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Multisensory Shakespeare and Specialized Communities

Cavanagh Sheila T.
Innbundet / 2024 / Engelsk

Produktdetaljer

ISBN
9781350296428
Publisert
2024-02-08
Utgiver
Vendor
The Arden Shakespeare
Høyde
216 mm
Bredde
138 mm
Aldersnivå
P, 06
Språk
Product language
Engelsk
Format
Product format
Innbundet
Antall sider
288

Forfatter
Cavanagh Sheila T.
Series edited by
Ruiter, David
Chapman, Matthieu

Biographical note

Sheila T. Cavanagh is Professor of English at Emory University, USA, and Director of the World Shakespeare Project, which has brought her into contact with Shakespeareans around the globe. She has published widely in early modern literature, culture, pedagogy, and applied Shakespeare.

Multisensory Shakespeare and Specialized Communities

Cavanagh Sheila T.
Innbundet / 2024 / Engelsk
Cavanagh Sheila T.
Innbundet / 2024 / Engelsk
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Sheila Cavanagh’s book deftly collaborates and extends across borders: intellectual, disciplinary, sensory, institutional and geographic. Her scope is radically inclusive, and the specialized communities she discusses range widely in character and situation. What I admire about this research is its urgent social commitment, its clear-eyed view of cultural capital, and its creative and respectful partnership with theatre makers of all kinds. Cavanagh has an eye for the compelling anecdote or quotation that brings a context or individual to life, and her book is always alert to the irreducible individuality of the encounters she discusses. If you are sceptical about Shakespeare in such specialized settings (I think I was before reading this), Cavanagh’s work, combining analysis with joy and academic insight with personal empathy, will persuade you to think again.

Emma Smith, University of Oxford, UK

Sheila Cavanaugh is a unique voice in the Shakespeare world: she not only studies Shakespeare productions in every part of the globe, but in this new book she reveals the relevance of Shakespeare to include the most disenfranchised. This is an original, haunting book.

Tina Packer, Founding Artistic Director, Shakespeare & Company, USA

How can theatre and Shakespearean performance be used with different communities to assist personal growth and development, while advancing social justice goals?Employing an integrative approach that draws from science, actor training, therapeutical practices and current research on the senses, this study reveals the work being done by drama practitioners with a range of specialized populations, such as incarcerated people, neurodiverse individuals, those with physical or emotional disabilities, veterans, people experiencing homelessness and many others. With insights drawn from visits to numerous international programs, it argues that these endeavors succeed when they engage multiple human senses and incorporate kinesthetic learning, thereby tapping into the diverse benefits associated with artistic, movement and mindfulness practices. Neither theatre nor Shakespeare is universally beneficial, but the syncretic practices described in this book offer tools for physical, emotional and collaborative undertakings that assist personal growth and development, while advancing social justice goals. Among the practitioners and companies whose work is examined here are programs from the Shakespeare in Prison Network, the International Opera Theater, Blue Apple Theatre, Flute Theatre, DeCruit and Feast of Crispian programs for veterans, Extant Theatre and prison programs in Kolkata and Mysore, India.
Les mer
AcknowledgementsAbbreviationsIntroduction: ‘The Five [or more] Best Senses’ Chapter One. ‘In Mine Own Throat’: The Power of Breath and VoiceChapter Two: Hearing ‘the Owl Shriek’: Shakespearean SoundscapesChapter Three. ‘Such Branches of Learning’: Shakespeare and Learning DifferencesChapter Four. ‘Touch of nature’: Expanding Shakespearean Sensory PalatesChapter Five: ‘Weight of pain’: Trauma-informed Shakespeare for Veterans Chapter Six: ‘The rich advantage of good exercise’: Physicality, Art and Mindfulness In Prison ShakespeareChapter Seven: ‘The Open Ear of Youth’: Shakespeare through Physical and Expressive ArtsNotesBibliographyIndex
Les mer
Sheila Cavanagh’s book deftly collaborates and extends across borders: intellectual, disciplinary, sensory, institutional and geographic. Her scope is radically inclusive, and the specialized communities she discusses range widely in character and situation. What I admire about this research is its urgent social commitment, its clear-eyed view of cultural capital, and its creative and respectful partnership with theatre makers of all kinds. Cavanagh has an eye for the compelling anecdote or quotation that brings a context or individual to life, and her book is always alert to the irreducible individuality of the encounters she discusses. If you are sceptical about Shakespeare in such specialized settings (I think I was before reading this), Cavanagh’s work, combining analysis with joy and academic insight with personal empathy, will persuade you to think again.
Les mer
This study examines the work of drama practitioners using Shakespearean performance and multisensory practices with a range of specialized populations, including incarcerated people, neurodiverse individuals, those with physical or emotional disabilities, veterans and persons labeled 'rough sleepers'.
Les mer
It addresses the “why Shakespeare” question, which is often asked of applied Shakespeare activities
Shakespeare and Social Justice addresses the relevance and responsibility of Shakespeare work and production to the practices, processes and goals of social justice. It addresses the significant teaching and learning, performance and practice, theory and economies that not only expand the discussion of literature and theatre, but also refocus engagements dedicated to creating positive social change. Advisory Board:Bernadette Andrea, UCSB, USAChris Anthony, DePaul and The Shakespeare Center of Los Angeles, USALezlie Cross, University of Portland, USAAmbereen Dadabhoy, Harvey Mudd College, USANandini Das, Oxford University, UKCarla Della Gatta, Florida State University, USASarah Enloe, American Shakespeare Center, USAEwan Fernie, Shakespeare Institute, University of Birmingham, UKCoen Heijes, University of Groningen, The NetherlandsPeter Holbrook, Australian Catholic University, Melbourne, AustraliaFarah Karim-Cooper, Shakespeare’s Globe, UKBaron Kelly, University of Wisconsin, USALee Chee Keng, Yale-NUS College, SingaporeRegan Linton, Phamaly Theatre, Denver, USA
Les mer

Relaterte produkter

Sheila Cavanagh’s book deftly collaborates and extends across borders: intellectual, disciplinary, sensory, institutional and geographic. Her scope is radically inclusive, and the specialized communities she discusses range widely in character and situation. What I admire about this research is its urgent social commitment, its clear-eyed view of cultural capital, and its creative and respectful partnership with theatre makers of all kinds. Cavanagh has an eye for the compelling anecdote or quotation that brings a context or individual to life, and her book is always alert to the irreducible individuality of the encounters she discusses. If you are sceptical about Shakespeare in such specialized settings (I think I was before reading this), Cavanagh’s work, combining analysis with joy and academic insight with personal empathy, will persuade you to think again.

Emma Smith, University of Oxford, UK

Sheila Cavanaugh is a unique voice in the Shakespeare world: she not only studies Shakespeare productions in every part of the globe, but in this new book she reveals the relevance of Shakespeare to include the most disenfranchised. This is an original, haunting book.

Tina Packer, Founding Artistic Director, Shakespeare & Company, USA

How can theatre and Shakespearean performance be used with different communities to assist personal growth and development, while advancing social justice goals?Employing an integrative approach that draws from science, actor training, therapeutical practices and current research on the senses, this study reveals the work being done by drama practitioners with a range of specialized populations, such as incarcerated people, neurodiverse individuals, those with physical or emotional disabilities, veterans, people experiencing homelessness and many others. With insights drawn from visits to numerous international programs, it argues that these endeavors succeed when they engage multiple human senses and incorporate kinesthetic learning, thereby tapping into the diverse benefits associated with artistic, movement and mindfulness practices. Neither theatre nor Shakespeare is universally beneficial, but the syncretic practices described in this book offer tools for physical, emotional and collaborative undertakings that assist personal growth and development, while advancing social justice goals. Among the practitioners and companies whose work is examined here are programs from the Shakespeare in Prison Network, the International Opera Theater, Blue Apple Theatre, Flute Theatre, DeCruit and Feast of Crispian programs for veterans, Extant Theatre and prison programs in Kolkata and Mysore, India.
Les mer
AcknowledgementsAbbreviationsIntroduction: ‘The Five [or more] Best Senses’ Chapter One. ‘In Mine Own Throat’: The Power of Breath and VoiceChapter Two: Hearing ‘the Owl Shriek’: Shakespearean SoundscapesChapter Three. ‘Such Branches of Learning’: Shakespeare and Learning DifferencesChapter Four. ‘Touch of nature’: Expanding Shakespearean Sensory PalatesChapter Five: ‘Weight of pain’: Trauma-informed Shakespeare for Veterans Chapter Six: ‘The rich advantage of good exercise’: Physicality, Art and Mindfulness In Prison ShakespeareChapter Seven: ‘The Open Ear of Youth’: Shakespeare through Physical and Expressive ArtsNotesBibliographyIndex
Les mer
Sheila Cavanagh’s book deftly collaborates and extends across borders: intellectual, disciplinary, sensory, institutional and geographic. Her scope is radically inclusive, and the specialized communities she discusses range widely in character and situation. What I admire about this research is its urgent social commitment, its clear-eyed view of cultural capital, and its creative and respectful partnership with theatre makers of all kinds. Cavanagh has an eye for the compelling anecdote or quotation that brings a context or individual to life, and her book is always alert to the irreducible individuality of the encounters she discusses. If you are sceptical about Shakespeare in such specialized settings (I think I was before reading this), Cavanagh’s work, combining analysis with joy and academic insight with personal empathy, will persuade you to think again.
Les mer
This study examines the work of drama practitioners using Shakespearean performance and multisensory practices with a range of specialized populations, including incarcerated people, neurodiverse individuals, those with physical or emotional disabilities, veterans and persons labeled 'rough sleepers'.
Les mer
It addresses the “why Shakespeare” question, which is often asked of applied Shakespeare activities
Shakespeare and Social Justice addresses the relevance and responsibility of Shakespeare work and production to the practices, processes and goals of social justice. It addresses the significant teaching and learning, performance and practice, theory and economies that not only expand the discussion of literature and theatre, but also refocus engagements dedicated to creating positive social change. Advisory Board:Bernadette Andrea, UCSB, USAChris Anthony, DePaul and The Shakespeare Center of Los Angeles, USALezlie Cross, University of Portland, USAAmbereen Dadabhoy, Harvey Mudd College, USANandini Das, Oxford University, UKCarla Della Gatta, Florida State University, USASarah Enloe, American Shakespeare Center, USAEwan Fernie, Shakespeare Institute, University of Birmingham, UKCoen Heijes, University of Groningen, The NetherlandsPeter Holbrook, Australian Catholic University, Melbourne, AustraliaFarah Karim-Cooper, Shakespeare’s Globe, UKBaron Kelly, University of Wisconsin, USALee Chee Keng, Yale-NUS College, SingaporeRegan Linton, Phamaly Theatre, Denver, USA
Les mer

Produktdetaljer

ISBN
9781350296428
Publisert
2024-02-08
Utgiver
Vendor
The Arden Shakespeare
Høyde
216 mm
Bredde
138 mm
Aldersnivå
P, 06
Språk
Product language
Engelsk
Format
Product format
Innbundet
Antall sider
288

Forfatter
Cavanagh Sheila T.
Series edited by
Ruiter, David
Chapman, Matthieu

Biographical note

Sheila T. Cavanagh is Professor of English at Emory University, USA, and Director of the World Shakespeare Project, which has brought her into contact with Shakespeareans around the globe. She has published widely in early modern literature, culture, pedagogy, and applied Shakespeare.

Relaterte produkter