Writing for performance /:
The Teaching Writing series publishes user-friendly writing guides penned by authors with publishing records in their subject matter. Harris and Holman Jones offer readers a practical and concise guide to writing a variety of dynamic texts for performance ranging from playscripts to ensemble and mul...
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Rotterdam :
SensePublishers : Imprint : SensePublishers,
2016.
|
| Schriftenreihe: | Teaching writing (Sense Publishers) ;
v. 5. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | The Teaching Writing series publishes user-friendly writing guides penned by authors with publishing records in their subject matter. Harris and Holman Jones offer readers a practical and concise guide to writing a variety of dynamic texts for performance ranging from playscripts to ensemble and multimedia/hybrid works. Writing for Performance is structured around the 'tools' of performance writing--words, bodies, spaces, and things. These tools serve as pivots for understanding how writing for performance must be conducted in relation to other people, places, objects, histories, and practices. This book can be used as a primary text in undergraduate and graduate classes in playwriting, theatre, performance studies, and creative writing. It can also be read by ethnographic, arts-based, collaborative and community performance makers who wish to learn the how-to of writing for performance. Teachers and facilitators can use each chapter to take their students through the conceptualizing, writing, and performing/creating process, supported by exemplars and writing exercises and/or prompts so readers can try the form themselves. "What a welcome, insightful and much-needed book. Harris and Holman Jones bring us to an integrated notion of writing that is embodied, felt, breathed and flung from stage to page and back again. Writing for Performance will become a crucial text for the creation of the performance and theater that the 21st Century will need."--Tim Miller, artist and author of Body Blows: Six Performances and 1001 Beds: Performances, Essays and Travels "No prescriptions here. In the hands of this creative duo we find a deep and abiding respect for the many creative processes that might fuel writing and performance that matters. From the deep wells of their own experiences, Harris and Holman Jones offer exercises that are not meant to mold the would-be writer, but spur them on to recognize their latent writing/performative selves."--Kathleen Gallagher, Distinguished Professor of Curriculum, Teaching, and Learning, University of Toronto Anne Harris, PhD, is a senior lecturer at Monash University (Melbourne), and researches in the areas of arts, creativity, performance, and diversity. Stacy Holman Jones, PhD, is Professor in the Centre for Theatre and Performance at Monash University (Melbourne) specializing in performance studies, gender and critical theory and critical qualitative methods |
| Beschreibung: | 1 online resource (xix, 172 pages) : illustrations. |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9789463005944 9463005943 |
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| 245 | 1 | 0 | |a Writing for performance / |c by Anne Harris and Stacy Holman Jones. |
| 264 | 1 | |a Rotterdam : |b SensePublishers : |b Imprint : |b SensePublishers, |c 2016. | |
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| 490 | 1 | |a Teaching writing ; |v volume 5 | |
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a PRAISE FOR WRTING FOR PERFORMANCE; TABLE OF CONTENTS; ACKNOWLEDGEMENTS; EXEMPLARS; WRITING EXERCISES; CHAPTER 1: BEGINNINGS; WHAT IS WRITING FOR PERFORMANCE?; THE WORK OF THE (WESTERN) WORD; Aristotelian Dramatic Structure; The 'Well-Made Play' (19th Century-Modern Times); Modern Playwriting (20th Century); Feminist/Non-Naturalistic/Ensemble Theatre (1960s-Present); Live Art, Happenings, and Solo Performance (1960s-Present); ASKING AESTHETIC, CRITICAL, AND ETHICAL QUESTIONS; WHO IS THIS BOOK FOR?; ABOUT THIS BOOK AND ITS STRUCTURE; Chapter 2: Words; Chapter 3: Bodies; Chapter 4: Things. | |
| 505 | 8 | |a Chapter 5: SpacesChapter 6: Rehearsing/Devising; Chapter 7: Revising/Performing; Chapter 8: Beginnings, Again; CHAPTER 2: WORDS; BOOKS AND MAPS; THE VOICE OF A PERFORMANCE TEXT; WORDS AND BODIES; WORDS AND ACTIONS; EXEMPLAR ONE: A DYKE IS NOT A DAM; WRITING EXERCISE ONE: CREATING CHARACTER FROM MUSIC; EXEMPLAR TWO: LEAVE TO STAY; WRITING EXERCISE TWO: CREATING CHARACTER FROM A NEWS ITEM; WORDS AND ... ; CHAPTER 3: BODIES; BODIES CARRY (THE PERFORMANCE) WORD; (WRITING FOR) SPEAKING AND MOVING; WRITING EXERCISE ONE: LAUNDRY BASKET; (WRITING FOR) SILENT BODIES/EMBODIMENTS. | |
| 505 | 8 | |a WRITING EXERCISE TWO: SILENT SHOUT(WRITING FOR) VIRTUAL EMBODIMENTS; WRITING EXERCISE THREE: IMPROVISING MARRIAGE; EXEMPLAR ONE: LOST BODIES; WRITING EXERCISE FOUR: MAKING PEOPLE WITH WORDS; EXEMPLAR TWO: SMELLY BODIES; WRITING EXERCISE FIVE: SMELL IT LIKE IT IS; EXEMPLAR THREE: 365 DAYS/365 PLAYS BY SUZAN-LORI PARKS; WRITING EXERCISE SIX: A PLAY A DAY; BODIES AND ... ; CHAPTER 4: THINGS; MAKING THINGS MEAN; MAKING THINGS MEAN DIFFERENTLY; GLUING THINGS TOGETHER: COLLAGE TECHNIQUES; EXEMPLAR ONE: TRISKAIDEKAPHOBIA BY AMY KILGARD; The Tragedy of Desire; The Tragedy of the Partial. | |
| 505 | 8 | |a The Tragedy of DesireWRITING EXERCISE ONE: CUT-UP AND FOLD-IN METHODS (AFTER WILLIAM S. BURROUGHS); EXEMPLAR TWO: FOUR WORDS; WRITING EXERCISE TWO: GRAPHIC COLLAGE; EXEMPLAR THREE: LOST AND FOUND; WRITING EXERCISE THREE: NOT-SO-CHANCE COLLAGE; EXEMPLAR FOUR: AT THE SEAMS; WRITING EXERCISE FOUR: CENTO; THINGS AND ... ; NOTE; CHAPTER 5: SPACES; WRITING SPACES; PERFORMANCE SPACES; TEXTS AS SPACES; EXEMPLAR ONE: TIM MILLER'S BODY MAPS; WRITING EXERCISE ONE: BODY MAPPING; EXEMPLAR TWO: AFFIRMING SELVES IN POETRY; WRITING EXERCISE TWO: THE TOWN; SPACES AND ... ; CHAPTER 6: REHEARSING/DEVISING. | |
| 505 | 8 | |a RESEARCH INTO PERFORMANCEFORM AND CONTENT; RAW MATERIAL: THE RESEARCH PROJECT; THE ADAPTATION PROCESS; THE WORKSHOP PERFORMANCE; The Stage; Physicalising the Script-The Games; EXCERPTS FROM OUT/IN FRONT; Transcript Excerpt; Scene 1: Really Really Short (Kaz, Queer Female Identified Character); Transcript Excerpt; Scene 1: Really Really Short (Kaz)-CONT; Transcript Excerpt; Scene 3: 100% Present (Mike, Gay Male-Identified Character); Transcript Excerpt; Scene 6: I Didn't Say Anything (Pam, Pansexual Female-Identified Character); Transcript Excerpt. | |
| 520 | |a The Teaching Writing series publishes user-friendly writing guides penned by authors with publishing records in their subject matter. Harris and Holman Jones offer readers a practical and concise guide to writing a variety of dynamic texts for performance ranging from playscripts to ensemble and multimedia/hybrid works. Writing for Performance is structured around the 'tools' of performance writing--words, bodies, spaces, and things. These tools serve as pivots for understanding how writing for performance must be conducted in relation to other people, places, objects, histories, and practices. This book can be used as a primary text in undergraduate and graduate classes in playwriting, theatre, performance studies, and creative writing. It can also be read by ethnographic, arts-based, collaborative and community performance makers who wish to learn the how-to of writing for performance. Teachers and facilitators can use each chapter to take their students through the conceptualizing, writing, and performing/creating process, supported by exemplars and writing exercises and/or prompts so readers can try the form themselves. "What a welcome, insightful and much-needed book. Harris and Holman Jones bring us to an integrated notion of writing that is embodied, felt, breathed and flung from stage to page and back again. Writing for Performance will become a crucial text for the creation of the performance and theater that the 21st Century will need."--Tim Miller, artist and author of Body Blows: Six Performances and 1001 Beds: Performances, Essays and Travels "No prescriptions here. In the hands of this creative duo we find a deep and abiding respect for the many creative processes that might fuel writing and performance that matters. From the deep wells of their own experiences, Harris and Holman Jones offer exercises that are not meant to mold the would-be writer, but spur them on to recognize their latent writing/performative selves."--Kathleen Gallagher, Distinguished Professor of Curriculum, Teaching, and Learning, University of Toronto Anne Harris, PhD, is a senior lecturer at Monash University (Melbourne), and researches in the areas of arts, creativity, performance, and diversity. Stacy Holman Jones, PhD, is Professor in the Centre for Theatre and Performance at Monash University (Melbourne) specializing in performance studies, gender and critical theory and critical qualitative methods | ||
| 650 | 0 | |a Education. |0 http://id.loc.gov/authorities/subjects/sh85040989 | |
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| 650 | 0 | |a Drama |x Technique. |0 http://id.loc.gov/authorities/subjects/sh85039333 | |
| 650 | 6 | |a Création dramatique. | |
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| 650 | 7 | |a EDUCATION |x Essays. |2 bisacsh | |
| 650 | 7 | |a EDUCATION |x Organizations & Institutions. |2 bisacsh | |
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| 700 | 1 | |a Holman Jones, Stacy Linn, |d 1966- |e author |1 https://id.oclc.org/worldcat/entity/E39PCjFXd33RtTcFcybmtfgbBd |0 http://id.loc.gov/authorities/names/n97125383 | |
| 758 | |i has work: |a Writing for performance (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGKqwg9FwFbTWGjKbf4kcK |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Harris, Anne M. |t Writing for performance. |d Rotterdam : Sense Publishers, [2016] |z 9789463005920 |w (OCoLC)952447992 |
| 830 | 0 | |a Teaching writing (Sense Publishers) ; |v v. 5. |0 http://id.loc.gov/authorities/names/no2016032594 | |
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| adam_text | |
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| author | Harris, Anne M. Holman Jones, Stacy Linn, 1966- |
| author_GND | http://id.loc.gov/authorities/names/n97125383 |
| author_facet | Harris, Anne M. Holman Jones, Stacy Linn, 1966- |
| author_role | aut aut |
| author_sort | Harris, Anne M. |
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| callnumber-search | PN1661 .H37 2016eb |
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| collection | ZDB-4-EBA |
| contents | PRAISE FOR WRTING FOR PERFORMANCE; TABLE OF CONTENTS; ACKNOWLEDGEMENTS; EXEMPLARS; WRITING EXERCISES; CHAPTER 1: BEGINNINGS; WHAT IS WRITING FOR PERFORMANCE?; THE WORK OF THE (WESTERN) WORD; Aristotelian Dramatic Structure; The 'Well-Made Play' (19th Century-Modern Times); Modern Playwriting (20th Century); Feminist/Non-Naturalistic/Ensemble Theatre (1960s-Present); Live Art, Happenings, and Solo Performance (1960s-Present); ASKING AESTHETIC, CRITICAL, AND ETHICAL QUESTIONS; WHO IS THIS BOOK FOR?; ABOUT THIS BOOK AND ITS STRUCTURE; Chapter 2: Words; Chapter 3: Bodies; Chapter 4: Things. Chapter 5: SpacesChapter 6: Rehearsing/Devising; Chapter 7: Revising/Performing; Chapter 8: Beginnings, Again; CHAPTER 2: WORDS; BOOKS AND MAPS; THE VOICE OF A PERFORMANCE TEXT; WORDS AND BODIES; WORDS AND ACTIONS; EXEMPLAR ONE: A DYKE IS NOT A DAM; WRITING EXERCISE ONE: CREATING CHARACTER FROM MUSIC; EXEMPLAR TWO: LEAVE TO STAY; WRITING EXERCISE TWO: CREATING CHARACTER FROM A NEWS ITEM; WORDS AND ... ; CHAPTER 3: BODIES; BODIES CARRY (THE PERFORMANCE) WORD; (WRITING FOR) SPEAKING AND MOVING; WRITING EXERCISE ONE: LAUNDRY BASKET; (WRITING FOR) SILENT BODIES/EMBODIMENTS. WRITING EXERCISE TWO: SILENT SHOUT(WRITING FOR) VIRTUAL EMBODIMENTS; WRITING EXERCISE THREE: IMPROVISING MARRIAGE; EXEMPLAR ONE: LOST BODIES; WRITING EXERCISE FOUR: MAKING PEOPLE WITH WORDS; EXEMPLAR TWO: SMELLY BODIES; WRITING EXERCISE FIVE: SMELL IT LIKE IT IS; EXEMPLAR THREE: 365 DAYS/365 PLAYS BY SUZAN-LORI PARKS; WRITING EXERCISE SIX: A PLAY A DAY; BODIES AND ... ; CHAPTER 4: THINGS; MAKING THINGS MEAN; MAKING THINGS MEAN DIFFERENTLY; GLUING THINGS TOGETHER: COLLAGE TECHNIQUES; EXEMPLAR ONE: TRISKAIDEKAPHOBIA BY AMY KILGARD; The Tragedy of Desire; The Tragedy of the Partial. The Tragedy of DesireWRITING EXERCISE ONE: CUT-UP AND FOLD-IN METHODS (AFTER WILLIAM S. BURROUGHS); EXEMPLAR TWO: FOUR WORDS; WRITING EXERCISE TWO: GRAPHIC COLLAGE; EXEMPLAR THREE: LOST AND FOUND; WRITING EXERCISE THREE: NOT-SO-CHANCE COLLAGE; EXEMPLAR FOUR: AT THE SEAMS; WRITING EXERCISE FOUR: CENTO; THINGS AND ... ; NOTE; CHAPTER 5: SPACES; WRITING SPACES; PERFORMANCE SPACES; TEXTS AS SPACES; EXEMPLAR ONE: TIM MILLER'S BODY MAPS; WRITING EXERCISE ONE: BODY MAPPING; EXEMPLAR TWO: AFFIRMING SELVES IN POETRY; WRITING EXERCISE TWO: THE TOWN; SPACES AND ... ; CHAPTER 6: REHEARSING/DEVISING. RESEARCH INTO PERFORMANCEFORM AND CONTENT; RAW MATERIAL: THE RESEARCH PROJECT; THE ADAPTATION PROCESS; THE WORKSHOP PERFORMANCE; The Stage; Physicalising the Script-The Games; EXCERPTS FROM OUT/IN FRONT; Transcript Excerpt; Scene 1: Really Really Short (Kaz, Queer Female Identified Character); Transcript Excerpt; Scene 1: Really Really Short (Kaz)-CONT; Transcript Excerpt; Scene 3: 100% Present (Mike, Gay Male-Identified Character); Transcript Excerpt; Scene 6: I Didn't Say Anything (Pam, Pansexual Female-Identified Character); Transcript Excerpt. |
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| discipline | Pädagogik |
| format | Electronic eBook |
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ind1="0" ind2=" "><subfield code="a">PRAISE FOR WRTING FOR PERFORMANCE; TABLE OF CONTENTS; ACKNOWLEDGEMENTS; EXEMPLARS; WRITING EXERCISES; CHAPTER 1: BEGINNINGS; WHAT IS WRITING FOR PERFORMANCE?; THE WORK OF THE (WESTERN) WORD; Aristotelian Dramatic Structure; The 'Well-Made Play' (19th Century-Modern Times); Modern Playwriting (20th Century); Feminist/Non-Naturalistic/Ensemble Theatre (1960s-Present); Live Art, Happenings, and Solo Performance (1960s-Present); ASKING AESTHETIC, CRITICAL, AND ETHICAL QUESTIONS; WHO IS THIS BOOK FOR?; ABOUT THIS BOOK AND ITS STRUCTURE; Chapter 2: Words; Chapter 3: Bodies; Chapter 4: Things.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Chapter 5: SpacesChapter 6: Rehearsing/Devising; Chapter 7: Revising/Performing; Chapter 8: Beginnings, Again; CHAPTER 2: WORDS; BOOKS AND MAPS; THE VOICE OF A PERFORMANCE TEXT; WORDS AND BODIES; WORDS AND ACTIONS; EXEMPLAR ONE: A DYKE IS NOT A DAM; WRITING EXERCISE ONE: CREATING CHARACTER FROM MUSIC; EXEMPLAR TWO: LEAVE TO STAY; WRITING EXERCISE TWO: CREATING CHARACTER FROM A NEWS ITEM; WORDS AND ... ; CHAPTER 3: BODIES; BODIES CARRY (THE PERFORMANCE) WORD; (WRITING FOR) SPEAKING AND MOVING; WRITING EXERCISE ONE: LAUNDRY BASKET; (WRITING FOR) SILENT BODIES/EMBODIMENTS.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">WRITING EXERCISE TWO: SILENT SHOUT(WRITING FOR) VIRTUAL EMBODIMENTS; WRITING EXERCISE THREE: IMPROVISING MARRIAGE; EXEMPLAR ONE: LOST BODIES; WRITING EXERCISE FOUR: MAKING PEOPLE WITH WORDS; EXEMPLAR TWO: SMELLY BODIES; WRITING EXERCISE FIVE: SMELL IT LIKE IT IS; EXEMPLAR THREE: 365 DAYS/365 PLAYS BY SUZAN-LORI PARKS; WRITING EXERCISE SIX: A PLAY A DAY; BODIES AND ... ; CHAPTER 4: THINGS; MAKING THINGS MEAN; MAKING THINGS MEAN DIFFERENTLY; GLUING THINGS TOGETHER: COLLAGE TECHNIQUES; EXEMPLAR ONE: TRISKAIDEKAPHOBIA BY AMY KILGARD; The Tragedy of Desire; The Tragedy of the Partial.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">The Tragedy of DesireWRITING EXERCISE ONE: CUT-UP AND FOLD-IN METHODS (AFTER WILLIAM S. BURROUGHS); EXEMPLAR TWO: FOUR WORDS; WRITING EXERCISE TWO: GRAPHIC COLLAGE; EXEMPLAR THREE: LOST AND FOUND; WRITING EXERCISE THREE: NOT-SO-CHANCE COLLAGE; EXEMPLAR FOUR: AT THE SEAMS; WRITING EXERCISE FOUR: CENTO; THINGS AND ... ; NOTE; CHAPTER 5: SPACES; WRITING SPACES; PERFORMANCE SPACES; TEXTS AS SPACES; EXEMPLAR ONE: TIM MILLER'S BODY MAPS; WRITING EXERCISE ONE: BODY MAPPING; EXEMPLAR TWO: AFFIRMING SELVES IN POETRY; WRITING EXERCISE TWO: THE TOWN; SPACES AND ... ; CHAPTER 6: REHEARSING/DEVISING.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">RESEARCH INTO PERFORMANCEFORM AND CONTENT; RAW MATERIAL: THE RESEARCH PROJECT; THE ADAPTATION PROCESS; THE WORKSHOP PERFORMANCE; The Stage; Physicalising the Script-The Games; EXCERPTS FROM OUT/IN FRONT; Transcript Excerpt; Scene 1: Really Really Short (Kaz, Queer Female Identified Character); Transcript Excerpt; Scene 1: Really Really Short (Kaz)-CONT; Transcript Excerpt; Scene 3: 100% Present (Mike, Gay Male-Identified Character); Transcript Excerpt; Scene 6: I Didn't Say Anything (Pam, Pansexual Female-Identified Character); Transcript Excerpt.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The Teaching Writing series publishes user-friendly writing guides penned by authors with publishing records in their subject matter. Harris and Holman Jones offer readers a practical and concise guide to writing a variety of dynamic texts for performance ranging from playscripts to ensemble and multimedia/hybrid works. Writing for Performance is structured around the 'tools' of performance writing--words, bodies, spaces, and things. These tools serve as pivots for understanding how writing for performance must be conducted in relation to other people, places, objects, histories, and practices. This book can be used as a primary text in undergraduate and graduate classes in playwriting, theatre, performance studies, and creative writing. It can also be read by ethnographic, arts-based, collaborative and community performance makers who wish to learn the how-to of writing for performance. Teachers and facilitators can use each chapter to take their students through the conceptualizing, writing, and performing/creating process, supported by exemplars and writing exercises and/or prompts so readers can try the form themselves. "What a welcome, insightful and much-needed book. Harris and Holman Jones bring us to an integrated notion of writing that is embodied, felt, breathed and flung from stage to page and back again. Writing for Performance will become a crucial text for the creation of the performance and theater that the 21st Century will need."--Tim Miller, artist and author of Body Blows: Six Performances and 1001 Beds: Performances, Essays and Travels "No prescriptions here. In the hands of this creative duo we find a deep and abiding respect for the many creative processes that might fuel writing and performance that matters. From the deep wells of their own experiences, Harris and Holman Jones offer exercises that are not meant to mold the would-be writer, but spur them on to recognize their latent writing/performative selves."--Kathleen Gallagher, Distinguished Professor of Curriculum, Teaching, and Learning, University of Toronto Anne Harris, PhD, is a senior lecturer at Monash University (Melbourne), and researches in the areas of arts, creativity, performance, and diversity. 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| id | ZDB-4-EBA-ocn954220421 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:27:19Z |
| institution | BVB |
| isbn | 9789463005944 9463005943 |
| language | English |
| oclc_num | 954220421 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (xix, 172 pages) : illustrations. |
| psigel | ZDB-4-EBA |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | SensePublishers : Imprint : SensePublishers, |
| record_format | marc |
| series | Teaching writing (Sense Publishers) ; |
| series2 | Teaching writing ; |
| spelling | Harris, Anne M., author. Writing for performance / by Anne Harris and Stacy Holman Jones. Rotterdam : SensePublishers : Imprint : SensePublishers, 2016. 1 online resource (xix, 172 pages) : illustrations. text txt rdacontent computer c rdamedia online resource cr rdacarrier text file Teaching writing ; volume 5 Includes bibliographical references and index. Print version record. PRAISE FOR WRTING FOR PERFORMANCE; TABLE OF CONTENTS; ACKNOWLEDGEMENTS; EXEMPLARS; WRITING EXERCISES; CHAPTER 1: BEGINNINGS; WHAT IS WRITING FOR PERFORMANCE?; THE WORK OF THE (WESTERN) WORD; Aristotelian Dramatic Structure; The 'Well-Made Play' (19th Century-Modern Times); Modern Playwriting (20th Century); Feminist/Non-Naturalistic/Ensemble Theatre (1960s-Present); Live Art, Happenings, and Solo Performance (1960s-Present); ASKING AESTHETIC, CRITICAL, AND ETHICAL QUESTIONS; WHO IS THIS BOOK FOR?; ABOUT THIS BOOK AND ITS STRUCTURE; Chapter 2: Words; Chapter 3: Bodies; Chapter 4: Things. Chapter 5: SpacesChapter 6: Rehearsing/Devising; Chapter 7: Revising/Performing; Chapter 8: Beginnings, Again; CHAPTER 2: WORDS; BOOKS AND MAPS; THE VOICE OF A PERFORMANCE TEXT; WORDS AND BODIES; WORDS AND ACTIONS; EXEMPLAR ONE: A DYKE IS NOT A DAM; WRITING EXERCISE ONE: CREATING CHARACTER FROM MUSIC; EXEMPLAR TWO: LEAVE TO STAY; WRITING EXERCISE TWO: CREATING CHARACTER FROM A NEWS ITEM; WORDS AND ... ; CHAPTER 3: BODIES; BODIES CARRY (THE PERFORMANCE) WORD; (WRITING FOR) SPEAKING AND MOVING; WRITING EXERCISE ONE: LAUNDRY BASKET; (WRITING FOR) SILENT BODIES/EMBODIMENTS. WRITING EXERCISE TWO: SILENT SHOUT(WRITING FOR) VIRTUAL EMBODIMENTS; WRITING EXERCISE THREE: IMPROVISING MARRIAGE; EXEMPLAR ONE: LOST BODIES; WRITING EXERCISE FOUR: MAKING PEOPLE WITH WORDS; EXEMPLAR TWO: SMELLY BODIES; WRITING EXERCISE FIVE: SMELL IT LIKE IT IS; EXEMPLAR THREE: 365 DAYS/365 PLAYS BY SUZAN-LORI PARKS; WRITING EXERCISE SIX: A PLAY A DAY; BODIES AND ... ; CHAPTER 4: THINGS; MAKING THINGS MEAN; MAKING THINGS MEAN DIFFERENTLY; GLUING THINGS TOGETHER: COLLAGE TECHNIQUES; EXEMPLAR ONE: TRISKAIDEKAPHOBIA BY AMY KILGARD; The Tragedy of Desire; The Tragedy of the Partial. The Tragedy of DesireWRITING EXERCISE ONE: CUT-UP AND FOLD-IN METHODS (AFTER WILLIAM S. BURROUGHS); EXEMPLAR TWO: FOUR WORDS; WRITING EXERCISE TWO: GRAPHIC COLLAGE; EXEMPLAR THREE: LOST AND FOUND; WRITING EXERCISE THREE: NOT-SO-CHANCE COLLAGE; EXEMPLAR FOUR: AT THE SEAMS; WRITING EXERCISE FOUR: CENTO; THINGS AND ... ; NOTE; CHAPTER 5: SPACES; WRITING SPACES; PERFORMANCE SPACES; TEXTS AS SPACES; EXEMPLAR ONE: TIM MILLER'S BODY MAPS; WRITING EXERCISE ONE: BODY MAPPING; EXEMPLAR TWO: AFFIRMING SELVES IN POETRY; WRITING EXERCISE TWO: THE TOWN; SPACES AND ... ; CHAPTER 6: REHEARSING/DEVISING. RESEARCH INTO PERFORMANCEFORM AND CONTENT; RAW MATERIAL: THE RESEARCH PROJECT; THE ADAPTATION PROCESS; THE WORKSHOP PERFORMANCE; The Stage; Physicalising the Script-The Games; EXCERPTS FROM OUT/IN FRONT; Transcript Excerpt; Scene 1: Really Really Short (Kaz, Queer Female Identified Character); Transcript Excerpt; Scene 1: Really Really Short (Kaz)-CONT; Transcript Excerpt; Scene 3: 100% Present (Mike, Gay Male-Identified Character); Transcript Excerpt; Scene 6: I Didn't Say Anything (Pam, Pansexual Female-Identified Character); Transcript Excerpt. The Teaching Writing series publishes user-friendly writing guides penned by authors with publishing records in their subject matter. Harris and Holman Jones offer readers a practical and concise guide to writing a variety of dynamic texts for performance ranging from playscripts to ensemble and multimedia/hybrid works. Writing for Performance is structured around the 'tools' of performance writing--words, bodies, spaces, and things. These tools serve as pivots for understanding how writing for performance must be conducted in relation to other people, places, objects, histories, and practices. This book can be used as a primary text in undergraduate and graduate classes in playwriting, theatre, performance studies, and creative writing. It can also be read by ethnographic, arts-based, collaborative and community performance makers who wish to learn the how-to of writing for performance. Teachers and facilitators can use each chapter to take their students through the conceptualizing, writing, and performing/creating process, supported by exemplars and writing exercises and/or prompts so readers can try the form themselves. "What a welcome, insightful and much-needed book. Harris and Holman Jones bring us to an integrated notion of writing that is embodied, felt, breathed and flung from stage to page and back again. Writing for Performance will become a crucial text for the creation of the performance and theater that the 21st Century will need."--Tim Miller, artist and author of Body Blows: Six Performances and 1001 Beds: Performances, Essays and Travels "No prescriptions here. In the hands of this creative duo we find a deep and abiding respect for the many creative processes that might fuel writing and performance that matters. From the deep wells of their own experiences, Harris and Holman Jones offer exercises that are not meant to mold the would-be writer, but spur them on to recognize their latent writing/performative selves."--Kathleen Gallagher, Distinguished Professor of Curriculum, Teaching, and Learning, University of Toronto Anne Harris, PhD, is a senior lecturer at Monash University (Melbourne), and researches in the areas of arts, creativity, performance, and diversity. Stacy Holman Jones, PhD, is Professor in the Centre for Theatre and Performance at Monash University (Melbourne) specializing in performance studies, gender and critical theory and critical qualitative methods Education. http://id.loc.gov/authorities/subjects/sh85040989 Playwriting. http://id.loc.gov/authorities/subjects/sh85103395 Drama Technique. http://id.loc.gov/authorities/subjects/sh85039333 Création dramatique. Théâtre (Genre littéraire) Technique. EDUCATION Essays. bisacsh EDUCATION Organizations & Institutions. bisacsh EDUCATION Reference. bisacsh Drama Technique fast Education fast Playwriting fast Holman Jones, Stacy Linn, 1966- author https://id.oclc.org/worldcat/entity/E39PCjFXd33RtTcFcybmtfgbBd http://id.loc.gov/authorities/names/n97125383 has work: Writing for performance (Text) https://id.oclc.org/worldcat/entity/E39PCGKqwg9FwFbTWGjKbf4kcK https://id.oclc.org/worldcat/ontology/hasWork Print version: Harris, Anne M. Writing for performance. Rotterdam : Sense Publishers, [2016] 9789463005920 (OCoLC)952447992 Teaching writing (Sense Publishers) ; v. 5. http://id.loc.gov/authorities/names/no2016032594 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1288370 Volltext |
| spellingShingle | Harris, Anne M. Holman Jones, Stacy Linn, 1966- Writing for performance / Teaching writing (Sense Publishers) ; PRAISE FOR WRTING FOR PERFORMANCE; TABLE OF CONTENTS; ACKNOWLEDGEMENTS; EXEMPLARS; WRITING EXERCISES; CHAPTER 1: BEGINNINGS; WHAT IS WRITING FOR PERFORMANCE?; THE WORK OF THE (WESTERN) WORD; Aristotelian Dramatic Structure; The 'Well-Made Play' (19th Century-Modern Times); Modern Playwriting (20th Century); Feminist/Non-Naturalistic/Ensemble Theatre (1960s-Present); Live Art, Happenings, and Solo Performance (1960s-Present); ASKING AESTHETIC, CRITICAL, AND ETHICAL QUESTIONS; WHO IS THIS BOOK FOR?; ABOUT THIS BOOK AND ITS STRUCTURE; Chapter 2: Words; Chapter 3: Bodies; Chapter 4: Things. Chapter 5: SpacesChapter 6: Rehearsing/Devising; Chapter 7: Revising/Performing; Chapter 8: Beginnings, Again; CHAPTER 2: WORDS; BOOKS AND MAPS; THE VOICE OF A PERFORMANCE TEXT; WORDS AND BODIES; WORDS AND ACTIONS; EXEMPLAR ONE: A DYKE IS NOT A DAM; WRITING EXERCISE ONE: CREATING CHARACTER FROM MUSIC; EXEMPLAR TWO: LEAVE TO STAY; WRITING EXERCISE TWO: CREATING CHARACTER FROM A NEWS ITEM; WORDS AND ... ; CHAPTER 3: BODIES; BODIES CARRY (THE PERFORMANCE) WORD; (WRITING FOR) SPEAKING AND MOVING; WRITING EXERCISE ONE: LAUNDRY BASKET; (WRITING FOR) SILENT BODIES/EMBODIMENTS. WRITING EXERCISE TWO: SILENT SHOUT(WRITING FOR) VIRTUAL EMBODIMENTS; WRITING EXERCISE THREE: IMPROVISING MARRIAGE; EXEMPLAR ONE: LOST BODIES; WRITING EXERCISE FOUR: MAKING PEOPLE WITH WORDS; EXEMPLAR TWO: SMELLY BODIES; WRITING EXERCISE FIVE: SMELL IT LIKE IT IS; EXEMPLAR THREE: 365 DAYS/365 PLAYS BY SUZAN-LORI PARKS; WRITING EXERCISE SIX: A PLAY A DAY; BODIES AND ... ; CHAPTER 4: THINGS; MAKING THINGS MEAN; MAKING THINGS MEAN DIFFERENTLY; GLUING THINGS TOGETHER: COLLAGE TECHNIQUES; EXEMPLAR ONE: TRISKAIDEKAPHOBIA BY AMY KILGARD; The Tragedy of Desire; The Tragedy of the Partial. The Tragedy of DesireWRITING EXERCISE ONE: CUT-UP AND FOLD-IN METHODS (AFTER WILLIAM S. BURROUGHS); EXEMPLAR TWO: FOUR WORDS; WRITING EXERCISE TWO: GRAPHIC COLLAGE; EXEMPLAR THREE: LOST AND FOUND; WRITING EXERCISE THREE: NOT-SO-CHANCE COLLAGE; EXEMPLAR FOUR: AT THE SEAMS; WRITING EXERCISE FOUR: CENTO; THINGS AND ... ; NOTE; CHAPTER 5: SPACES; WRITING SPACES; PERFORMANCE SPACES; TEXTS AS SPACES; EXEMPLAR ONE: TIM MILLER'S BODY MAPS; WRITING EXERCISE ONE: BODY MAPPING; EXEMPLAR TWO: AFFIRMING SELVES IN POETRY; WRITING EXERCISE TWO: THE TOWN; SPACES AND ... ; CHAPTER 6: REHEARSING/DEVISING. RESEARCH INTO PERFORMANCEFORM AND CONTENT; RAW MATERIAL: THE RESEARCH PROJECT; THE ADAPTATION PROCESS; THE WORKSHOP PERFORMANCE; The Stage; Physicalising the Script-The Games; EXCERPTS FROM OUT/IN FRONT; Transcript Excerpt; Scene 1: Really Really Short (Kaz, Queer Female Identified Character); Transcript Excerpt; Scene 1: Really Really Short (Kaz)-CONT; Transcript Excerpt; Scene 3: 100% Present (Mike, Gay Male-Identified Character); Transcript Excerpt; Scene 6: I Didn't Say Anything (Pam, Pansexual Female-Identified Character); Transcript Excerpt. Education. http://id.loc.gov/authorities/subjects/sh85040989 Playwriting. http://id.loc.gov/authorities/subjects/sh85103395 Drama Technique. http://id.loc.gov/authorities/subjects/sh85039333 Création dramatique. Théâtre (Genre littéraire) Technique. EDUCATION Essays. bisacsh EDUCATION Organizations & Institutions. bisacsh EDUCATION Reference. bisacsh Drama Technique fast Education fast Playwriting fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85040989 http://id.loc.gov/authorities/subjects/sh85103395 http://id.loc.gov/authorities/subjects/sh85039333 |
| title | Writing for performance / |
| title_auth | Writing for performance / |
| title_exact_search | Writing for performance / |
| title_full | Writing for performance / by Anne Harris and Stacy Holman Jones. |
| title_fullStr | Writing for performance / by Anne Harris and Stacy Holman Jones. |
| title_full_unstemmed | Writing for performance / by Anne Harris and Stacy Holman Jones. |
| title_short | Writing for performance / |
| title_sort | writing for performance |
| topic | Education. http://id.loc.gov/authorities/subjects/sh85040989 Playwriting. http://id.loc.gov/authorities/subjects/sh85103395 Drama Technique. http://id.loc.gov/authorities/subjects/sh85039333 Création dramatique. Théâtre (Genre littéraire) Technique. EDUCATION Essays. bisacsh EDUCATION Organizations & Institutions. bisacsh EDUCATION Reference. bisacsh Drama Technique fast Education fast Playwriting fast |
| topic_facet | Education. Playwriting. Drama Technique. Création dramatique. Théâtre (Genre littéraire) Technique. EDUCATION Essays. EDUCATION Organizations & Institutions. EDUCATION Reference. Drama Technique Education Playwriting |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1288370 |
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