Phakama
Methuen Drama (Verlag)
978-1-4742-2362-1 (ISBN)
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This book offers readers unprecedented access to Phakama’s innovative methodology and makes its practice accessible to a wide range of audiences. Each chapter contextualises and critiques their approach within political and critical concerns about contemporary theatre and performance, including approaches to devising theatre; applied and social theatre; intercultural performance practices; pedagogic models which respond to the needs of young people in different cultural contexts; cultural leadership; and innovative models of collaboration within and beyond the cultural industries.
Ideal for researchers and students of theatre and performance practice, the book is framed by a series of case studies, interviews and contextualising articles. At the heart of the book is a selection of carefully explained and beautifully illustrated exercises which will enable Phakama's methodology to be used by organisations and practitioners working with young people internationally.
Lucy Richardson is Senior Lecturer in Performing Arts at London Metropolitan University and a founding member of Phakama. Her research interest, which includes both traditional and performance research, is in `creative processes and the politics of participation’. She established The Facility: Research Centre in Creative Practice at London Met to champion practice based research. Fabio Santos is the former Artistic Director of Phakama and a contributing writer on a collaboratively written handbook of transitional arts practice, led by Lucy Neal. Caoimhe McAvinchey is Senior Lecturer in Drama, Theatre and Performance Studies at Queen Mary University London and has published research reports, academic articles and books within the field of applied and social theatre.
There are seven sections within the book that map Phakama’s principles of practice.The terms in the titles are used in Phakama’s working practice across international contexts. The rationale for each title becomes increasingly clear as each section unfolds.
1. Introduction: Titles
2. Give and Gain
3. Cultural Exchange
4. Place
5. Creative Practice
6. Stepping Up
7. Conclusion: Celebration.
The introduction, written by the editors, clearly positions the genesis, legacy and future plans for Phakama, from the early days as an initiative of the London International Festival of Theatre through to the 2016 anniversary plans for Phakama India, South Africa and Ireland and beyond. It defines Phakama as a methodology and as a network, and explores how it is held and managed in different ways in different cultural contexts, reflecting the particularity of each geographical location.
Each of the sections (2-6) is made up of five component parts:
An introduction to each section written by the editors
An article written by a range of international academics and cultural commentators situating Phakama’s practice within wider cultural practices
A case study of a specific Phakama project written by an international practitioner closely involved in it.
Case studies and contributors include:
o Open The Gates, South Africa, 1996 – Tony Fegan,
o Be Yourself, London/South Africa, 1999 – Caroline Calburn
o The Child I Curry, South Africa, Botswana, Mozambique, Namibia, Lesotho, Mauritius, London – Selloane Mokuku
o The Phakama Way, Pune, India – Prasad Vanarese
o Spotlight, London, 2012-ongoing – Ines Tercio, Katharine Rosser, Corinne Macaliff
Interviews with participants, artists, producers involved in this particular process
An Access to Practice section which offers a `how to’ guide for readers interested in working with Phakama’s processes. Each of the `How To’ sections have 3 illustrated examples/approaches to devising performance that is in dialogue with the case study, interviews and themes identified in the article. This section is written by Fabio Santos and Lucy Richardson and illustrated by Andrew Siddall, a visual artist who has been involved in a number of Phakama’s projects over the past two decades
Ultimately the book can be read in a linear way (reading from one section and it’s component parts through to the next) or by focusing on a particular perspective of the work (looking particularly at the `how to’ sections, or the case studies or articles for example. However the sections within each chapter are carefully integrated to form a full picture of the practice and the discourses within which it exists and which it informs.
| Erscheint lt. Verlag | 22.2.2018 |
|---|---|
| Illustrationen | Andrew Siddall |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 138 x 216 mm |
| Themenwelt | Kunst / Musik / Theater ► Theater / Ballett |
| Kinder- / Jugendbuch ► Sachbücher ► Kunst / Musik | |
| Schulbuch / Wörterbuch | |
| ISBN-10 | 1-4742-2362-1 / 1474223621 |
| ISBN-13 | 978-1-4742-2362-1 / 9781474223621 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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