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Full-Text Articles in Arts and Humanities
Creating Consent Based Spaces In The Performing Arts, Laura Rikard
Creating Consent Based Spaces In The Performing Arts, Laura Rikard
SC Upstate Research Symposium
In 1849 when Duke Saxe Meiningen created the role of the modern director in theatre he created an authoritarian model for creative power over production that would be replicated for the next one hundred and fifty years in the performing arts. This leadership model led to a performing arts industry reliant on performances being obedient and not fostering environments where creative collaboration can thrive. It created confusion between what it means to say, “yes” from a point of view of survival and not from a place of consent. For true collaboration to thrive in the product and process oriented spaces …
”To Be Or Not To Be – It’S Good”: Actor And Student Experiences In A Drama Club For People With Aphasia, Jade K. Hannan
”To Be Or Not To Be – It’S Good”: Actor And Student Experiences In A Drama Club For People With Aphasia, Jade K. Hannan
Senior Theses
Individuals with aphasia, a disorder caused by damage to the brain’s language network, confront a variety of social and emotional struggles. While leaving their cognition largely intact, aphasia tremendously impacts a person’s ability to communicate confidently, fracturing their social network and contributing to feelings of loneliness and frustration. To address this persistent need in the chronic aphasia population, the Play on Words drama club at the University of South Carolina provides a forum for people with aphasia (PWA) to engage in dramatic exercises focused on non-verbal communication of emotions, ideas, and stories, culminating the production of an original devised play. …
The Ghost Of John Nisbet: Hugh Macdiarmid’S First Published Work, Alan Riach
The Ghost Of John Nisbet: Hugh Macdiarmid’S First Published Work, Alan Riach
Studies in Scottish Literature
Discusses the first published item, a short play, signed with the name 'Hugh M'acDiamid', and sets in its biographical and historical context just after the First World War and in the literary context of 1922 and international modernism, in 1922, viewing it as 'an encapsulation of its moment, and most importantly as an elegiac tribute to a friend,' arguing that 'Performing "Nisbet" as a play intimates the drama of fractured modernist selfhood implicit in the written text,' and concluding that it should be seen 'in the whole national context of Scotland finding a way towards a reconstruction of itself, a …