Thematische Bibliographien / Creating Verbatim Theatre

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Auswahl der wissenschaftlichen Literatur zum Thema „Creating Verbatim Theatre“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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Zeitschriftenartikel zum Thema "Creating Verbatim Theatre"

Redling, Ellen. „Fake News and Drama: Nationalism, Immigration and the Media in Recent British Plays“. Journal of Contemporary Drama in English 6, Nr. 1 (27.04.2018): 87–100. http://dx.doi.org/10.1515/jcde-2018-0013.

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AbstractFake News is often not taken seriously enough. It might appear like a mere hoax and too fantastical or bold to believe, just like the so-called ‘alternative facts’ presented about the size of the crowd at Donald Trump’s inauguration. Similarly, nationalistic tendencies, often driven by fake news and promoted by authoritarian leaders, can be underestimated. Recent British plays and performances about fake news which appeared after the Brexit vote make clear that the typical strategies of the liberal left of fighting against nationalism and authoritarianism seem to no longer work when taken on their own. These strategies include, for instance, postmodern techniques, the exposure of a misuse of power through the media or documentary theatre, or the foregrounding of marginalised and oppressed groups, e. g. by means of verbatim practices. They often lack efficacy nowadays because they have become undermined by ‘post truth’ or because they can reflect, rather than challenge, the mechanisms of fake news as well as the widespread feeling of uncertainty in the Western world, which in turn can be found at the root of a growth in nationalism and power of authoritarian leaders. This paper suggests that theatre is currently creating new strategies of dealing with these harmful developments. It argues that recent plays about fake news show that, in order to counter the disorientating effects of fake news, a new type of viewer is needed, the particularly ‘alert spectator,’ whose senses are strengthened through the performance, and who in times like these when people reach out for (fake) certainties amidst confusing uncertainty is able to develop a double vision: a postmodern and a post-postmodern one.

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Khokhlova, Daria. „The character of Levin in the ballet “Anna Karenina” choreographed by John Neumeier Anna Karenina: the peculiarities of choreographic interpretation“. Философия и культура, Nr. 6 (Juni 2021): 1–14. http://dx.doi.org/10.7256/2454-0757.2021.6.36354.

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The problem of choreographic interpretation of the novel “Anna Karenina” by L. Tolstoy in the modern ballet theater is relevant: in the past twenty years, several outstanding choreographers have selected this theme for their performance. The subject of this article is the interpretation of the character of Levin by John Neumeier. The goal consists in revealing the expressive elements and peculiarities of choreographic language used by the ballet master in staging this role, as well as in juxtaposing them with the original literary text. The article employs comparative and analytical methods, overt observation (in the process of working with Neumeier on the role of Kitty), Neumeier's lectures prior to the Moscow premiere of “Anna Karenina” (from the author's archive), and materials from video archives of the theatre. Detailed semantic analysis of stage direction and choreographic language of the role of Levin became the basic instrument for determining the traits of Tolstoy’s hero, which Neumeier derived from the literary source. Tolstoy’s reasoning on the topics that require in-depth philosophical reflection, which were inscribed into the artistic fabric of the novel, are instilled in the role of Levin. Creating the choreographic interpretation of this character, Neumeier did not pursue the original verbatim. However, the choreographer strongly emphasizes the difference between Levin and other characters. Determination of the staging techniques used for this purpose define the novelty of the research results, which can be applied in the further study of Neumeier's works. This includes explicit monologue, Stevens' songs as musical background, bare feet of the dancer, series of symbolic leitmotivs of bodily movements, arbitrary bodily movements that resemble improvisation, usage of costume details. Levin's monologues represent a performance within a performance, philosophical-symbolic choreographic meditation that is not connected with the overall plotline. Such solution, despite all apparent differences, conceptually brings together the choreographed character of Levin and the original text. Interpretation of this role is one of the key components in interpretation of L. Tolstoy's novel by J. Neumeier, which encompasses the author’s innovative staging solutions.

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Chenier, Dylan. „Verbatim Voices: An Investigation of Housing and Development in Kingston“. Canadian Theatre Review 191 (01.08.2022): 68–71. http://dx.doi.org/10.3138/ctr.191.010.

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Verbatim theatre is a sub-genre of the documentary theatre movement committed to authentic representations of ordinary people and events. As such, it has become a popular tool for Canadian theatre artists to examine contemporary political issues by presenting a plurality of perspectives on the same issue. Through the creation of an original verbatim play on housing in Kingston, I hope to test the effectiveness of verbatim in shaping people’s understanding of Kingston’s current housing crisis. By showcasing the perspectives of a diverse range of citizens, this play will consider the toll the housing crisis is taking on different people. This article examines the ways verbatim is especially well poised to represent Kingston’s housing crisis.

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Shah, Sonali, und Stephen Greer. „Polio monologues: translating ethnographic text into verbatim theatre“. Qualitative Research 18, Nr. 1 (24.03.2017): 53–69. http://dx.doi.org/10.1177/1468794117696141.

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Mass vaccination programmes mean that poliomyelitis is almost a forgotten memory in the Global North. But in reality its effects continue as many people who contracted paralytic polio in childhood may develop functional deterioration (Post-Polio Syndrome or PPS) in later adulthood; mass migration and escape from violence means that it is also re-emerging in contemporary societies. Thus it is crucial for different audiences to have opportunities to engage with, and understand the life histories of polio survivors and their personal experiences of disease and disability across biographical and historical time. This article discusses the process of using recorded delivery verbatim techniques, with disabled and non-disabled actors, to translate ethnographic research about social history of polio into a creative accessible medium for new generation audiences to learn about the hidden, often contested, histories of disability and disease that may collide with professional, medical and public discourse. Our contention is that ethnodrama can give a voice to the voiceless, and enable them to contribute to the production of new knowledge, health interventions and policy instruments that affect their lives.

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Lee, Haekyoung. „Creating an Interdisciplinary History and Theater Class: A Case Study on Conducting Oral History for Verbatim Theater“. Journal of Korean Theatre Education 35 (31.12.2019): 165–204. http://dx.doi.org/10.46262/kte.35.2.4.

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Burić, Igor. „Switch on, switch off, or transcending boundaries: Contemporary currents in dramaturgy of performing arts in Novi Sad Theatre“. Maska 33, Nr. 191 (01.09.2018): 116–23. http://dx.doi.org/10.1386/maska.33.191-192.116_5.

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In my review of Zoltán Puskas’s OFF at the Novi Sad Theatre, I considered the implementation of contemporary performing currents, especially verbatim, in an atypical, most creative albeit minority-determined theatre environment. The work, based on regulatory administrative documents, problematizes the relation of society to art and vice versa, suggesting a new – or quite old – view of such engagement.

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Frimberger, Katja. „“Some People Are Born Strange”“. Qualitative Inquiry 23, Nr. 3 (07.07.2016): 228–39. http://dx.doi.org/10.1177/1077800416643995.

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The article explores the role of a Brechtian theater pedagogy as “philosophical ethnography” in four investigative drama-based workshops, which took international students’ intercultural “strangeness” experiences as the starting point for aesthetic experimentation. It is argued that a Brechtian theater pedagogy allows for a productive rather than representational orientation in research, which is underpinned by a love for the aesthetic “re-entanglement” of (dis-embodied) language and ethical concerns about mimetic representational acts. To show how a Brechtian research pedagogy functioned as philosophical ethnography, the article maps the aesthetic transformation of participant Jamal’s verbatim account in the drama workshops—from (a) its emergence in a post-creative-writing discussion in Workshop 2, to (b) its enactment as a body sculpture in Workshop 3, and (c) to its translation into a rehearsal piece in Workshop 4.

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Molley, Scott, Amy Derochie, Jessica Teicher, Vibhuti Bhatt, Shara Nauth, Lynn Cockburn und Sylvia Langlois. „Patient Experience in Health Professions Curriculum Development“. Journal of Patient Experience 5, Nr. 4 (15.05.2018): 303–9. http://dx.doi.org/10.1177/2374373518765795.

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To enhance student learning, many health profession programs are embracing involvement of patients in their curricula, yet little is known about the impact of such an experience on patients. Objective: To understand the experiences of patients who contributed to the creation of a Verbatim Reader’s Theater used in health professions curriculum. Methods: A semi-structured interview was conducted with a focus group of 3 patients who participated in curriculum development. The interview was recorded, transcribed verbatim, and analyzed for themes using van Manen approach to hermeneutic phenomenology. Results: Five themes emerged: (1) contextualizing contribution, (2) addressing expectations, (3) changing health-care service delivery, (4) sharing common experiences, and (5) coordinating participation. Conclusion: Patients had a positive experience contributing to curriculum development and found meaning in sharing their lived experience to shape the values of future clinicians. Strategies to promote continued success in partnership between patients and health professional curriculum developers include clear communication about the project’s direction and early discussion of patient role and expectations.

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Bianchi, Victoria. „Flexible Characterization: Herstorical Performance in Heritage Sites“. New Theatre Quarterly 36, Nr. 4 (November 2020): 355–68. http://dx.doi.org/10.1017/s0266464x20000603.

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This article explores how performance and character can be used to represent the lives of real women in spaces of heritage. It focuses on two different site-specific performances created by the author in the South Ayrshire region of Scotland: CauseWay: The Story of the Alloway Suffragettes and In Hidden Spaces: The Untold Stories of the Women of Rozelle House. These were created with a practice-as-research methodology and aim to offer new models for the use of character in site-specific performance practice. The article explores the variety of methods and techniques used, including verbatim writing, spatial exploration, and Herstorical research, in order to demonstrate the ways in which women’s narratives were represented in a theoretically informed, site-specific manner. Drawing on Phil Smith’s mythogeography, and responding to Laurajane Smith’s work on gender and heritage, the conflicting tensions of identity, performance, and authenticity are drawn together to offer flexible characterization as a new model for the creation of feminist heritage performance. Victoria Bianchi is a theatre-maker and academic in the School of Education at the University of Glasgow. Her work explores the relationship between space, feminism, and identity. She has written and performed work for the National Trust for Scotland, Camden People’s Theatre, and Assembly at Edinburgh, among other institutions.

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Loots, Lliane. „The autoethnographic act of choreography: considering the creative process of storytelling with and on the performative dancing body and the use of Verbatim Theatre methods“. Critical Arts 30, Nr. 3 (03.05.2016): 376–91. http://dx.doi.org/10.1080/02560046.2016.1205323.

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Dissertationen zum Thema "Creating Verbatim Theatre"

Wilkinson, Linden Ann. „Creating Verbatim Theatre - Exploring the gap between public inquiry and private pain“. Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2472.

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Using arts-informed/narrative inquiry as its methodology, this thesis examines the creation of a performance text using verbatim theatre techniques. The play, Remembering One Day in December, evolved from the interweaving of personal narratives taken from volunteer participants, who were impacted by the 1999 Glenbrook Rail Disaster, when a crowded commuter train collided with the almost stationary Indian Pacific. It also includes documentary extracts from the first of three Public Inquiries into the event. From multiple perspectives, yet with shared motifs, the play tells the story of the day, the disillusionment with anticipated trauma support and concludes with the participants’ slow but inspiring journeys towards healing. The thesis also explores the increasing interest in performance as a research tool, because of its capacity to comprehensively present a multiplicity of complex truths. Also at this time of centralized media ownership and homogenized, reductionist media content, this thesis also suggests that the verbatim theatre form, so particularly dependent on complex cultural narratives, could be evolving as a bridge between mainstream stages and community concerns, where community can be either global or regional and some of its concerns are no longer the province of news and current affairs. Lastly this thesis offers the researcher an opportunity to reflexively examine the editing process in the construction of the play text. It describes the researcher’s journey from interviewer to story custodian and analyses how this shift in relationship affected the text’s content and structure, where the intention to deliver an authentic and compelling piece of verbatim theatre remained paramount.

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Hyde, Sophie-Louise. „'We should be united' : deploying verbatim methods in poetry to (re)present expressions of identity and ideas of imagined community in the 2011 Birmingham riots“. Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25516.

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Despite the upsurge in fact-based and verbatim theatre in recent years (Fogarth and Megson 2009: 1), engagement with the form as a technique equally suitable for poetry has been especially limited. This thesis examines the deployment of verbatim methods in a series of poems which constitute the creative element, written in order to (re)present expressions of identity and ideas of imagined community during the 2011 riots in Birmingham. Located in the context of this particular disorder, United We Stand explores both individual and group experiences of the events that took place in Birmingham. The series of verbatim poems draws on data extracted from 25 semi-structured, life-story interviews with participants who lived or worked in the city during these incidents. In doing so, both the thesis and the creative practice that informs it critique Benedict Anderson s earlier model of the nation as an imagined community (1983; 1991; 2006). While quantitative network analysis is deployed to establish the ties between media channels and ordinary citizens that were maintained online through social networking, creative and reported responses published by these same media sources are analysed in relation to national narrative conventions (Billig 2001; Mihelj 2011). This demonstrates that new and popular media played a significant role in (re)presenting imagined communities in this setting. By providing evidence for the existence of these shifting imagined communities across various geographical, social and cultural scales, the thesis suggests that Anderson s decision to focus on the nation is problematic. It argues that his framework is partial and that a new definition of imagined community as both fluid and emergent is necessary. Literary context for the thesis is found in the origins and developments of verbatim; exploring early documentary theatre practice and contemporary verbatim productions by Richard Norton-Taylor, Alecky Blythe, and Gillian Slovo. Through an analysis of Bhanu Kapil Rider s The Vertical Interrogation of Strangers (2001), the thesis illustrates how existing poets have organised comparable methods in their own work. This culminates in a demonstration of practice as research by producing a ground-breaking body of work: United We Stand is a series of poems crafted through the deployment of verbatim methods. The thesis demonstrates that deploying verbatim methods in poetry is suitable for (re)presenting expressions of identity and ideas of imagined community in this context. By transforming the voices of ordinary people of Birmingham, United We Stand reflects the media narratives that precede it: the poems are a direct engagement with the same fluid and emergent imagined communities that they argue existed. More importantly, though, this thesis goes beyond contemporary techniques of verbatim and establishes the evolutionary nature of it as a poetic practice. The combination of verbatim methods and visual-digital tools that I deploy throughout United We Stand results in a new creative process which I have termed Digital Poetic Mimesis.

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Wilkinson, Linden Ann. „Creating Verbatim Theatre - Exploring the gap between public inquiry and private pain“. 2008. http://hdl.handle.net/2123/2472.

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Master of Education (Research)
Using arts-informed/narrative inquiry as its methodology, this thesis examines the creation of a performance text using verbatim theatre techniques. The play, Remembering One Day in December, evolved from the interweaving of personal narratives taken from volunteer participants, who were impacted by the 1999 Glenbrook Rail Disaster, when a crowded commuter train collided with the almost stationary Indian Pacific. It also includes documentary extracts from the first of three Public Inquiries into the event. From multiple perspectives, yet with shared motifs, the play tells the story of the day, the disillusionment with anticipated trauma support and concludes with the participants’ slow but inspiring journeys towards healing. The thesis also explores the increasing interest in performance as a research tool, because of its capacity to comprehensively present a multiplicity of complex truths. Also at this time of centralized media ownership and homogenized, reductionist media content, this thesis also suggests that the verbatim theatre form, so particularly dependent on complex cultural narratives, could be evolving as a bridge between mainstream stages and community concerns, where community can be either global or regional and some of its concerns are no longer the province of news and current affairs. Lastly this thesis offers the researcher an opportunity to reflexively examine the editing process in the construction of the play text. It describes the researcher’s journey from interviewer to story custodian and analyses how this shift in relationship affected the text’s content and structure, where the intention to deliver an authentic and compelling piece of verbatim theatre remained paramount.

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Bücher zum Thema "Creating Verbatim Theatre"

Summerskill, Clare. Creating Verbatim Theatre from Oral Histories. Taylor & Francis Group, 2020.

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Summerskill, Clare. Creating Verbatim Theatre from Oral Histories. Taylor & Francis Group, 2020.

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Creating Verbatim Theatre from Oral Histories. Taylor & Francis Group, 2020.

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Summerskill, Clare. Creating Verbatim Theatre from Oral Histories. Taylor & Francis Group, 2020.

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Summerskill, Clare. Creating Verbatim Theatre from Oral Histories. Taylor & Francis Group, 2020.

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Summerskill, Clare. Creating Verbatim Theatre from Oral Histories. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773.

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Creating Verbatim Theatre from Oral Histories. Taylor & Francis Group, 2020.

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Buchteile zum Thema "Creating Verbatim Theatre"

Summerskill, Clare. „What Is Verbatim Theatre?“ In Creating Verbatim Theatre from Oral Histories, 8–22. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-3.

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Summerskill, Clare. „Oral History and Verbatim Theatre“. In Creating Verbatim Theatre from Oral Histories, 23–29. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-4.

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Summerskill, Clare. „Checklist for Producing Your Verbatim Play“. In Creating Verbatim Theatre from Oral Histories, 178–79. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-20.

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Summerskill, Clare. „Ethical Considerations and Guidelines for Verbatim Theatre Processes“. In Creating Verbatim Theatre from Oral Histories, 45–59. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-7.

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Summerskill, Clare. „Getting Started“. In Creating Verbatim Theatre from Oral Histories, 69–91. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-10.

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Summerskill, Clare. „The Interview“. In Creating Verbatim Theatre from Oral Histories, 92–108. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-11.

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Summerskill, Clare. „After the Interview“. In Creating Verbatim Theatre from Oral Histories, 109–15. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-12.

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Summerskill, Clare. „Sculpting Your Play“. In Creating Verbatim Theatre from Oral Histories, 116–27. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-13.

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Summerskill, Clare. „Scripting Options and Techniques“. In Creating Verbatim Theatre from Oral Histories, 128–37. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-14.

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Summerskill, Clare. „Beyond the Script“. In Creating Verbatim Theatre from Oral Histories, 138–43. Routledge, 2020. http://dx.doi.org/10.4324/9780429059773-15.

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