Fitzsimmons Frey Heather (46 results)

Condition: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condition: New.

Condition: Very Good.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Paperback. Condition: new. Paperback. An edited collection of essays exploring ways that theatrical devising supports and defies higher educations institutional goals. In the theater industry, off book refers to the date by which performers are to have memorized their lines and will no longer carry their play scriptthe bookon stage. But for the authors of this volume, the question is not when the book needs to be memorized, but why is there a need to be on book in the first place? Practitioners of devised performance choose to compose live performances from scratch rather than follow instructions in someone elses script; educators of devised performance prefer to practice learning, too, as a generative and creative process that can never be confused with mere memorization. In its usual context, off book implies that theater is (literally) authorized by the bookthe dramatic textthat represents its essential core or contains its meaning. Yet the book is not essential, and the chapters here highlight higher education theater practices that throw away the book altogether, creating space for actors and learners to do more than memorize. The conventional rules and hierarchies of theater creation, research, training, and education are not always relevant, or desirable, in these contexts. Instead, the questions and practices that go beyond the book matter. Lively and engaging, Off Book will be a valuable and unique resource for university students, drama educators, theater historians, and practicing devised theater artists. Collection of essays exploring ways that theatrical devising supports and defies higher educations institutional goals. Considering power, timelines, colonial structures, inclusion and exclusion, research, community engagement, and student learning outcomes, the authors examine devising in Canada, Australia, and Aotearoa New Zealand. 34 b&w illus. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. In the theatre world, 'off book' signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script - the 'book' - on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, 'off book' captures the tension between ephemeral, live performance and durable, authorized literature: in one sense, the book - the written play - is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an 'on book' performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it. Devised performance might be described as 'theatre without the book.' Yet devisors also often use books - books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done 'by the book,' devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments.The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, 'Devising Pedagogy: Teaching Transferable Tools', examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, 'Devising Friction: Ensembles, Individuals, and the Institution', shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, 'Devising (by) Degrees', practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in 'Devising Bridges: University-Community Engagement' explore how devising connects higher education institutions with the public they are intended to serve - particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities.A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.…

hardcover. Condition: Very Good.

hardcover. Condition: Fine.

Condition: New.

Condition: New.

Condition: New. In English.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New.

Condition: New.

Hardcover. Condition: Brand New. 1st edition. 258 pages. 9.25x6.25x0.75 inches. In Stock.

Paperback. Condition: new. Paperback. An edited collection of essays exploring ways that theatrical devising supports and defies higher educations institutional goals. In the theater industry, off book refers to the date by which performers are to have memorized their lines and will no longer carry their play scriptthe bookon stage. But for the authors of this volume, the question is not when the book needs to be memorized, but why is there a need to be on book in the first place? Practitioners of devised performance choose to compose live performances from scratch rather than follow instructions in someone elses script; educators of devised performance prefer to practice learning, too, as a generative and creative process that can never be confused with mere memorization. In its usual context, off book implies that theater is (literally) authorized by the bookthe dramatic textthat represents its essential core or contains its meaning. Yet the book is not essential, and the chapters here highlight higher education theater practices that throw away the book altogether, creating space for actors and learners to do more than memorize. The conventional rules and hierarchies of theater creation, research, training, and education are not always relevant, or desirable, in these contexts. Instead, the questions and practices that go beyond the book matter. Lively and engaging, Off Book will be a valuable and unique resource for university students, drama educators, theater historians, and practicing devised theater artists. Collection of essays exploring ways that theatrical devising supports and defies higher educations institutional goals. Considering power, timelines, colonial structures, inclusion and exclusion, research, community engagement, and student learning outcomes, the authors examine devising in Canada, Australia, and Aotearoa New Zealand. 34 b&w illus. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Condition: As New. Unread book in perfect condition.

Condition: Good. [ No Hassle 30 Day Returns ][ Ships Daily ] [ Underlining/Highlighting: NONE ] [ Writing: NONE ] [ Edition: First ] Publisher: Intellect Ltd Pub Date: 2/28/2023 Binding: Hardcover Pages: 272 First edition.

hardcover. Condition: Acceptable. HARDCOVER Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. Standard-sized.

Hardcover. Condition: new. Hardcover. This book is an original study of the youth organizations in London, Toronto, and Vancouver that offer creative and arts programs mainly to youth from diverse and socially marginalized backgrounds. It describes a sector that is often not recognized, organizations that don't like being institutionalized, forms of education that exist outside the mainstream, types of aesthetic expression that often go unrecognized, and unusual learning and cultural opportunities forsocially marginalized young people. Rooted in the history of community arts movements from the 1970s, Youthsites, or the non-formal youth arts learning sector, is now part of cities around theworld.Technological change, shifts in educational discourses, changes in policy rhetorics, including a turn away from traditional public institutions and a decline in funding of formal public schooling have all impacted the growth of youth arts organizations. Yet there are to date no systematic studies of the history, structure, and development of this sector. Youthsites: Histories of Creativity, Care, and Learning in the City fills this gap and is the first bookto develop an internationally comparative, evidence-based, structural analysis of the development of the youth arts sector. Based on an original 4-year study examining the history, priorities, and tensionswithin this sector between 1995 and 2015, Youthsites explores the organizations and people who are helping young people to become creators, citizens, or just themselves in times of austerity, crisis, and change.This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. …

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: New. In the theatre world, 'off book' signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script - the 'book' - on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, 'off book' captures the tension between ephemeral, live performance and durable, authorized literature: in one sense, the book - the written play - is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an 'on book' performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it. Devised performance might be described as 'theatre without the book.' Yet devisors also often use books - books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done 'by the book,' devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments.The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, 'Devising Pedagogy: Teaching Transferable Tools', examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, 'Devising Friction: Ensembles, Individuals, and the Institution', shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, 'Devising (by) Degrees', practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in 'Devising Bridges: University-Community Engagement' explore how devising connects higher education institutions with the public they are intended to serve - particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities.A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.…

Hardcover. Condition: Brand New. 1st edition. 258 pages. 9.25x6.25x0.75 inches. In Stock.

Condition: New. In English.

Hardback. Condition: New. New. In the theatre world, 'off book' signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script - the 'book' - on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, 'off book' captures the tension between ephemeral, live performance and durable, authorized literature: in one sense, the book - the written play - is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an 'on book' performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it. Devised performance might be described as 'theatre without the book.' Yet devisors also often use books - books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done 'by the book,' devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments.The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, 'Devising Pedagogy: Teaching Transferable Tools', examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, 'Devising Friction: Ensembles, Individuals, and the Institution', shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, 'Devising (by) Degrees', practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in 'Devising Bridges: University-Community Engagement' explore how devising connects higher education institutions with the public they are intended to serve - particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities.A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.…