Titlebook: Dementia, Narrative and Performance; Staging Reality, Rei Janet Gibson Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Peopl

Optic-Disk

承认

Book 2020nd are represented in ‘theatre of the real’ productions and care home interventions, assessing the extent to which the ‘right kind’ of dementia story is being affirmed or challenged. It argues that this type of story — one of tragedy, loss of personhood, biomedical deficit, and socio-economic ‘crisi

absolve

,My Mother’s Story, My Story,d socioeconomic crisis, is being affirmed or resisted in a select number of ‘theatre of the real’ productions and applied performance practices, mainly from Australia and the USA. Making a critical contribution to theatre and performance studies, Gibson uncovers the scarcely explored relationship be

Innocence

FANG

Narrative Regimestions for people with dementia. Critiquing the concept of the ‘Narrative Self’, Gibson first establishes the link between narrative and selfhood in Western societies and then argues that reminiscence narratives play a hegemonic role in dementia ‘cultures’, keeping people with dementia, elders in par

古文字学

Staging the ‘Reality’ of Dementiast in verbatim theatre. She argues that any reality being framed on stage will inevitably cite the already mediated frames of reference underpinning and bolstering this reality, making it almost impossible to avoid replaying the ‘right kind’ of dementia story and summoning ‘normative age-and-dementi

degradation

Staging Dementia Voices in Australia: ,, Theatre Kantanka, and ,, KAGE the words and stories of care home residents with dementia, and care staff. The second is ., a dance theatre piece from KAGE Company, Victoria, devised on the basis of community forums with people with dementia and their care partners. Gibson argues that . disrupts the ‘right kind’ of dementia stor

铁塔等

慢慢冲刷

出生

Rehearsing a Theory of Dementia as Performanceing with dementia that abound in both popular and medical environments. Gibson rehearses a theory of dementia as performance, formulating people with dementia as ‘performers’ and their care partners as ‘spectators’. Through the application of ‘performance consciousness’, Gibson argues that incoheren