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Full Description
What does it mean to teach an ephemeral object like 'performance'?
And what might the teaching of performance have to offer to other kinds of teaching and learning in a changing world?
Through posing and seeking to answer these questions, this open-access book urges a reconsideration of the relationship between performance and pedagogy. These questions are urgent in the light of profound changes, both institutional and historical, in the larger scope of higher education and the place performance may have in that setting and its peripheries.
Each of the chapters considers an object and its role in performance pedagogy. The objects range from the concrete to the conceptual and open new ways of considering how to teach performance and how performance teaches.
The book features a unique construction - "interstitial exchanges" - wherein the authors of each chapter pose provocations and responses to each other through short essays between the main chapters, connecting the disparate objects of performance pedagogy and offering dialogues.
In this way, the volume opens conversations beyond performance studies, asking what performance might have to say about the objects all around us that shape our lives in the 21st century.
The ebook editions of this book are available open access under a CC BY NC-ND-4.0 licence on bloomsburycollections.com.
Contents
Chapter 1: What is Performance Pedagogy? by Felipe Cervera (Lasalle College of the Arts, Singapore), Diana Damian Martin (Royal Central School of Speech and Drama, UK), Eero Laine (University at Buffalo, State University of New York, US), Theron Schmidt (University of New South Wales, Aus)
Chapter 2: Concepts by Maaike Bleeker (University of Utrecht, Netherlands)
Chapter 3: Mirrors by Heike Roms (University of Exeter, UK)
Chapter 4: Cooperative Pedagogies by Diana Damian Martin (Royal Central School of Speech and Drama, UK)
Chapter 5: Rules of the Room by Theron Schmidt (University of New South Wales, Aus)
Chapter 6: Discussions by Felipe Cervera (Lasalle College of the Arts, Singapore)
Chapter 7: Letting it Breathe: Guided Auto-Didacticism and the 3As of Bodyworld by Frank Camilleri (University of Malta, Malta)
Chapter 8: Decomposing the Voice: narratives of objecthood and being heard by Electa Behrens (Norway Theatre Academy, Norway)
Chapter 9: Pedagogical Discontent in The Age of Déjà Su: Information as Half-Objects by Kyoko Iwaki (University of Antwerp, Belgium)
Chapter 10:. Zooming out: the distributed, digital objecthood of teleconferencing environments by Miguel Escobar Varela (National University of Singapore, Singapore)
Chapter 11: Performing Cohorts by Robyn Horn (University at Buffalo, State University of New York, US), Eero Laine (University at Buffalo, State University of New York, US), Yao Kahlil Newkirk (University at Buffalo, State University of New York, US), Dahye Lee (The Graduate Center, City University of New York, US), Evan Moritz (University of Toronto, Canada), Bella Poynton (University at Buffalo, State University of New York, US)
Chapter 12: Conclusion: The Fields of Performance Pedagogy by Felipe Cervera (Lasalle College of the Arts, Singapore), Diana Damian Martin (Royal Central School of Speech and Drama), Eero Laine (University at Buffalo, State University of New York, US), Theron Schmidt (University of New South Wales, Aus)
Bibliography
Index
