By Anne Harris
The educating Writing sequence publishes effortless writing publications penned by way of authors with publishing documents of their subject material. Harris and Holman Jones supply readers a realistic and concise advisor to writing various dynamic texts for functionality starting from playscripts to ensemble and multimedia/hybrid works. Writing for functionality is established round the 'tools' of functionality writing-words, our bodies, areas, and issues. those instruments function pivots for figuring out how writing for functionality needs to be carried out on the subject of people, locations, items, histories, and practices. This ebook can be utilized as a main textual content in undergraduate and graduate periods in playwriting, theatre, functionality reports, and artistic writing. it may even be learn via ethnographic, arts-based, collaborative and neighborhood functionality makers who desire to examine the how-to of writing for functionality. lecturers and facilitators can use each one bankruptcy to take their scholars throughout the conceptualizing, writing, and performing/creating procedure, supported by means of exemplars and writing workouts and/or activates so readers can try out the shape themselves. "What a welcome, insightful and much-needed publication. Harris and Holman Jones convey us to an built-in thought of writing that's embodied, felt, breathed and flung from degree to web page and again back. Writing for functionality becomes a vital textual content for the production of the functionality and theater that the twenty first Century will need." - Tim Miller, artist and writer of physique Blows: Six Performances and 1001 Beds: Performances, Essays and Travels "No prescriptions the following. within the arms of this artistic duo we discover a deep and abiding admire for the numerous inventive strategies that may gasoline writing and function that issues. From the deep wells in their personal studies, Harris and Holman Jones provide workouts that aren't intended to mould the would-be author, yet spur them directly to realize their latent writing/performative selves." - Kathleen Gallagher, amazing Professor of Curriculum, educating, and studying, collage of Toronto
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Extra info for Writing for Performance
Chapter 7: Revising/Performing In Chapter Seven we continue our consideration of the text-to-performance process, following the transition the Out/In Front play from an in-process text-based performance presented in the round to Heavier Than Air, a fullyproduced performance work that makes use of text, embodiments, space, and sound. In particular, we offer readers a discussion of how considerations of performance space altered the staging and performer-audience encounter and how such considerations are integrally tied to not only the development of the performance text per se, but to the larger context and politic of the work.
I’m the way it was always supposed to be. *** The woman in question the woman to whom I refer is a representative of the minister for immigration. She’s a hot little number, she’s paid her dues. She never wanted to live in Darwin, but you have to make these sacrifices to get ahead. You see, she wants a better life for herself and her kids. *** My application was held up by the Timorese problem. She used to tell me, my representative, that she regretted it, and she was tired, but I mustn’t worry.
This is what makes performance (unlike film) unique each time a work is performed, whether it is improvisational or scripted. This chapter considers some of the diverse and various forms of embodiment in performance and how these bodies impact, alter, and generate performance writing in different ways. (WRITING FOR) SPEAKING AND MOVING …I thought that a puppet was a sign that somewhere in my mind, something believed in souls and sprites, gods and goblins, since puppets manifest externally and materially the mode of being of imaginary spirits; the whole concept resting on the idea of enchanted matter.