience, Reflexivity and Growth: Exploring the Ancestral Roots of Performance Anthropology, Pam Frese; 3. Performance & Aesthetics: Experiencing Expressive Events and Visual Arts, Helena Wulff; ; 4. Ritual as Performance, Bradd Shore; 5. Sport as Performance, Claire Conceison; 6. Weaving, Cloth, and Costumes as Vital Contributors to Performance, Andrea Heckman; 7. Ethnographic Comportment: A Performance-Based Framework for Research Design, Kwame Harrison; ; Part II: Performing as a Way of Knowing; ; 8. Anthropology and Laboratory Theatre: Opening Anthropological Orthopraxy to Different Ways of Knowing/Being, Caroline Gatt; 9. Miraculous Stories and the Re-enchantment of the World: Oral Hagiographies of Guru Bawa, Frank Korom; 10. Who’s Performing When the God Dancer Dances? Possession and Ritual Performance in South India, Sara Dickey; 11. Two Handed Ethnography: A Method for Performance Anthropology, Sara Delamont & Neil Stephens; 12. Traveling through Space-time in the Manaus Boi-bumbá, Marnie K Watson; 13. Construction with Varied Materials: Adventures in Global Performativity and Interconnection, Andrew Irving; ; Part III: Performance & Identity; 14. Propia de Saraguro: Performance in an Indigenous Andean Community Creating 21st Century Vitality, David Syring; 15. Music, Identity, and Performance in East Africa, Mwenda Ntarangi; 16. Embodied Cultural Knowledge in Practice: An Ethio-Modern Dance Case Study of የቡና ዓለም YeBuna Alem/A Coffee World, Ras Mikey Courtney; 17. Performed Identity: A Case Study in Irish Dance, Breandán de Gallaí; 18. Performing Women in Classic European Circuses, Julia Offen; 19. Performance in Practice: "American" Karate in the Heartland, Noah Johnson; ; 20. (Accidentally) Doing Whiteness: The Meanings of Performance in a Rural U.S. Music Scene, David Flood ; ; Part IV:: Performance and/as Cultural Critique; 21. Performance and Indigeneity: ‘Playing Indian’ in the Theater of Darkness, Bernard C. Perley; ; 22. On Trial: Law and the Performativity of True Stories, Laurie Frederik ; ; 23. Beyond the Stage: Anarcho-punks Performing Resistance in Bandung, Indonesia, Steve Moog; 24. On Carnivals and Capitalism: Performing Neoliberal Politics in Santiago, Dominican Republic, Sydney Hutchinson; 25. Egyptian Belly Dance IS Feeling: Intersubjectivity, Ṭarab, and Cross-Cultural Performance, Meg Morley; 26. #Capoeiristas for Black Lives: The Complementarity of Virtual and Embodied Performance Communities, Lauren Griffith ; ; Part V: The Future of Performance Anthropology; 27. Craftwork in Ethnographic Theater Making, Debra Vidali; 28. Performing the Past and the Present with an Eye to the Future: Optimizing the Potential of Land Acknowledgment Rituals to Help Ensure they Do No Harm, EJ Sobo, Valerie Lambert, and Michael Lambert; 29. Performance, Play and Resistance: Teaching and Learning at the Happiest Place on Earth, Stephanie Takaragawa; 30. A Sense-Able Partner, Andrea Conger; 31. Beyond the Aesthetically Neutral Body: Performing Disability Futures, Cassandra Hartblay; ; Appendix: Tools, Exercises, and Activities for the Anthropology of Performance; A Zone Approach to Studying the Social Implications of Performance; Lauren Miller Griffith and Evangeline Jiménez ; David Syring; Tuning in to Matizada: Attending to Micro-moments of Aesthetic Enculturation; Debra Vidali; Circle Warm Up ; Energizing Groups with Movement; Pass the Sound and Gesture; Name Passion; The Human Barometer; Human Statue Creation and Inquiry; Ras Mikey Cortney, Transmitting Embodied Knowledge of Traditional Ethiopian Dance; Andrea M. Heckman, Weaving, Cloth and Costumes as Vital Aspects of Performance ; Noah Johnson, Clothed in Practicalities; Andrea Conger, Voice-over Interviews; Cassandra Hartblay, Transposing Transcription Practice; Caroline Gatt, Defamiliarizing Reading; Helena Wulff, Writing Performance ; Julia Offen, Creative Ethnographic Prose: Guided Setting Exercise;

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Script Analysis for Actors, Directors, and Designers, Seventh Edition, teaches the skills of script analysis using a formalist approach that examines the written part of a play to evaluate its potentials for performance and production.This new edition features new and revised content, including an analysis of two new plays, Kalidasa's Shakuntala and Federico Garcia Lorca's The House of Bernarda Alba; information for the theatre designer integrated in chapters throughout the book; and an expanded appendix on critical approaches to script analysis. Explorations of both classic and unconventional plays are combined with clear examples, end-of-chapter summaries, and stimulating questions that will allow actors, directors, and designers to immediately incorporate the concepts and processes into their theatre production work.An excellent resource for students of acting, script analysis, directing, playwriting, and stage design courses, this book provid

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Book SynopsisBringing together scholars from musicology, literature, childhood studies, and theater, this volume examines the ways in which children''s musicals tap into adult nostalgia for childhood while appealing to the needs and consumer potential of the child. The contributors take up a wide range of musicals, including works inspired by the books of children''s authors such as Roald Dahl, P.L. Travers, and Francis Hodgson Burnett; created by Rodgers and Hammerstein, Lionel Bart, and other leading lights of musical theater; or conceived for a cast made up entirely of children. The collection examines musicals that propagate or complicate normative attitudes regarding what childhood is or should be. It also considers the child performer in movie musicals as well as in professional and amateur stage musicals. This far-ranging collection highlights the special place that musical theater occupies in the imaginations and lives of children as well as adults. The collection comes at a time of incrTable of Contents1. Children, Childhood, and Musical Theater: an IntroductionJames Leve and Donelle Ruwe 2. Beginning with Do Re Mi: Childhood and The Sound of Music Ryan Bunch 3. Walt Disney, Dr. Benjamin Spock, and the Gospel of Ideal Childrearing: Creating Superlative Nuclear Families in Mary Poppins, Chitty Chitty Bang Bang, and Bedknobs and Broomsticks William A. Everett 4. Saving Mr. [Blank]: Rescuing the Father through Song in Children’s and Family Musicals Raymond Knapp 5. Dickensian Discourses: Giving a (Singing) Voice to the Child-Hero in Oliver! and Copperfield Marc Napolitano 6. Ghetto Chic: Utopianism and the Authentic Child in The Me Nobody Knows (1970) Donelle Ruwe 7. Little Girls, Big Voices: Annie James Leve8. Urchins, Unite: Newsies as an Antidote to Annie Marah Gubar 9. Agency, Power, and the Inner Child: The "Revolting Children" of Matilda the Musical Helen Freshwater 10. Children’s Musicals for Educational and Community Settings Lauren Acton 11. Broadway Junior Stacy Wolf Bibliography of Scholarly Sources

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Book SynopsisNourishing Dance: An Essential Guide on Nutrition, Body Image, and Eating Disorders is written with an insider's understanding of the unique needs and pressures of the dance world and the expertise of an eating disorder specialist, dietitian, clinician, and educator. This much-needed resource provides research-based, practical approaches to help dancers fuel optimally, nourish a peaceful relationship with food, and nurture more positive and resilient body image.Under-fueling, body dissatisfaction, eating disorders, and disordered eating are far too common among dancers. Despite the prevalence of these issues in dancers across genres, and their negative impacts on dancers' physical and mental health and performance, they have not been adequately addressed in the dance community. Improving dancers' health and well-being is necessary for both dancers and the art form to thrive, and everyone involved in the training and care of dancers can play an important role in this mi

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Book SynopsisThis accessible book explores the nature and importance of kinaesthesia, considering how action, agency and movement intertwine and are fundamental in feeling embodied in the world. Bringing together psychological, philosophical and cultural perspectives, the book examines the subjective feeling of movement in a cross-disciplinary manner. It discusses kinaesthesia through the framework of embodied cognition and outlines how contemporary discussion in psychology and phenomenology can inform our understanding of everyday experience. The book also sketches a framework for full appreciation of the sense of movement in performance and cultural life, discussing how a sense of movement is central to one's agency. It is composed in four movements', aiming to achieve a connected and original argument for why movement matters, an argument exemplified in dance. The first movement explains the science of kinaesthesia and the history of the concept to a discussion of current thought inforTable of ContentsPrefaceList of illustrationsPart 1. First movement: theme and variations1. Being alive2. What is the sense of movement?3. Kinaesthesia appears on the map of sciencePart 2. Second movement: andante4. The feel for reality5. Phenomenology and embodiment 6. Movement and timePart 3. Third movement: minuet and trio7. Free dance8. Walking9. The dance of lifePart 4. Fourth movement: allegro10. Gesture11 .Agency12. Finale – con brioReferences and selected readingIndex

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Book SynopsisIn 101+ Tips and Tricks Every Prop Maker Should Know, Utah Shakespeare Festival's Properties Director Ben Hohman explains tricks of the trade generally not taught in schools, but essential for prop makers working on the job. With tips and tricks divided into subject categories like carpentry, prop math, soft goods, upholstery, finishing, crafts and effects, and tools, the book breaks this knowledge down so that makers and prop managers can easily access the information, learn the skills, and be better prepared and more useful to any shop they work in. Each tip or trick is clearly introduced, features a relevant example of how it is useful, and includes step-by-step instructions. The book also features interviews and tips from prop makers across the creative industries, showcasing different techniques and need-to-know skills, and a glossary of prop terms that will help readers navigate the day-to-day of the prop shop.This book is written for theat

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Book SynopsisTwenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a reference book to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be strandTrade Review"Bringing together a wealth of information on esthetic innovation, [A Dictionary of the Avant-Gardes] will make avant-garde art more accessible to everyone."-"Booklist "Dictionaries are not usually written for cover-to-cover reading; this one is. It is filled with fascinating people and images."-Mark Laiosa, WBAI-FM "Demonstrate[s] a unique subjectivity and distinctive flair without sacrificing quality...."-"Library Journal "A one-of-a-kind source. Nothing approaches the subject with such admirable verve."-"Wilson Library Bulletin Table of ContentsPrefaceIntroductionThe DictionaryBiographical Notes

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Book SynopsisFocusing on artists and creators, this shortform book analyses the labour market in the creative economy in the context of cultural policies.Based on a series of studies involving Polish artists spanning 10 years, the book identifies the key factors needed to understand contemporary labour markets in the creative and cultural sectors worldwide. The authors integrate artists' perspectives to present truly rounded evidence, shedding light on the applicational perspective of the research findings.Illuminating the socioeconomic status of artists in Poland, this book is essential reading for researchers interested in cultural policy and the creative economy, as well as work and labour studies more broadly. It will also be of interest to practitioners in the creative and cultural industries.

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Book SynopsisOffering a lively, international, and interdisciplinary introduction to research on arts programmes in prisons, Arts in Criminal Justice and Corrections is the first volume to bring together leading figures from the US, UK, Australia, New Zealand, and Belgium to explore key methodological approaches and issues through the lens of the researchers themselves.Beginning with the original pioneers of research into the arts in corrections in the USA in the 1980s, this book highlights the role of researchers in evidencing impact and influencing policy. Contributors include those who were themselves once incarcerated and those who have transitioned from practitioner to criminologist. Chapters lay the groundwork for discussion on how an important avenue for rehabilitation and re-entry can be developed, providing a call to action for more research into a field which holds promise for building a more just, equitable, and inclusive society.This book is essential reading for

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Book SynopsisCaring for the Whole Musician brings together insights from two expert musicians and educators to consider the relationship between mental and physical health and artistic practice for musicians. Offering a holistic perspective that encompasses the whole being â body, mind, and heart â this book provides emerging musicians with tools, practices, and mindsets to address key challenges throughout their journey.The first part, Awareness, addresses wellness and embodiment in music, exploring how our bodies are constructed and how the use of our bodies as instruments affects function. Using approaches including Body Mapping and the Alexander Technique, this part helps readers discover adverse habits that interfere with natural movement, and nurture awareness of the body. The second part, Mindfulness, explores how meditative practice can be incorporated into every stage of concert preparation and embedded within the daily life of the musician. Offering mindfulness exercises related to each stage of the music-making process, these chapters provide strategies for readers to enhance their well-being and focus.Centered in the understanding of the musician as a whole being, this book provides an essential guide to how practices of awareness and mindfulness can allow musicians to better care for themselves and flourish in their artistic careers.

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Book SynopsisCommunication for Effective Stage Management: A Collaborative Production Tool provides a comprehensive examination of communication theory through the lens of effective stage management and offers ideas and methods for stage managers to enhance their communicative presence throughout a theatrical process.This book offers new, extensive in-depth discussion of communication techniques and how these methods apply to the role of the theatrical stage manager as the facilitator of information. Part I dives into the methods and principles of business communication employed by stage managers and discusses how these techniques are best implemented throughout a theatrical process, all supported with real-life examples. It also offers discussion questions and resources to enhance the content and encourages the reader to self-analyze their own communication techniques during the production process. Part II contains excerpts from other industry professionals who offer their own unique perspective as to the collaborative and communicative work of stage managers and how their own artistic careers are impacted by the communication systems of a stage management team.This book is best suited for advanced stage management students, professional theatre practitioners, and theatrical educators.

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Book SynopsisNew Dramaturgies of Contemporary Opera is the first and only book that approaches the dramaturgy of contemporary opera from the unique perspectives of living practitioners (composers, librettists, directors, producers, singers, dramaturgs, and administrators) who provide valuable first-hand insight into the coming into being of an opera today.The edited collection captures the ethos of contemporary opera-making in the global context and serves as a timely intervention in addressing the array of heterogenous dramaturgical practices that go into making an opera today in an era of flux. The collection is split into four parts: Part I presents the new dramaturgical considerations that the field is currently exploring; Part II investigates the ways in which non-Western cultures and perspectives can and have been represented; Part III explores the roles of space, nature, and environment in contemporary opera; and finally, Part IV looks at the ways in which technology has int

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Book SynopsisThis book provides scholars and non-specialists alike with a roadmap for effectively conducting culturally aware, historically relevant research on African dance and on any dance style that contains African elements.This book explains why Western research paradigms are inadequate for research on Africana dance. It exposes the value of utilizing an appropriate research paradigm that offers researchers a broader perspective and a transparent, unfettered process for analysis in under-researched topics such as African and African diaspora dance styles. Researchers are introduced to the African dance aesthetic, characteristically African body movements, definitions of steps, understandings within African culture, and a host of other jewels that facilitate a deeper grasp on the subject and refine the quality of the scholarâs research, its findings, and its proficiency.This book will be of great interest to scholars of African dance studies.Table of ContentsList of illustrationsAcknowledgmentsPreface1 Performative practices and documentation through an African lens: An introduction2 Overview of African culture and its reflection on dance3 Identifying African dance body movements4 Application of the Afrikinesis paradigm5 A synergistic union: Afrikinesis and African dance researchAppendixQuick reference glossary BibliographyIndex

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Book SynopsisThis book is a practical and theoretical exploration of the embodied imagining processes of devised performance in which the human and more-than-human are co-implicated in the creative process.This study brings together the work of French theatre pedagogue Jacques Lecoq (19211999) and French philosopher of science and the imagination Gaston Bachelard (18841962) to explore the notion of the imagination as embodied, enactive and embedded in the devising process. An exploration of compelling correspondences with Bachelard, whose writings imbue Lecoq's teaching ethos, offers new practical and theoretical perspectives on Lecoq's poetic body' in contemporary devising practices. Interweaving first-hand accounts by the author and interviews with contemporary international creative practitioners who have graduated from or have been deeply influenced by Lecoq, Imagining Bodies in Performer Training interrogates how his teachings have been adapted, developed and extended in var

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Book SynopsisThe need for artists, musicians, actors, singers, designers and other creative individuals to understand basic business concepts so they can successfully pursue their chosen creative profession has only grown since the publication of this textbook, now in its third edition. This popular book teaches business concepts in a way that is relevant to the way that creative students learn.Providing an understanding of the fundamental skills of entrepreneurship, this book enables creatives to launch new businesses, run forâprofit creative industries or manage nonprofit cultural organizations. The book leads the student through the entrepreneurial process starting with finding the right customers to pricing, distribution and promotion. This latest edition has been updated to account for significant changes in the creative industries that have been accelerated by the use of AI in the production of creative products, the challenge of pricing products within a range acceptable to consume

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Book SynopsisFoam Patterning and Construction Techniques: Turning 2D Designs into 3D Shapes explains how to create your theatrical prop, puppet, or costume design using the unique and tricky medium of foam. Step-by-step instructions, photographs, and explanations illustrate how to translate your design from paper to reality by creating custom skin patterns, followed by creation of a foam mockup. The book details how to bring your project to life with varied finishing techniques, including using fur and fabric coverings and dying and painting foam. Numerous supplies, tools, and safety procedures and protocols are also covered. Table of ContentsTable of ContentsAcknowledgementsPreface _____________________________________________________Section 1: The Medium of Foam: Materials, Tools and SafetyChapter 1: MaterialsChapter 2: SafetyChapter 3: What Type of Foam to Use?___________________________________________________Section 2: DesignChapter 4: An Approach to DesignChapter 5: Renderings, Working Drawings and Simplicity of Form _____________________________________________________Section 3: Translating Design into Reality: Techniques used in the Patterning ProcessChapter 6: Additive Patterning: Adding a Surface layer.Chapter 7: Subtractive Patterning: Cutting away the Surface Layer.Chapter 8: Speed PatterningChapter 9: Free Form Foam Patterning_____________________________________________________Section 4: Determining the Pattern Divisions, "Truing" Patterns and Changing ScaleChapter 10: Determining the Pattern DivisionsChapter 11: Transferring Patterns to Paper and "Truing" Pattern PiecesChapter 12: Scale: Determining the Size of the Finished Piece Chapter 13: Formula for Reducing and Enlarging Chapter 14: How to Enlarge and Reduce Pattern Pieces_____________________________________________________Section 5: Putting It All Together: From Pattern to ObjectChapter 15: How to Bevel Corners and Utilize DartsChapter 16: Cutting Pattern Pieces out of FoamChapter 17: Gluing and SewingSection 6: Finishing the DesignChapter 18: Fur and Fabric CoveringsChapter 19: Uncovered Foam: How To FinishChapter 20: Detailing and Bringing To Life________________________________________________________________________Section 7: This Section Goes Through The Full Process For 6 ProjectsChapter 21: Free Form Reticulated Foam Construction Chapter 22: Making Two Different Shapes from the Same Foam Pattern Chapter 23: Patterned Foam MaskChapter 24: Patterned Foam ArmorChapter 25: Patterned and Carved RaptorAppendicesA. Sources and SuppliesB. Bibliography

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