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Finding Identity Through Directing
Finding Identity through Directing is a practice-led autoethnographical monograph that provides an in-depth exploration into the field of theatre directing and an individual’s endless creative pursuit for belonging. The book specifically examines how a culturally displaced individual may find a sense of identity through their directing and addresses the internal struggles of belonging, acceptance and Self that are often experienced by those who have confronted cultural unhoming. The first half of the story scrutinises Dr Yekanians’ own identity as an Iranian born Armenian-Australian and how she struggled with belonging growing up in a world that for the most part, was unaccepting of her ...
Crisis and Creativity in Performing Arts Training
This book comprises of key articles from the 2023 AusAct: The Australian Actor Training Conference that addresses innovative and fresh discussions post-COVID on how the Performing Arts can come out of these times of crisis and maintain their survival. Each chapter looks at a different aspect of the performing arts and discusses our programs and the unique and significant role acting and performance teachers have in our education sector, and their clear contribution to the international creative economies.
The Special Team Elite
The Special Team Elite is an endearing story that deals with the adolescent themes of bullying, racial discrimination and ultimately appreciation of individualism in a world that, at times, is unforgiving of 'the other'. The story reflects the real-life experiences of writer Dr Soseh Yekanians, who struggled to find her own identity as a young Armenian immigrant in Australia. The story follows Siran, a young girl who is faced with the struggles of loving her individual qualities or conforming to the pressures placed upon her by others. The question for her is: what is the 'ideal norm'? Whilst on this journey of self-discovery, Siran finds a unique camaraderie with Soraya, who is a recently arrived refugee from Afghanistan, and Sinéad, who is a feisty red-head from Ireland. All three young girls instantly develop a unique bond through commonality of their differences and eventually embark on a lifelong friendship.
Into the Mirror
"For me, it's about who I choose to love......" - Tyler After eighteen months in the UK, Melanie arrives home to discover her mother Sally is a complete stranger and struggles with the universal question we all ask ourselves; "What am I going to without my mum?" Sally - now 'Kendall' - is desperate to be the man he wants to be and is trying to erase his life as Sally prior to transitioning. Tyler, reeling from an explosive lesbian relationship, meets Kendall and is captivated by his endearing charm, causing Tyler to question her own sexuality. Into the Mirror explores the bond between mothers and daughters, relationships between lovers, families and friends; using the gender lens of Kendall's transitioning to highlight issues that are present within all relationships.
Acting Emotions
Actors and actresses play characters such as the embittered Medea, or the lovelorn Romeo, or the grieving and tearful Hecabe. The theatre audience holds its breath, and then sparks begin to fly. But what about the actor? Has he been affected by the emotions of the character he is playing? What'sgoing on inside his mind? The styling of emotions in the theatre has been the subject of heated debate for centuries. In fact, Diderot in his Paradoxe sur le comedien, insisted that most brilliant actors do not feel anything onstage. This greatly resembles the detached acting style associated with Bertolt Brecht, which, in turn, stands in direct opposition to the notion of the empathy-oriented "emotio...
The Body Eclectic
A discussion of current practices in modern dance training
Unleashing the Power of Faith
Presents a lesson that shows the power in possibilities.
Unley Youth Theatre
None
Knowledge, Creativity and Failure
This book offers a new framework for the analysis of teaching and learning in the creative arts. It provides teachers with a vocabulary to describe what they teach and how they do this within the creative arts. Teaching and learning in this field, with its focus on the personal characteristics of the student and its insistence on intangible qualities like talent and creativity, has long resisted traditional models of pedagogy. In the brave new world of high-stakes assessment and examination-driven outcomes across the education system, this resistance has proven to be a severe weakness and driven creative arts teachers further into the margins. Instead of accepting this relegation teachers of creative arts must set out to capture the distinctiveness of their pedagogy. This book will allow teachers to transcend the opaque metaphors that proliferate in the creative arts, and instead to argue for the robustness and rigour of their practice.
Stanislavsky in the World
Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices. Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance. This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies. This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before.
