標(biāo)題: Titlebook: Creativityin Theatre; Theory and Action in Suzanne Burgoyne Book 2018 Springer International Publishing AG, part of Springer Nature 2018 Ed [打印本頁(yè)] 作者: LH941 時(shí)間: 2025-3-21 16:39
書目名稱Creativityin Theatre影響因子(影響力)
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書目名稱Creativityin Theatre網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Creativityin Theatre被引頻次
書目名稱Creativityin Theatre被引頻次學(xué)科排名
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書目名稱Creativityin Theatre讀者反饋
書目名稱Creativityin Theatre讀者反饋學(xué)科排名
作者: Harpoon 時(shí)間: 2025-3-21 20:29 作者: 脊椎動(dòng)物 時(shí)間: 2025-3-22 00:56 作者: Demulcent 時(shí)間: 2025-3-22 07:38
Wahrnehmungsst?rung und Krankheitserleben) showed consistent benefits for elite music performance, especially musicality/creativity and extending to communication and technique. This benefit was also found with novice performers, to include school children, where the sensory-motor rhythm protocol also enhanced performance, perhaps facilita作者: 手段 時(shí)間: 2025-3-22 08:58
2509-5781 e 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 fa978-3-030-07682-5978-3-319-78928-6Series ISSN 2509-5781 Series E-ISSN 2509-579X 作者: CRUMB 時(shí)間: 2025-3-22 15:09
Book 2018ulate 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 fa作者: CRUMB 時(shí)間: 2025-3-22 18:44 作者: 松軟無力 時(shí)間: 2025-3-23 00:03 作者: 絕食 時(shí)間: 2025-3-23 02:14
Reforming Theatrical Education from Its Extrovert-Based Modelransform accepted, extrovert-based models of theatre-making in order to create a more balanced classroom. These strategies extend beyond theatre and actor training to include ways to augment any classroom devoted to parity in fostering creativity.作者: BRAND 時(shí)間: 2025-3-23 08:58 作者: 輕信 時(shí)間: 2025-3-23 12:15 作者: AXIOM 時(shí)間: 2025-3-23 16:18 作者: Altitude 時(shí)間: 2025-3-23 20:29 作者: Nostalgia 時(shí)間: 2025-3-24 00:51 作者: 易于交談 時(shí)間: 2025-3-24 06:24
,Zusammenfassung und Schlu?folgerungen,igh Learn 46:20–23, .); yet higher education often uses transmission focused forms of education like lectures and tests. Recent research on embodiment in sociology, philosophy and cognitive sciences suggests conceptual linkages between embodied ways of knowing, lived experiences and creativity. This作者: Esalate 時(shí)間: 2025-3-24 09:39 作者: 亞當(dāng)心理陰影 時(shí)間: 2025-3-24 13:49
more inclusive creative classroom. Traditional and accepted methods of theatrical education (specifically actor training) rely on principles and constructs that favor extroverted students in their design. The current training practices ask introverted students to perform in extroverted ways that may作者: photopsia 時(shí)間: 2025-3-24 18:22
). We should also be teaching the creative process and its value in solving a myriad of problems. These are distinct and separate ends to our teaching. By being transparent about the creative process that underlies acting and design work, and encouraging students to use that creative process in a va作者: predict 時(shí)間: 2025-3-24 20:49
d educational community that manifested themselves within an international, ethnographic study of youth civic engagement and theatre. Over the course of two years of observation and 45 individual and focus group interviews in one Toronto high school, we witnessed a sophisticated and novel voicing of作者: 縮短 時(shí)間: 2025-3-25 02:48
stion is that these opportunities of ‘being other,’ of reflecting on one’s identity in the social world, are facilitated by experiences of being in role in the safety of settings that are an important part of drama in education. It is in drama lessons the techniques and practices of being in role ar作者: Glutinous 時(shí)間: 2025-3-25 06:07 作者: palliative-care 時(shí)間: 2025-3-25 09:42
,über die Auswirkungen des ?übersehenen“,’s extensive work with spontaneous role playing resulted in the development of the theory of spontaneity–creativity in which spontaneity, described as an unconservable energy, is seen as the catalyst of the creative process. His first endeavor was establishment of an alternative theater in which dra作者: needle 時(shí)間: 2025-3-25 15:29
,über die Auswirkungen des ?übersehenen“,lutions to collective problems. With its focus on ensemble development, drama education is an attractive training ground for this kind of transformation. In the theatre, the ensemble is not just a collection of individual actors, but is the unit that comes together for the performance to be successf作者: 慢慢沖刷 時(shí)間: 2025-3-25 19:36 作者: 冷淡周邊 時(shí)間: 2025-3-25 22:08
Creativityin Theatre978-3-319-78928-6Series ISSN 2509-5781 Series E-ISSN 2509-579X 作者: 去才蔑視 時(shí)間: 2025-3-26 03:16 作者: 委屈 時(shí)間: 2025-3-26 08:07 作者: Painstaking 時(shí)間: 2025-3-26 09:56
Suzanne BurgoyneFirst collection exploring how drama education facilitates creativity enhancement.Presents a variety of disciplinary perspectives.Includes theory, research, and pedagogical practices作者: Lumbar-Spine 時(shí)間: 2025-3-26 14:18
Creativity Theory and Action in Educationhttp://image.papertrans.cn/c/image/239594.jpg作者: Congeal 時(shí)間: 2025-3-26 20:51
The Actor’s Real Role on the?Production Team creative endeavor. A detailed analysis of the acting process will reveal that, from the first reading to the final public performance, an actor must create the “l(fā)ive” aspect of the play in terms of amplifying and communicating the deep meaning he or she finds behind the literal words. This communic作者: 相反放置 時(shí)間: 2025-3-26 21:52
Creative Actingay uses Meryl Streep as a role model through her preparation and work ethic. It offers actors a three-step process, moving from investigation through inference to invention. Approaches to creative performance include nontraditional character analysis with a strong emphasis on the future, exploring b作者: plasma 時(shí)間: 2025-3-27 03:36 作者: Ligament 時(shí)間: 2025-3-27 05:27 作者: pulmonary 時(shí)間: 2025-3-27 12:28
Performative Embodiment as Learning Catalyst: Exploring the Use of Drama/Theatre Practices in an?Artigh Learn 46:20–23, .); yet higher education often uses transmission focused forms of education like lectures and tests. Recent research on embodiment in sociology, philosophy and cognitive sciences suggests conceptual linkages between embodied ways of knowing, lived experiences and creativity. This作者: 青春期 時(shí)間: 2025-3-27 13:40
Creativity, Intimate Publics and the?Proxemics of Pop Up Poetry Performanceducational sense remain problematic to both policymakers and to the educators who seek to define, measure, and nurture it in their environments. In this chapter we use current research on creativity in education to highlight the ways performance and drama education currently approach the teaching an作者: certain 時(shí)間: 2025-3-27 18:44 作者: theta-waves 時(shí)間: 2025-3-27 23:57 作者: 媽媽不開心 時(shí)間: 2025-3-28 06:03
Staging Our Selves: Towards a Theory of Relationality, Possibility, and Creative Youth Selfhoodd educational community that manifested themselves within an international, ethnographic study of youth civic engagement and theatre. Over the course of two years of observation and 45 individual and focus group interviews in one Toronto high school, we witnessed a sophisticated and novel voicing of作者: theta-waves 時(shí)間: 2025-3-28 07:04 作者: 使隔離 時(shí)間: 2025-3-28 12:32
Creativity and the?Cybernetics of Self: Drama, Embodied Creation and Feedback Processesapter investigates the creative system, feedback and interactions from a drama project involving young people in a performance-making program. The understandings that informed the work and analysis drew from systems theories of creativity as well as cybernetics. The understandings drawn from cyberne作者: indenture 時(shí)間: 2025-3-28 15:13
Psychodrama and Creativity in Education’s extensive work with spontaneous role playing resulted in the development of the theory of spontaneity–creativity in which spontaneity, described as an unconservable energy, is seen as the catalyst of the creative process. His first endeavor was establishment of an alternative theater in which dra作者: Anguish 時(shí)間: 2025-3-28 20:04 作者: FLAIL 時(shí)間: 2025-3-28 23:57
Enhancing Creativity with Neurofeedback in the?Performing Arts: Actors, Musicians, Dancersedback involves learning to self-regulate targeted brain rhythms, rhythms that here have putative relevance to artistic performance. Actors received sensory-motor rhythm training, theorised to favour authenticity in acting, with a training context immersing them in an onstage theatre auditorium thro作者: 共棲 時(shí)間: 2025-3-29 03:10
2509-5781 heory, research, and pedagogical practices.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 diffe作者: allude 時(shí)間: 2025-3-29 10:58 作者: AUGUR 時(shí)間: 2025-3-29 12:16 作者: chandel 時(shí)間: 2025-3-29 17:27
https://doi.org/10.1007/978-3-642-93450-6ods used in higher education, designed to produce this ability, are herein described along with some methodological variations. A secondary purpose of this chapter is to review some theories of creativity offered by a number of prominent researchers and to show how precisely these theories can be applied to the main elements of the acting process.作者: 厭惡 時(shí)間: 2025-3-29 23:30 作者: 關(guān)心 時(shí)間: 2025-3-30 00:20 作者: 反饋 時(shí)間: 2025-3-30 04:59
Creative Actingaking the character and scene to various brief extremes. These approaches collectively provide ways to welcome creativity without trying to summon it directly, an approach similar to the way the Stanislavski system indirectly beckons emotion by planting the circumstances in which it is most likely to emerge.作者: 史前 時(shí)間: 2025-3-30 11:05
https://doi.org/10.1007/978-3-642-93560-2oment teacher behavior to create a more creative learning environment. Once improved, these skills lead to more trusting, collaborative, and creative classrooms that foster creative ideation instead of causing students to feel shamed or judged and therefore stop contributing and creating.作者: clarify 時(shí)間: 2025-3-30 13:39 作者: CLASH 時(shí)間: 2025-3-30 17:08
hat collective narrative creative practices (including verbatim theatre and oral history performance), relationality, critical dialogue and performative/playful skill-building enact in a creative and resilient expansion of the quotidian lives of youth. We conclude by gesturing towards a theory of youth selfhood and creativity.作者: Headstrong 時(shí)間: 2025-3-30 21:53
teaching. This argument becomes all the more important when we consider the fact that drama has been marginalized in the English secondary school thus denying young people access to what can be some of the most formative experiences of their educational careers.作者: 切割 時(shí)間: 2025-3-31 03:09
nstraints, and feedback interactions, including those that are individual and collective, fast and slow. The importance of immediate and embodied feedback as well as feedback that is more individual and reflective is characteristic of and integral to the development of dramatic work.作者: jaundiced 時(shí)間: 2025-3-31 06:27
