In Performing Loss: Rebuilding Community through Theater and Writing, author Jodi Kanter explores opportunities for creativity and growth within our collective responses to grief. Performing Loss provides teachers, students, and others interested in performance with strategies for reading, writing, and performing loss as communities—in the classroom, the theater, and the wider public sphere. From an adaptation of Jose Saramago’s novel Blindness to a reading of Suzan-Lori Parks’s The America Play, from Kanter’s own experience creating theater with terminally ill patients and federal prisoners to a visual artist’s response to September 11th, Kanter shows in practical, replicable detail how performing loss with community members can transform experiences of isolation and paralysis into experiences of solidarity and action. Drawing on academic work in performance, cultural studies, literature, sociology, and anthropology, Kanter considers a range of responses to grief in historical context and goes on to imagine newer, more collaborative, and more civically engaged responses. Performing Loss describes Kanter’s pedagogical and artistic processes in lively and vivid detail, enabling the reader to use her projects as models or to adapt the techniques to new communities, venues, and purposes. Kanter demonstrates through each example the ways in which writing and performing can create new possibilities for mourning and living together.

This book locates and critically theorises an emerging field of twenty-first century theatre practice concerned, either thematically, methodologically, or formally, with acts of commemoration and the commemorative. With notions of memorial, celebration, temporality and remembrance at its heart, and as a timely topic for debate, this book asks how theatre and performance intersects with commemorative acts or rituals in contemporary theatre and performance practice. It considers the (re)performance of history, commemoration as a form of, or performance of, ritual, performance as memorial, performance as eulogy and eulogy as performance. It asks where personal acts of remembrance merge with public or political acts of remembrance, where the boundary between the commemorative and the performative might lie, and how it might be blurred, broken or questioned. It explores how we might remake the past in the present, to consider not just how performance commemorates but how commemoration performs.

#1 New York Times bestselling author John C. Maxwell brings his common sense self-help lessons to teens! Any setback--a championship loss, a bad grade, a botched audition-can be seen as a step forward when teens possess the right tools to turn that loss into a gain of knowledge. Drawing on nearly fifty years of leadership experience, Dr. Maxwell provides a roadmap for becoming a true learner, someone who wins in the face of problems, failures, and losses. The teachings from Sometimes You Win, Sometimes You Learn have been edited and adapted just for teens. This Young Readers edition features all-new stories of real life figures that overcame adversity early in their lives, including entrepreneur Steve Jobs, Olympic Gold Medalists Gabby Douglas and Mikaela Shiffrin, and Nobel Peace Prize nominee Malala Yousafzai.

In Learning to Perform. Carol Simpson Stern and Bruce Henderson introduce the art and craft of performing literary texts, including poetry, prose fiction, and drama, as well as personal narratives and ethnographic materials. They present a performance methodology that offers instruction in close reading and analysis, the development and refinement of performance skills, and the ability to think critically about and discuss a performance. As students become reacquainted with the world of the imagination and its possibilities, the insights they gain in the classroom can become the basis for achievement not only on the stage or in front of the camera but in many facets of public life. By addressing an expanded sense of text that includes cultural as well as literary artifacts, Stern and Henderson bridge the gap between oral interpretation and the more inclusive field of performance studies. A substantial appendix provides a dozen texts for performance in the classroom, including works by Jane Hamilton, Willa Cather, Henry James, E.M. Forster, Henrik Ibsen, Jane Austen, and Michael S. Bowman. --Book Jacket.

Some vols. include supplemental journals of "such proceedings of the sessions, as, during the time they were depending, were ordered to be kept secret, and respecting which the injunction of secrecy was afterwards taken off by the order of the House".