Inclusivity and Equality in Performance Training
portes grátis
Inclusivity and Equality in Performance Training
Teaching and Learning for Neuro and Physical Diversity
Whitfield, Petronilla
Taylor & Francis Ltd
11/2021
300
Dura
Inglês
9780367646837
15 a 20 dias
453
Descrição não disponível.
1. Introduction
Petronilla Whitfield
2. Acting Training and Instruction for Wheelchair-Using Artists
Regan Linton
3. Acting without Imagery: Aphantasia in the Theatre Classroom
Alexis Black, Cameron Michael Chase, Brian De Vries, Rob Roznowski
4. Twelve Steps towards an Anti-discriminatory Approach to Neurodivergence in Actor Training
Daron Oram
5. Disabling Actions and Enabling Actors: Exploring the Method of Actioning the Text for Actors with Dyslexia
Deborah Leveroy
6. Exploring Digital Technology to Enable Acting Students with Dyslexia in Their Reading of Shakespeare
Petronilla Whitfield
7. How Can Imagery, Sounds, Textures and Other Creative Mediums Help an Actor with Dyslexia Understand and Connect to Shakespeare's Text?
Elizabeth Bartram
8. Somatic and Spatial Approaches to Essay Writing for Drama Students with Dyslexia
Jodie Allinson
9. When I Can't 'See You at the Theatre': Creating Inclusive Processes for Vision-Impaired Performers
Heather May
10. Politicized Identity: Developing a Dialectical Relationship between Disability and Ability
Jo Ronan
11. 'Embodied Voice' and Inclusivity: Ableism and Theatre Voice Training
Tara McAllister-Viel
12. Experience as Curriculum: Developing an Intuitive, Affective, Affirmative Approach to Actor Training with (Disabled) Students
Kieran Sheehan
13. Dyspraxic Approaches to Teaching Live Art in a 'Neurodivergent'/ 'Normodivergent' Classroom
Daniel Oliver and Sumita Majumdar
14. The Inclusive Drama Studio: Adaptive Strategies in University Actor Training
Rea Dennis
15. 'See a Sign' - Training for Deaf Actors Who Use British Sign Language as Their Preferred Language
Paula Garfield
16. Towards Equity and Agency in a Word-Dominated World: Working with Actors with Learning Disabilities
Richard Hayhow
Petronilla Whitfield
2. Acting Training and Instruction for Wheelchair-Using Artists
Regan Linton
3. Acting without Imagery: Aphantasia in the Theatre Classroom
Alexis Black, Cameron Michael Chase, Brian De Vries, Rob Roznowski
4. Twelve Steps towards an Anti-discriminatory Approach to Neurodivergence in Actor Training
Daron Oram
5. Disabling Actions and Enabling Actors: Exploring the Method of Actioning the Text for Actors with Dyslexia
Deborah Leveroy
6. Exploring Digital Technology to Enable Acting Students with Dyslexia in Their Reading of Shakespeare
Petronilla Whitfield
7. How Can Imagery, Sounds, Textures and Other Creative Mediums Help an Actor with Dyslexia Understand and Connect to Shakespeare's Text?
Elizabeth Bartram
8. Somatic and Spatial Approaches to Essay Writing for Drama Students with Dyslexia
Jodie Allinson
9. When I Can't 'See You at the Theatre': Creating Inclusive Processes for Vision-Impaired Performers
Heather May
10. Politicized Identity: Developing a Dialectical Relationship between Disability and Ability
Jo Ronan
11. 'Embodied Voice' and Inclusivity: Ableism and Theatre Voice Training
Tara McAllister-Viel
12. Experience as Curriculum: Developing an Intuitive, Affective, Affirmative Approach to Actor Training with (Disabled) Students
Kieran Sheehan
13. Dyspraxic Approaches to Teaching Live Art in a 'Neurodivergent'/ 'Normodivergent' Classroom
Daniel Oliver and Sumita Majumdar
14. The Inclusive Drama Studio: Adaptive Strategies in University Actor Training
Rea Dennis
15. 'See a Sign' - Training for Deaf Actors Who Use British Sign Language as Their Preferred Language
Paula Garfield
16. Towards Equity and Agency in a Word-Dominated World: Working with Actors with Learning Disabilities
Richard Hayhow
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
EDI;Actor Training;performance;Royal Central School;Dyslexic Students;directing;Deaf Actors;theatre;Live Art Practice;teaching pedagogy;Young Man;Voice Training;equity;Arts University Bournemouth;diversity;Dyslexic Actors;inclusion;Viola Spolin;inclusivity;Michael Chekhov;learning disabilities;Richard III;SPLD;Learning Disability;Specific Learning Differences;Audio Description;dyslexia;Wheelchair User;dyspraxia;Actor's Studio;visual impairment;Novice Actors;blindness;Reasonable Adjustments;Oregon Shakespeare Festival;sign language;Dense;aphantasia;Shakespeare's Text;neurodiversity;Leveroy;RADA;Chronic
1. Introduction
Petronilla Whitfield
2. Acting Training and Instruction for Wheelchair-Using Artists
Regan Linton
3. Acting without Imagery: Aphantasia in the Theatre Classroom
Alexis Black, Cameron Michael Chase, Brian De Vries, Rob Roznowski
4. Twelve Steps towards an Anti-discriminatory Approach to Neurodivergence in Actor Training
Daron Oram
5. Disabling Actions and Enabling Actors: Exploring the Method of Actioning the Text for Actors with Dyslexia
Deborah Leveroy
6. Exploring Digital Technology to Enable Acting Students with Dyslexia in Their Reading of Shakespeare
Petronilla Whitfield
7. How Can Imagery, Sounds, Textures and Other Creative Mediums Help an Actor with Dyslexia Understand and Connect to Shakespeare's Text?
Elizabeth Bartram
8. Somatic and Spatial Approaches to Essay Writing for Drama Students with Dyslexia
Jodie Allinson
9. When I Can't 'See You at the Theatre': Creating Inclusive Processes for Vision-Impaired Performers
Heather May
10. Politicized Identity: Developing a Dialectical Relationship between Disability and Ability
Jo Ronan
11. 'Embodied Voice' and Inclusivity: Ableism and Theatre Voice Training
Tara McAllister-Viel
12. Experience as Curriculum: Developing an Intuitive, Affective, Affirmative Approach to Actor Training with (Disabled) Students
Kieran Sheehan
13. Dyspraxic Approaches to Teaching Live Art in a 'Neurodivergent'/ 'Normodivergent' Classroom
Daniel Oliver and Sumita Majumdar
14. The Inclusive Drama Studio: Adaptive Strategies in University Actor Training
Rea Dennis
15. 'See a Sign' - Training for Deaf Actors Who Use British Sign Language as Their Preferred Language
Paula Garfield
16. Towards Equity and Agency in a Word-Dominated World: Working with Actors with Learning Disabilities
Richard Hayhow
Petronilla Whitfield
2. Acting Training and Instruction for Wheelchair-Using Artists
Regan Linton
3. Acting without Imagery: Aphantasia in the Theatre Classroom
Alexis Black, Cameron Michael Chase, Brian De Vries, Rob Roznowski
4. Twelve Steps towards an Anti-discriminatory Approach to Neurodivergence in Actor Training
Daron Oram
5. Disabling Actions and Enabling Actors: Exploring the Method of Actioning the Text for Actors with Dyslexia
Deborah Leveroy
6. Exploring Digital Technology to Enable Acting Students with Dyslexia in Their Reading of Shakespeare
Petronilla Whitfield
7. How Can Imagery, Sounds, Textures and Other Creative Mediums Help an Actor with Dyslexia Understand and Connect to Shakespeare's Text?
Elizabeth Bartram
8. Somatic and Spatial Approaches to Essay Writing for Drama Students with Dyslexia
Jodie Allinson
9. When I Can't 'See You at the Theatre': Creating Inclusive Processes for Vision-Impaired Performers
Heather May
10. Politicized Identity: Developing a Dialectical Relationship between Disability and Ability
Jo Ronan
11. 'Embodied Voice' and Inclusivity: Ableism and Theatre Voice Training
Tara McAllister-Viel
12. Experience as Curriculum: Developing an Intuitive, Affective, Affirmative Approach to Actor Training with (Disabled) Students
Kieran Sheehan
13. Dyspraxic Approaches to Teaching Live Art in a 'Neurodivergent'/ 'Normodivergent' Classroom
Daniel Oliver and Sumita Majumdar
14. The Inclusive Drama Studio: Adaptive Strategies in University Actor Training
Rea Dennis
15. 'See a Sign' - Training for Deaf Actors Who Use British Sign Language as Their Preferred Language
Paula Garfield
16. Towards Equity and Agency in a Word-Dominated World: Working with Actors with Learning Disabilities
Richard Hayhow
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
EDI;Actor Training;performance;Royal Central School;Dyslexic Students;directing;Deaf Actors;theatre;Live Art Practice;teaching pedagogy;Young Man;Voice Training;equity;Arts University Bournemouth;diversity;Dyslexic Actors;inclusion;Viola Spolin;inclusivity;Michael Chekhov;learning disabilities;Richard III;SPLD;Learning Disability;Specific Learning Differences;Audio Description;dyslexia;Wheelchair User;dyspraxia;Actor's Studio;visual impairment;Novice Actors;blindness;Reasonable Adjustments;Oregon Shakespeare Festival;sign language;Dense;aphantasia;Shakespeare's Text;neurodiversity;Leveroy;RADA;Chronic
