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Applied Drama
A Facilitator’s Handbook for Working in Community
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Price £26.50, $35.50
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ISBN 9781841507408
Paperback 241 pages
230x174
Published April 2013
Imprint: Intellect
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Books by Monica Prendergast
Books by Juliana Saxton
Books in Performing Arts
Other books in this series Review: Theater Forschung
Chapter Titles     |      Reviews     |      Comments

Applied Drama, a companion to Intellect’s award-winning Applied Theatre, fulfills the need for an introductory handbook for facilitators and teaching artists working with the dramatic process in diverse community settings. The authors distill the best practices to transfer into the settings within which these applied drama projects occur. Crafted for use in schools, classrooms, community groups, healthcare organizations, and all manner of social institutions, this book aids practitioners in developing and honing the skills needed to serve these communities.

 

Chapter titles
Preface
How is applied drama different from applied theatre? How to read this book?
Chapter One: Introduction to the Field
1.1 What is applied drama? 1.2 Who does applied drama and what are the benefits? 1.3 How is applied drama done? 1.4 What is the nature of applied drama? 1.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Two: Foundations of the Field
2.1 What is the nature of dramatic process? 2.2 How does the key component of role function in applied drama? 2.3 How does the key component of improvisation function in applied drama? 2.4 What are the challenges of applied drama? 2.5 Questions for Reflection, Suggested Activity and Further Reading
Section One: Entering the Process
Chapter Three: Building a Community
3.1 Learning about participants 3.2 Entering a community/drama contract 3.3 Creating a safe space 3.4 Drama structure: Investigating the Circle 3.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Four: Risking, Trusting and Being
4.1 Building trust/creating community 4.2 Encouraging risk-taking/accepting failure 4.3 Creating composite characters 4.4 Drama structure: Being 14 4.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Five: Role Playing
5.1 Using role play 5.2 Levels and dynamics of role 5.3 About Sitting-Down Drama 5.4 Drama structure: Sitting-Down Drama 5.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Six: Embodying Thought and Feeling
6.1 Communicating with our bodies 6.2 Balancing the mind-body relationship 6.3 Exploring movement through music 6.4 Drama structure: Interpreting Music as Dramatic Text 6.5 Questions for Reflection, Further Reading and Suggested Music
Section Two: Exploring Together
Chapter Seven: Talking and Listening
7.1 Fostering communication 7.2 Drawing on personal histories 7.3 Distancing through narrative voice 7.4 Drama structure: Life Lessons 7.5 Questions for Reflection and Further Reading
Chapter Eight: Topics, Themes, Talk and Action
8.1 Generating ideas and material 8.2 What is a theme? 8.3 Tableaux and Image Theatre 8.4 Drama structure: Exploring a Theme 8.5 Questions for Reflection and Further Reading
Chapter Nine: Improvisation
9.1 Learning to improvise 9.2 Vocabulary of improvisation 9.3 Ways to improvise 9.4 Drama structure: Improvising from a Source 9.5 Questions for Reflection, Suggested Activity and Further Reading
Section Three: Focusing the Work
Chapter Ten: Moving into Devising
10.1 Deciding to share the work 10.2 Conducting research and the RSVP Cycle 10.3 Sharing research through drama 10.4 Drama strategies: Working with Research in Dramatic Ways 10.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Eleven: Creating Monologues
11.1 Collaborative solo speech 11.2 From the personal to the political 11.3 From nonfictional to fictional representation 11.4 Drama structure: Generating and Working with Monologues 11.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Twelve: Crafting Scenes
12.1 Panning for gold 12.2 Understanding dramatic structure 12.3 Reviewing and reflecting on improvised scenes 12.4 Drama structure: Improvising Scenes from Research Materials 12.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Thirteen: Modes of Sharing
13.1 Thinking about the audience 13.2 Putting it all together 13.3 Processing the process 13.4 Drama strategies: Ideas for Presentation 13.5 Questions for Reflection, Suggested Activity and Further Reading
Chapter Fourteen: Reflecting, Exiting and Assessing
14.1 Reflecting on presentation 14.2 Reflecting on the process 14.3 Exiting a community 14.4 Reporting strategies 14.5 Summary
Appendices
Reviews
'A clearly arranged and informative handbook' – Theater Forschung, Dr. Nathalie Fratini

'Prendergast and Saxton's latest book is a long-awaited response to the training needs of those who take their first steps as facilitators of interactive and participatory drama with non-professional actors. ' – Hristina Mouratidou, The Journal for Drama in Education

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