This book examines the history, ethics, and intentions of staging personal stories and offers theatre makers detailed guidance and a practical model to support safe, ethical practice. Contemporary theatre has crossed boldly into therapeutic terrain and is now the site of radical self-exposure. Performances that would once have seemed shockingly personal and exposing have become commonplace, as people reveal their personal stories to audiences with ever-increasing candor. This has prompted the need for a robust and pragmatic framework for safe, ethical practice in mainstream and applied theatre. In order to promote a wider range of ethical risk-taking where practitioners negotiate blurred boundaries in safe and artistically creative ways, this book draws on relevant theory and practice from theatre and performance studies, psychodrama and attachment narrative therapy and provides detailed guidance supporting best practice in the theatre of personal stories. The guidance is structured within a four-part framework focused on history, ethics, praxis, and intentions. This includes a newly developed model for safe practice, called the Drama Spiral. The book is for theatre makers in mainstream and applied theatre, educators, students, researchers, drama therapists, psychodramatists, autobiographical performers, and the people who support them.

This step-by-step guide offers the tactics used by home stagers--from de-cluttering and cleaning up to arranging and remodeling--that will often yield a quicker sale and higher selling price.

College teachers all too often still play Sage on the Stage - lecturing to rooms full of passive and supposedly absorbed students. The cutting-edge opposite is still supposed to be the Guide on the Side - facilitating wherever students themselves are already going, mentoring and coaching them along the way. But who says that these are the only - or the best - alternatives? This book advances another and sharply different model: the Impresario with a Scenario, a teacher who serves as class mobilizer, improviser, and energizer, staging dramatic, often unexpected and self-unfolding learning challenges and adventures with students.In this book, the author argues that to pose a single alternative to lecturing is profoundly limiting. In fact, he says there is no reason to have to choose between "student-centered" and "teacher-centered" pedagogies. The best ways to teach and learn are both. The same applies to the false choice between "active" students and "active" teachers - there can be more than enough activity for everyone. In particular, the author argues that we need a model in which the teacher is notably pro-active - a kind of activity for which certain theatrical metaphors seem especially appropriate.Picture a college teacher who regularly sets up classroom scenarios - challenging problems, unscripted dramas, role-plays, simulations, and the like - such that the scenario itself frames and drives most of the action and learning that follows. For teaching as staging, the primary work of the teacher is staging such scenarios. The basic goal is to put students into an urgently engaging and self-unfolding scenario, trusting them to carry it forward, while being prepared to join in as needed.This book offers a conceptual and practical framework for Teaching as Staging, grounding the approach with illustrative and sometimes provocative narrative from the literature as well as the author's own practice.Teaching as the Art of Staging offers a visionary challenge to the prevailing models of pedagogy. The book presents a thoroughly practical model that opens up new possibilities for anyone interested in dramatic new directions in teaching and learning.

Known as The Makeover Guy ® from his appearances on The Oprah Winfrey Show and other national television programs, Christopher Hopkins believes that as they age, women become more beautiful but often feel less attractive. He's out to change that. For more than twenty years he's encouraged women who often feel like they' have taken a backseat to everything and everyone else to come out of the shadows and take center stage. Now it's your turn. Using Christopher's step-by-step strategies and detailed advice,you will learn to: Restore your hair with your ideal cut, color, and style. Revamp your wardrobe to flatter a changing body. Refresh your face with 'visible lift' makeup techniques. Renew your spirit and maintain your look using Christopher's revival guide.

This book investigates contemporary British and Irish performances that stage traumatic narratives, histories, acts and encounters. It includes a range of case studies that consider the performative, cultural and political contexts for the staging and reception of sexual violence, terminal illness, environmental damage, institutionalisation and asylum. In particular, it focuses on 'bodies in shadow' in twenty-first century performance: those who are largely written out of or marginalised in dominant twentieth-century patriarchal canons of theatre and history. This volume speaks to students, scholars and artists working within contemporary theatre and performance, Irish and British studies, memory and trauma studies, feminisms, performance studies, affect and reception studies, as well as the medical humanities.