From Raina Telgemeier, the #1 New York Times bestselling, multiple Eisner Award-winning author of Smile and Sisters! Callie loves theater. And while she would totally try out for her middle school's production of Moon over Mississippi, she can't really sing. Instead she's the set designer for the drama department's stage crew, and this year she's determined to create a set worthy of Broadway on a middle-school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen. And when two cute brothers enter the picture, things get even crazier!
Tracing the history of tragedy and comedy from their earliest beginnings to the present, this book offers readers an exceptional study of the development of both genres, grounded in analysis of landmark plays and their context. It argues that sacrifice is central to both genres, and demonstrates how it provides a key to understanding the grand sweep of Western drama. For students of literature and drama the volume serves as an accessible companion to over two millennia of drama organised by period, and reveals how sacrifice represents a through-line running from classical drama to today's reality TV and blockbuster movies. Across the chapters devoted to each period, Day explores how the meanings of sacrifice change over time, but never quite disappear. He charts the influences of religion, social change and politics on the status and purposes of theatre in each period, and on the drama itself. But it is through a close study of key plays that he reveals the continuities centred around sacrifice that persist and which illuminate aspects of human psychology and social organisation. Among the many plays and events considered are Aeschylus' trilogy The Oresteia, Aristophanes' Women at the Thesmorphia, Menander's The Bad-Tempered Man, the spectacles of the Roman Games, Seneca's The Trojan Women, Plautus's The Rope, the Cycle plays and Everyman from the Middle Ages, Shakespeare's King Lear and A Midsummer Night's Dream, Middleton's The Revenger's Tragedy, Jonson's Every Man in His Humour, Thomas Otway's The Orphan, William Wycherley's The Country Wife, Wilde's A Woman of No Importance, Beckett' Waiting for Godot, Tennessee Williams's A Streetcar Named Desire, Suzan-Lori Parks's Topdog/Underdog, Sarah Kane's Blasted and Charlotte Jones' Humble Boy. A conclusion examines the persistence of ideas of sacrifice in today's reality TV and blockbuster movies.
This revised and expanded edition of a popular classic resource explores constructive ways to use drama and story to engage students in learning, through all areas of the curriculum. Organized around proven ways to use all types of stories, each chapter features effective frameworks and workshop lessons easily implemented in any classroom. The work is built around shared stories 7F 14 picture books, folktales, novels, historical narratives, and true life events. Teachers will find numerous innovative ways to incorporate a variety of drama processes, including improvising, role playing, mime, storytelling, enacting, playmaking, reading aloud, writing in role, and performing.
The inspiration for the NBC TV series "Rise," starring Josh Radnor, Auli'i Cravalho, and Rosie Perez — the incredible and true story of an extraordinary drama teacher who has changed the lives of thousands of students and inspired a town. By the author of The Last Temptation of Rick Pitino. Why would the multimillionaire producer of Cats, The Phantom of the Opera, and Miss Saigon take his limo from Manhattan to the struggling former steel town of Levittown, Pennsylvania, to see a high school production of Les Misérables? To see the show performed by the astoundingly successful theater company at Harry S Truman High School, run by its legendary director, Lou Volpe. Broadway turns to Truman High when trying out controversial shows such as Rent and Spring Awakening before they move on to high school theater programs across the nation. Volpe’s students from this blue-collar town go on to become Emmy-winning producers, entertainment executives, newscasters, and community-theater founders. Michael Sokolove, a Levittown native and former student of Volpe’s, chronicles the drama director’s last school years and follows a group of student actors as they work through riveting dramas both on and off the stage. This is a story of an economically depressed but proud town finding hope in a gifted teacher and the magic of theater.
How do characters tell stories in plays and for what dramatic purpose? This volume provides the first systematic analysis of narrative episodes in drama from an interactional perspective, applying sociolinguistic theories of narrative and insights from conversation analysis to literary dialogue. The aim of the book is to show how narration can become drama and how analysis of the way a character tells a story can be the key to understanding its role in the unfolding action. The book s interactional approach, which analyses the way in which the characteristic features of everyday conversational stories are used by dramatists to create literary effects, offers an additional tool for dramatic criticism. The book should be of interest to scholars and students of narrative research, conversation and discourse analysis, stylistics, dramatic discourse and theatre studies. Winner of 2012 Esse Book Award for Language and Linguistics"
This is a book that looks at how drama has its basis in good early years practice. Most early years practitioners are doing some drama and are edging towards more structured work - this text will help them go further by building their own skills. Using tried and tested example dramas based on traditional stories, the authors show how clearly dramas are constructed. They move from the simple use if TiR (Teacher in Role) to more complex, full dramas, using traditional stories including Little Bo Peep, Cinderella, Sleeping Beauty, Humpty Dumpty, The Pied Piper, The Billy Goats Gruff and Hansel and Gretel. Drama in the early years covers a number of key areas where drama is of particular importance for this age group including: * drama in the National Curriculum * how drama can help your teaching of the Literacy Hour * personal and social education and citizenship * drama and special needs * assessment * recording and progression * developing a school policy for drama.
How can teachers incorporate drama into the curriculum? What drama activities are especially successful? How do teachers know when students are learning in, through and about drama? Teachers who are new to drama, or those wishing to refresh their knowledge and ideas, should find practical answers and guidance in this text. The book introduces the work of Cecily O'Neill to demonstrate the entry points to drama lessons, the pre-texts, and how educators need to introduce lessons with challenging material. He then uses the work of David Booth to highlight one aspect of drama - storydrama - and how it can be used as an effective learning medium across the curriculum.
The Cambridge Companion to Narrative provides a unique and valuable overview of current approaches to narrative study. An international team of experts explores ideas of storytelling and methods of narrative analysis as they have emerged across diverse traditions of inquiry and in connection with a variety of media, from film and television, to storytelling in the 'real-life' contexts of face-to-face interaction, to literary fiction. Each chapter presents a survey of scholarly approaches to topics such as character, dialogue, genre or language, shows how those approaches can be brought to bear on a relatively well-known illustrative example, and indicates directions for further research. Featuring a chapter reviewing definitions of narrative, a glossary of key terms and a comprehensive index, this is an essential resource for both students and scholars in many fields, including language and literature, composition and rhetoric, creative writing, jurisprudence, communication and media studies, and the social sciences.
In this riveting and surprising personal history, John Lithgow shares a backstage view of his own struggle, crisis, and discovery, revealing the early life and career that took place out of the public eye and before he became a nationally known star. Above all, Lithgow’s memoir is a tribute to his most important influence: his father, Arthur Lithgow, who, as an actor, director, producer, and great lover of Shakespeare, brought theater to John’s boyhood. From bedtime stories to Arthur’s illustrious productions, performance and storytelling were constant and cherished parts of family life. Drama tells of the Lithgows’ countless moves between Arthur’s gigs—John attended eight secondary schools before flourishing onstage at Harvard—and details with poignancy and sharp recollection the moments that introduced a budding young actor to the undeniable power of theater. Before Lithgow gained fame with the film The World According to Garp and the television show 3rd Rock from the Sun, his early years were full of scenes both hilarious and bittersweet. A shrewd acting performance saved him from duty in Vietnam. His involvement with a Broadway costar brought an end to his early first marriage. The theater worlds of New York and London come alive as Lithgow relives his collaborations with renowned performers and directors, including Mike Nichols, Bob Fosse, Liv Ullmann, and Meryl Streep. His ruminations on the nature of theater, film acting, and storytelling cut to the heart of why actors are driven to perform, and why people are driven to watch them do it. Lithgow’s memory is clear and his wit sharp, and much of the humor that runs throughout Drama comes at his own expense. But he also chronicles the harrowing moments of his past, reflecting with moving candor on friends made and lost, mistakes large and small, and the powerful love of a father who set him on the road to a life onstage. Illuminating, funny, affecting, and thoroughly engrossing, Drama raises the curtain on the making of one of our most beloved actors.
This volume covers the teaching of drama at nursery and Key Stage 1. It looks at why drama should be used, how it works, and how to get children involved.
