Creativity in Theatre: Theory and Action in Theatre/Drama Education. Creativity Theory and Action in Education. Volume 2

People who don’t know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere “interpreters” of the dramatist’s vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading actors demanded plays be changed to fatten their roles. The late 19 th and 20 th centuries saw “the rise of the director,” in which director and playwright struggled for creative dominance. But no matter where the balance of power rested, good theatre artists of all kinds have created powerful experiences for their audience. The purpose of this volume is to bridge the interdisciplinary abyss between the study of creativity in theatre/drama and in other fields. Sharing theories, research findings, and pedagogical practices, the authors and I hope to stimulate discussion among creativity and theatre scholar/teachers, as well as multidisciplinary research. Theatre educators know from experience that performance classes enhance student creativity. This volume is the first to bring together perspectives from multiple disciplines on how drama pedagogy facilitates learning creativity. Drawing on current findings in cognitive science, as well as drama teachers’ lived experience, the contributors analyze how acting techniques train the imagination, allow students to explore alternate identities, and discover the confidence to take risks. The goal is to stimulate further multidisciplinary investigation of theatre education and creativity, with the intention of benefitting both fields. Front Matter ....Pages i-xv Front Matter ....Pages 1-1 The Actor’s Real Role on the Production Team (Tony Noice, Helga Noice)....Pages 3-17 Creative Acting (Robert Barton)....Pages 19-32 Front Matter ....Pages 33-33 The Improv Paradigm: Three Principles that Spur Creativity in the Classroom (Clayton D. Drinko)....Pages 35-48 Dreamwork for Dramatic Writing: An Organic Approach to Magic and Theatricality (David A. Crespy)....Pages 49-65 Performative Embodiment as Learning Catalyst: Exploring the Use of Drama/Theatre Practices in an Arts Integration Course for Non-Majors (Kathryn Dawson)....Pages 67-87 Creativity, Intimate Publics and the Proxemics of Pop Up Poetry Performance (Anne Harris, Stacy Holman Jones)....Pages 89-104 Reforming Theatrical Education from Its Extrovert-Based Model (Rob Roznowski)....Pages 105-120 Teaching the Creative Process: An Essential and Portable Skill (Lynne Porter)....Pages 121-129 Front Matter ....Pages 131-131 Staging Our Selves: Towards a Theory of Relationality, Possibility, and Creative Youth Selfhood (Kathleen Gallagher, Scott Mealey)....Pages 133-152 A Vygotskian Argument for Teaching Drama in Secondary Schools (Harry Daniels, Emma Downes)....Pages 153-168 Creativity and the Cybernetics of Self: Drama, Embodied Creation and Feedback Processes (Susan Davis)....Pages 169-187 Front Matter ....Pages 189-189 Psychodrama and Creativity in Education (John Nolte)....Pages 191-207 Reconnecting Learning to Development Through Performance Ensembles (Carrie Lobman)....Pages 209-220 Front Matter ....Pages 221-221 Enhancing Creativity with Neurofeedback in the Performing Arts: Actors, Musicians, Dancers (John H. Gruzelier)....Pages 223-245 Creativity Theory and Action in Bioengineering Class (Ferris M. Pfeiffer, Suzanne Burgoyne, Heather K. Hunt, Johannes Strobel, Rachel E. Bauer, Jennie J. Pardoe et al.)....Pages 247-268 Front Matter ....Pages 269-269 Assessing Creativity as a Student Learning Outcome in Theatre Education (Marcelo Schmidt, Mark Charney)....Pages 271-287 People who do not know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere "interpreters" of the dramatist's vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading actors demanded plays be changed to fatten their roles. The late 19th and 20th centuries saw "the rise of the director," in which director and playwright struggled for creative dominance. But no matter where the balance of power rested, good theatre artists of all kinds have created powerful experiences for their audience. The purpose of this volume is to bridge the interdisciplinary abyss between the study of creativity in theatre/drama and in other fields. Sharing theories, research findings, and pedagogical practices, the authors and I hope to stimulate discussion among creativity and theatre scholar/teachers, as well as multidisciplinary research. Theatre educators know from experience that performance classes enhance student creativity. This volume is the first to bring together perspectives from multiple disciplines on how drama pedagogy facilitates learning creativity. Drawing on current findings in cognitive science, as well as drama teachers' lived experience, the contributors analyze how acting techniques train the imagination, allow students to explore alternate identities, and discover the confidence to take risks. The goal is to stimulate further multidisciplinary investigation of theatre education and creativity, with the intention of benefitting both fields. [For "Creative Contradictions in Education: Cross Disciplinary Paradoxes and Perspectives. Creativity Theory and Action in Education. Volume 1," see ED612145.] "People who don't know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere "interpreters" of the dramatist's vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading actors demanded plays be changed to fatten their roles. The late 19th and 20th centuries saw "the rise of the director," in which director and playwright struggled for creative dominance. But no matter where the balance of power rested, good theatre artists of all kinds have created powerful experiences for their audience. The purpose of this volume is to bridge the interdisciplinary abyss between the study of creativity in theatre/drama and in other fields. Sharing theories, research findings, and pedagogical practices, the authors and I hope to stimulate discussion among creativity and theatre scholar/teachers, as well as multidisciplinary research. Theatre educators know from experience that performance classes enhance student creativity. This volume is the first to bring together perspectives from multiple disciplines on how drama pedagogy facilitates learning creativity. Drawing on current findings in cognitive science, as well as drama teachers' lived experience, the contributors analyze how acting techniques train the imagination, allow students to explore alternate identities, and discover the confidence to take risks. The goal is to stimulate further multidisciplinary investigation of theatre education and creativity, with the intention of benefitting both fields." -- Prové de l'editor