Titlebook: Creativityin Theatre; Theory and Action in Suzanne Burgoyne Book 2018 Springer International Publishing AG, part of Springer Nature 2018 Ed

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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

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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

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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

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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

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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