This book may serve as an example of this effort. Edited and produced in close cooperation with the Faculty of Humanities of Károli Gáspár University, Budapest, and the Hungarian and German National Associations for Supervision and Coaching (MSZCT, DGSv), it offers relevant research reports by 22 scholars from all over Europe. Its aim is to inspire practitioners as much as researchers have been - and are - inspired by them.
How many playwrights, novelists, philosophers, artists, composers, performers, filmmakers, and critical thinkers influenced Samuel Beckett? And how profound has Beckett’s impact been on creative artists worldwide, who have responded to the stimulus of his work using every available medium, from theatre and television, through opera and contemporary art, to the internet and virtual reality?
The volume English Language and Literatures in English 2016 contains twenty-five studies written by Central-European scholars in the field of literature, culture and linguistics. Within these fields, EL&LE 2016 offers a colourful kaleidoscope of subject areas for any young or older scholar interested in English Studies, from the Victorian novel to literary multiculturalism, from cinematic mediation to cultural aspects of religion, from conceptual metaphors to ELT.
Living through extremes in process drama is an exploration of integrating Edward Bond’s theatre theory and practice into the ‘living through’ approach to process drama. Ádám Bethlenfalvy examines the basic components of the ‘living through’ approach to drama through the analysis of the practice of Dorothy Heathcote, Gavin Bolton, Cecily O’Neill and David Davis. A close examination of drama lessons leads to recognising different structures that lead to some shared elements in the work of these pioneers of drama education. The book also investigates different critiques of this approach and identifies key elements that can help practitioners and teachers create this kind of process drama. This is followed by an in-depth analysis of the theory and practice of Edward Bond, the contemporary British playwright, whose aim is to create moments that rupture dominant public discourses and allow the audience to make their own meaning in the gaps within the narrative on stage.
Through a series of drama lessons, the author explores how participants can be supported in making drama of depth on their own with moments that dislocate dominant social explanations from within the narrative, urging those watching or participating to make their own meaning of events in the drama. Though the book does not offer ready-made solutions, it offers some exciting new recognitions coming from re-kindling the connection between theatre and drama education.
|Szerzők(vesszővel elválasztva)||Ádám Bethlenfalvy|