Chris Johnston - Böcker

Theatre is at its best when it is disobedient, when it argues back to society. But what enables it to achieve this impact? What makes it a force to be reckoned with? What are the principles and the tools of the trade that shape it to be effective, powerful and resonant? Drawing from both theory and practice, and informed by conversations with recognized practitioners from across the UK, this book provides answers and makes an impassioned call for artists to reimagine, question and disrupt. Divided into two parts, ‘In the World’ and ‘In the Room’, the book presents a rounded picture of the possibilities of a ‘disobedient’ culture and includes many games and exercises for creative practitioners. In Part One the author offers a lexicon defining the spirit and impulse which characterises disobedient theatre: he describes the principles, the strategies, and the voice of the artist, before suggesting ways to survive as a creative practitioner. Part Two illustrates how these principles may be worked out in practice when creating new work, with the hands-on approaches supplemented by games and exercises to assist in generating material.Disobedient Theatre is for all those who have an interest in what makes theatre powerful, disturbing or even life-changing. It is a book for artists, thinkers, activists and all who believe in the function of art to offer new possibilities and to change and inform the evolution of society.

Theatre is at its best when it is disobedient, when it argues back to society. But what enables it to achieve this impact? What makes it a force to be reckoned with? What are the principles and the tools of the trade that shape it to be effective, powerful and resonant? Drawing from both theory and practice, and informed by conversations with recognized practitioners from across the UK, this book provides answers and makes an impassioned call for artists to reimagine, question and disrupt. Divided into two parts, ‘In the World’ and ‘In the Room’, the book presents a rounded picture of the possibilities of a ‘disobedient’ culture and includes many games and exercises for creative practitioners. In Part One the author offers a lexicon defining the spirit and impulse which characterises disobedient theatre: he describes the principles, the strategies, and the voice of the artist, before suggesting ways to survive as a creative practitioner. Part Two illustrates how these principles may be worked out in practice when creating new work, with the hands-on approaches supplemented by games and exercises to assist in generating material.Disobedient Theatre is for all those who have an interest in what makes theatre powerful, disturbing or even life-changing. It is a book for artists, thinkers, activists and all who believe in the function of art to offer new possibilities and to change and inform the evolution of society.

A dip-in, flick-through, quick-fire resource book in the Nick Hern Books Drama Games series, this title is for teachers and workshop leaders working with difficult or reluctant students, youth groups, young offenders, and all those who seem intent on saying 'no' to whatever is offered them. 'This book offers invaluable ways for artists, teachers, workshop leaders and activists to better use the arts to empower young people' Ken Livingstone, from his Foreword.For these groups, drama games and activities need to be robust and engaging, and the dozens that appear in this book have been devised with this in mind - and then tested by their target players. Each page features clear instructions on How to Play, notes on the Benefits of the Game, and advice on age range, number of players and timing.Following the ninety games and exercises aimed at developing core skills, the book offers scenarios for a series of improvisational challenges that test participants' abilities in mediation, communication, negotiation, assertiveness and managing emotions. Also included is a collection of games aimed at preparing teachers and workshop leaders for facilitating challenging sessions.The ultimate aim is to encourage reluctant participants to engage, collaborate and develop not just skills for drama but skills for life.

A fascinating investigation into the wellsprings of improvisation in theatre, dance and music, from the author of the influential House of Games.Packed with exercises and practical techniques, The Improvisation Game explores how improvisation can be used both to create performance and as an end in itself.It reveals the techniques, structures and methods used by key practitioners in the field of improvised drama, music and dance – amongst them Keith Johnstone (author of Impro), Max Stafford-Clark (Out of Joint), Phelim McDermott (Improbable Theatre), Tim Etchells (Forced Entertainment), John Wright (Trestle, Told by an Idiot) and Robert Lepage.The book also looks at many famous traditions, events and performances with improvisation at their core, ranging from the Living Theatre to the Scratch Orchestra, from John Cage to Lenny Bruce, and seeks to draw out their significance in the always evolving world of improvisation.

A treasure trove of drama games and exercises, House of Games has proved itself an immensely valuable resource for teachers, theatre directors and drama workshop leaders.Following on from Keith Johnstone's famous Impro and Augusto Boal's Games for Actors and Non-Actors, Chris Johnston's book provides ideas and guidance for drama groups of all kinds.

The apocalyptic group The Family and their guru, Anne Hamilton-Byrne — one of very few female cult leaders in history — captured international headlines throughout the 1980s and 1990s.Hamilton-Byrne, who some followers believed was Jesus Christ, was glamorous and charismatic — and, many allege, very dangerous. From her base in a quiet suburb, she recruited wealthy professionals to join her cult, including doctors, lawyers, nurses, architects, and scientists. She acquired children and raised them as her own, bleaching their hair blonde to make them look like siblings, and her group became surrounded by rumours of LSD use, child abuse, and strange spiritual rituals.In 1987, police swooped on The Family’s lakeside compound and rescued children who claimed they were part of Anne’s future master race. The children recounted terrible stories of near starvation, emotional manipulation, and physical abuse. But Anne could not be found, sparking an international police hunt. Could they bring Anne to justice?How did such a notorious group come to flourish? How did Anne maintain a hold over her followers? Drawing on revelatory new research, including police files, diary entries, and interviews with survivors, The Family tells the strange and shocking story of one of the most bizarre cults in modern history.