Suzanne Ostersmith (MFA, Goddard College) is the founding director of  the dance and interdisciplinary arts programs and an associate professor of theatre and dance at Gonzaga University. As a professor and scholar of dance, theatre, and visual arts, Ostersmith develops opportunities for students to grow and learn about themselves and the world around them through community, collaboration, and creativity. Ostersmith’s areas of research and creative inquiry are in the intersection of the art forms of theatre, dance, and visual arts.Kathleen Jeffs (DPhil, University of Oxford) is core director and an associate professor of theatre and dance at Gonzaga University. Publications include her translation of the 17th-century Spanish play The Force of Habit (GuillÉn de Castro’s La fuerza de la costumbre) and Staging the Spanish Golden Age: Translation and Performance, which is based on her time as rehearsal dramaturg with the Royal Shakespeare Company. Kathleen teaches performance studies, playwriting, acting, and directing using classroom and studio methods.

• Chapter 1. Introduction to Interdisciplinary ArtsInterdisciplinary MovementBartenieff: Six Developmental StagesAlexander TechniqueYogaConclusionChapter 2. TheatreGetting Started: Connecting to the TextPreparing a SceneBody: The Actor’s InstrumentStage AwarenessProps and CostumesCollaborative TeamChapter 3. Dance and MovementLaban: Still FormsCentering the Body: 12 Principles of Bartenieff FundamentalsPreparing for the WorkThe Creative ImpulseIntent: Moving With PurposeLaban’s Effort FactorsMise en scÈneCollaborative TeamChapter 4. Visual ArtsVisual ArtsInspirationFormColorValue and ContrastRhythmShapeLineTextureSpaceChapter 5. Dance and TheatreIntegrating Dance and Theatre: Poem Performance Using Laban’s EffortsOverview of the ProcessThe Process in DetailAssimilation of Feedback, Development, and RehearsalConclusionChapter 6. Visual Arts and DanceIntegrating Visual Arts With Dance: Wearable or Scenic ArtOverview of the ProcessOverview of the Concepts Used in the ProjectConclusionChapter 7. Theatre and Visual ArtsIntegrating Theatre and Visual Arts: In/Out MasksOverview of the ProcessOverview of the Concepts Used in the ProjectArts-Based ResearchDevelopment: Creating Your In/Out MaskDeveloping the MonologueChapter 8. All Three Art FormsMaking Art Using the Human IntelligencesMultiple Intelligences Synthesis AssignmentChapter 9. Make Art, but Also, Go See Art!Theatre CriticismVisual Art CriticismDance and Movement CriticismConclusion: Interdisciplinary Arts as a Way of Life

Suzanne Ostersmith (MFA, Goddard College) is the founding director of  the dance and interdisciplinary arts programs and an associate professor of theatre and dance at Gonzaga University. As a professor and scholar of dance, theatre, and visual arts, Ostersmith develops opportunities for students to grow and learn about themselves and the world around them through community, collaboration, and creativity. Ostersmith’s areas of research and creative inquiry are in the intersection of the art forms of theatre, dance, and visual arts.Kathleen Jeffs (DPhil, University of Oxford) is core director and an associate professor of theatre and dance at Gonzaga University. Publications include her translation of the 17th-century Spanish play The Force of Habit (GuillÉn de Castro’s La fuerza de la costumbre) and Staging the Spanish Golden Age: Translation and Performance, which is based on her time as rehearsal dramaturg with the Royal Shakespeare Company. Kathleen teaches performance studies, playwriting, acting, and directing using classroom and studio methods.

• Chapter 1. Introduction to Interdisciplinary ArtsInterdisciplinary MovementBartenieff: Six Developmental StagesAlexander TechniqueYogaConclusionChapter 2. TheatreGetting Started: Connecting to the TextPreparing a SceneBody: The Actor’s InstrumentStage AwarenessProps and CostumesCollaborative TeamChapter 3. Dance and MovementLaban: Still FormsCentering the Body: 12 Principles of Bartenieff FundamentalsPreparing for the WorkThe Creative ImpulseIntent: Moving With PurposeLaban’s Effort FactorsMise en scÈneCollaborative TeamChapter 4. Visual ArtsVisual ArtsInspirationFormColorValue and ContrastRhythmShapeLineTextureSpaceChapter 5. Dance and TheatreIntegrating Dance and Theatre: Poem Performance Using Laban’s EffortsOverview of the ProcessThe Process in DetailAssimilation of Feedback, Development, and RehearsalConclusionChapter 6. Visual Arts and DanceIntegrating Visual Arts With Dance: Wearable or Scenic ArtOverview of the ProcessOverview of the Concepts Used in the ProjectConclusionChapter 7. Theatre and Visual ArtsIntegrating Theatre and Visual Arts: In/Out MasksOverview of the ProcessOverview of the Concepts Used in the ProjectArts-Based ResearchDevelopment: Creating Your In/Out MaskDeveloping the MonologueChapter 8. All Three Art FormsMaking Art Using the Human IntelligencesMultiple Intelligences Synthesis AssignmentChapter 9. Make Art, but Also, Go See Art!Theatre CriticismVisual Art CriticismDance and Movement CriticismConclusion: Interdisciplinary Arts as a Way of Life

Suzanne Ostersmith (MFA, Goddard College) is the founding director of  the dance and interdisciplinary arts programs and an associate professor of theatre and dance at Gonzaga University. As a professor and scholar of dance, theatre, and visual arts, Ostersmith develops opportunities for students to grow and learn about themselves and the world around them through community, collaboration, and creativity. Ostersmith’s areas of research and creative inquiry are in the intersection of the art forms of theatre, dance, and visual arts.Kathleen Jeffs (DPhil, University of Oxford) is core director and an associate professor of theatre and dance at Gonzaga University. Publications include her translation of the 17th-century Spanish play The Force of Habit (GuillÉn de Castro’s La fuerza de la costumbre) and Staging the Spanish Golden Age: Translation and Performance, which is based on her time as rehearsal dramaturg with the Royal Shakespeare Company. Kathleen teaches performance studies, playwriting, acting, and directing using classroom and studio methods.

• Chapter 1. Introduction to Interdisciplinary ArtsInterdisciplinary MovementBartenieff: Six Developmental StagesAlexander TechniqueYogaConclusionChapter 2. TheatreGetting Started: Connecting to the TextPreparing a SceneBody: The Actor’s InstrumentStage AwarenessProps and CostumesCollaborative TeamChapter 3. Dance and MovementLaban: Still FormsCentering the Body: 12 Principles of Bartenieff FundamentalsPreparing for the WorkThe Creative ImpulseIntent: Moving With PurposeLaban’s Effort FactorsMise en scÈneCollaborative TeamChapter 4. Visual ArtsVisual ArtsInspirationFormColorValue and ContrastRhythmShapeLineTextureSpaceChapter 5. Dance and TheatreIntegrating Dance and Theatre: Poem Performance Using Laban’s EffortsOverview of the ProcessThe Process in DetailAssimilation of Feedback, Development, and RehearsalConclusionChapter 6. Visual Arts and DanceIntegrating Visual Arts With Dance: Wearable or Scenic ArtOverview of the ProcessOverview of the Concepts Used in the ProjectConclusionChapter 7. Theatre and Visual ArtsIntegrating Theatre and Visual Arts: In/Out MasksOverview of the ProcessOverview of the Concepts Used in the ProjectArts-Based ResearchDevelopment: Creating Your In/Out MaskDeveloping the MonologueChapter 8. All Three Art FormsMaking Art Using the Human IntelligencesMultiple Intelligences Synthesis AssignmentChapter 9. Make Art, but Also, Go See Art!Theatre CriticismVisual Art CriticismDance and Movement CriticismConclusion: Interdisciplinary Arts as a Way of Life