Cindy Rosenthal – författare

Late Stage: Theatrical Perspectives on Age and Aging represents the first comprehensive anthology to critically interrogate the intersection of age studies with theater and performance studies. Undoing the notion of a singular, continuous self as we age—an assumption that negatively positions old age in opposition to youth—this volume challenges biological imperatives imposed by essentialist views of aging. Late Stage reconceptualizes age as an additional dimension of identity constituted through the sociocultural systems that shape the material body over time. The collection portrays aging as a dynamic and evolving process, countering ageist narratives of decline and stereotypes that homogenize later life as a fixed, undesirable state. By exploring themes such as intergenerational dialogue, elder sexualities, late style, casting practices, age-related caregiving, and artistic longevity, contributors reposition later life into complex narratives that resist normative age scripts. Drawing on gender studies, queer and feminist theory, and disability studies, the collection bridges performance analysis with theoretical frameworks and collectively addresses how aging is experienced, represented, and resisted across time and cultures. Late Stage explores key works by canonical and contemporary figures such as Anton Chekhov, Henrik Ibsen, Caryl Churchill, Clare Barron, Naomi Iizuka, Tracy Letts, David Lindsay-Abaire, Judith Malina, Robbie McCauley, Florian Zeller, and Peggy Shaw. With its innovative approach, Late Stage serves not only as a critical text for courses on performance and age, but as a call to action for expanding conversations around age in theater and society.

In the volatile period of the late sixties and early seventies, several theater groups came to prominence in the United States, informing and shaping activist theater as we know it today. Restaging the Sixties examines the artistry, politics, and legacies of eight radical collectives: the Living Theatre, the Open Theatre, the Performance Group, the San Francisco Mime Troupe, El Teatro Campesino, At the Foot of the Mountain, the Free Southern Theater, and Bread and Puppet Theater. Each of the specially commissioned essays is from a leading theater artist, critic, or scholar. The essays follow a three-part structure that first provides a historical overview of each group’s work, then an exploration of the group’s significant contributions to political theater, and finally, the legacy of those contributions.The volume explores how creations such as the Living Theatre's Paradise Now and the Performance Group’s Dionysus in 69 overlapped with political interests that, in the late 1960s, highlighted the notion of social collectives as a radical alternative to mainstream society. Situating theatrical practice within this socio-political context, the book considers how radical theaters sought to redefine the relationship between theater and political activism, and how, as a result, they challenged the foundations of theater itself. James M. Harding is Associate Professor of English at Mary Washington University. His other books include Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance. Cindy Rosenthal is Associate Professor of Theatre Studies, Hofstra University.“A useful introduction to an eclectic period of experimental theater, providing portraits of the major political theaters and engaging with new vigor many of the era’s familiar aesthetic and ideological concerns. The writers offer a provocative history of theater’s attraction to (and occasional anxiety over) activism.”--Marc Robinson, Yale University

Late Stage: Theatrical Perspectives on Age and Aging represents the first comprehensive anthology to critically interrogate the intersection of age studies with theater and performance studies. Undoing the notion of a singular, continuous self as we age—an assumption that negatively positions old age in opposition to youth—this volume challenges biological imperatives imposed by essentialist views of aging. Late Stage reconceptualizes age as an additional dimension of identity constituted through the sociocultural systems that shape the material body over time. The collection portrays aging as a dynamic and evolving process, countering ageist narratives of decline and stereotypes that homogenize later life as a fixed, undesirable state. By exploring themes such as intergenerational dialogue, elder sexualities, late style, casting practices, age-related caregiving, and artistic longevity, contributors reposition later life into complex narratives that resist normative age scripts. Drawing on gender studies, queer and feminist theory, and disability studies, the collection bridges performance analysis with theoretical frameworks and collectively addresses how aging is experienced, represented, and resisted across time and cultures. Late Stage explores key works by canonical and contemporary figures such as Anton Chekhov, Henrik Ibsen, Caryl Churchill, Clare Barron, Naomi Iizuka, Tracy Letts, David Lindsay-Abaire, Judith Malina, Robbie McCauley, Florian Zeller, and Peggy Shaw. With its innovative approach, Late Stage serves not only as a critical text for courses on performance and age, but as a call to action for expanding conversations around age in theater and society.

The Sixties, Center Stage offers rich insights into the innovative and provocative political underpinnings of mainstream and popular performances in the 1960s. While much critical attention has been focused on experimental and radical theater of the period, the essays confirm that mainstream performances not only merit more scholarly attention than they have received, but through serious examination provide an important key to understanding the 1960s as a period.   The introduction provides a broad overview of the social, political, and cultural contexts of artistic practices in mainstream theater from the mid-fifties to mid-seventies. Readers will find detailed examinations of the mainstream’s surprising attention to craft and innovation; to the rich exchange between European and American theatres; to the rise of regional theaters; and finally, to popular cultural performances that pushed the conceptual boundaries of mainstream institutions. The book looks afresh at productions of Hair, Cabaret, Raisin in the Sun, and Fiddler on the Roof, as well as German theater, and performances outside the Democratic National Convention of 1968.  

Late Stage: Theatrical Perspectives on Age and Aging represents the first comprehensive anthology to critically interrogate the intersection of age studies with theater and performance studies. Undoing the notion of a singular, continuous self as we age—an assumption that negatively positions old age in opposition to youth—this volume challenges biological imperatives imposed by essentialist views of aging. Late Stage reconceptualizes age as an additional dimension of identity constituted through the sociocultural systems that shape the material body over time. The collection portrays aging as a dynamic and evolving process, countering ageist narratives of decline and stereotypes that homogenize later life as a fixed, undesirable state. By exploring themes such as intergenerational dialogue, elder sexualities, late style, casting practices, age-related caregiving, and artistic longevity, contributors reposition later life into complex narratives that resist normative age scripts. Drawing on gender studies, queer and feminist theory, and disability studies, the collection bridges performance analysis with theoretical frameworks and collectively addresses how aging is experienced, represented, and resisted across time and cultures. Late Stage explores key works by canonical and contemporary figures such as Anton Chekhov, Henrik Ibsen, Caryl Churchill, Clare Barron, Naomi Iizuka, Tracy Letts, David Lindsay-Abaire, Judith Malina, Robbie McCauley, Florian Zeller, and Peggy Shaw. With its innovative approach, Late Stage serves not only as a critical text for courses on performance and age, but as a call to action for expanding conversations around age in theater and society.

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material.The major playwrights and their plays to receive in-depth coverage in this volume include:* Theresa Rebeck: Omnium Gatherum (2003), Mauritius (2007), and The Understudy (2008);* Sarah Ruhl: Eurydice (2003), Clean House (2004), and In the Next Room (or the Vibrator Play) (2009);* Lynn Nottage: Intimate Apparel (2003), Fabulation or Re-Education of Undine (2004), and Ruined (2008);* Charles Mee: Big Love (2000), Wintertime (2005), and Hotel Cassiopeia (2006).

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material.The major playwrights and their plays to receive in-depth coverage in this volume include:* Theresa Rebeck: Omnium Gatherum (2003), Mauritius (2007), and The Understudy (2008);* Sarah Ruhl: Eurydice (2003), Clean House (2004), and In the Next Room (or the Vibrator Play) (2009);* Lynn Nottage: Intimate Apparel (2003), Fabulation or Re-Education of Undine (2004), and Ruined (2008);* Charles Mee: Big Love (2000), Wintertime (2005), and Hotel Cassiopeia (2006).

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material.The major playwrights and their plays to receive in-depth coverage in this volume include:* Theresa Rebeck: Omnium Gatherum (2003), Mauritius (2007), and The Understudy (2008);* Sarah Ruhl: Eurydice (2003), Clean House (2004), and In the Next Room (or the Vibrator Play) (2009);* Lynn Nottage: Intimate Apparel (2003), Fabulation or Re-Education of Undine (2004), and Ruined (2008);* Charles Mee: Big Love (2000), Wintertime (2005), and Hotel Cassiopeia (2006).

Studienarbeit aus dem Jahr 2022 im Fachbereich Pädagogik - Interkulturelle Pädagogik, Note: 1, Technische Universität Chemnitz (TU Chemnitz), Sprache: Deutsch, Abstract: In der vorliegenden Arbeit wird zunächst eine ausgewählte Publikation beschrieben und zusammengefasst, welche die Effekte von Heterogenität innerhalb eines Klassenverbandes untersucht. Die vorgestellten Erkenntnisse sollen sowohl hinsichtlich ihrer methodischen Qualität (z.B. Auswahl der Stichprobe, theoretische Fundierung) als auch bezüglich ihrer praktischen Anwendbarkeit kritisch hinterfragt werden. Die Ergebnisse der vorgestellten Studie werden in den wissenschaftlichen Kenntnisstand eingeordnet, reflektiert und in Bezug gesetzt. Abschließend werden auf Basis des gewonnenen Fachwissens Hinweise für die Praxis abgeleitet. Vorzüge und Nachteile bezüglich der erbrachten Leistung und der psychosozialen Gesundheit von Schüler:innen in heterogenen und homogenen Lerngruppen rückten in den letzten Jahren zunehmend in den Fokus der schulpädagogischen Forschung. Heterogenität im pädagogischen Kontext meint dabei die Unterschiedlichkeit der Kinder und Jugendlichen auf diversen Ebenen, welche als relevant sowohl für den Lernprozess als auch für die -ergebnisse zählen. Unterscheidungsmerkmale von Schüler:innen können zum Beispiel die kognitive Leistungsfähigkeit, das Geschlecht, der sozioökonomische Hintergrund, der Migrationshintergrund, die Religionszugehörigkeit sowie sonderpädagogische Förderbedarfe sein. Diversität beschreibt dabei ein komplexes Persönlichkeitskonzept, um Unterschiede und Gemeinsamkeiten von Kindern in einer Bildungseinrichtung zu verstehen. Mit der Einteilung in vier Dimensionen (Persönlichkeit, innere, äußere und organisatorische Dimension) lassen sich die verschiedenen Facetten der Unterscheidungsmerkmale eines Kindes beschreiben und für die Bildungspraxis operationalisieren.

Studienarbeit aus dem Jahr 2021 im Fachbereich Pädagogik - Heilpädagogik, Sonderpädagogik, Note: 1, Technische Universität Chemnitz, Sprache: Deutsch, Abstract: Im Fach Sachkunde/Sachunterricht soll versucht werden, mit verschiedenen Zugängen ein Thema zu erarbeiten, um der Heterogenität der Klasse gerecht zu werden. Dem trägt der_die Lehrer_in mit der Organisation und dem Aufbau Rechnung. Dies wird anhand des folgenden Fallbeispiels gezeigt werden.Frau Maier, Inklusionspädagogin, leitet eine vierte Klasse in einem inklusiv geführten Klassenverband. Ihre Klasse umfasst 16 Schüler_innen verschiedener Förderschwerpunkte (darunter emotional-soziale Entwicklung, Lernen, Sprache und geistige Behinderung), sowie Kinder, die im nächsten Jahr den gymnasialen Bildungsweg anstreben. Innerhalb des Klassenverbandes zeigt ein Kind eine Einschränkung der Gehfähigkeit und ein weiteres hat die Diagnose einer Autismus-Spektrum-Störung. Der heterogene Klassenverband bearbeitet im Unterricht aktuell das Thema Wald. Frau Maier überlegt sich eine Methode, wie sie ihrer heterogenen Klasse den Lehrstoff vermitteln kann. Um einen Zugang zum Thema Wald durch unterschiedliche Lernformen anbieten zu können und so den differenten Lerntypen und Entwicklungsständen, im Lebensalter von neun bzw. zehn Jahren aller Schüler_innen gerecht zu werden, hält sie verschiedene Umgangsweisen mit dem Thema für nötig. Darum wählt Frau Maier die Methode der "Lernwerkstatt". Die Methode der Lernwerkstatt kann differenzierten Unterricht in heterogenen Gruppen leisten, da sie für alle Schüler_innen denselben Lerngegenstand bearbeitet, jedoch am jeweils unterschiedlichen Entwicklungsstand ansetzt und die Schüler_innen "nach oben" fördert.

Studienarbeit aus dem Jahr 2020 im Fachbereich Pädagogik - Pädagogische Psychologie, Note: 1, , Sprache: Deutsch, Abstract: Ziel dieser Arbeit soll es sein, mit Hilfe eines erörterten Beispiels entwicklungspsychologische Grundlagen und daraus abgeleitete Empfehlungen für die Praxis für das Kind mit sonderpädagogischen Bedarf zu untersuchen.In deutschen Schulen gibt es immer mehr Kinder mit (sonderpädagogischen) Förderbedarf. Zwischen 2009 und 2017 hat sich der Anteil der Schülerinnen und Schüler mit sonderpädagogischen Förderbedarf verzweieinhalbfacht. Im gleichen Zeitraum ist der Anteil der Kinder und Jugendlichen, die eine Förderschule besuchen, nur um 13% gesunken. Aktuell stagniert die Inklusion der Mädchen und Jungen aus Förderschulen sogar. Um die Heranwachsenden mit sonderpädagogischen Förderbedarf auf allgemeinen Schulen unterrichten zu können, braucht es ausgebildetes Personal, die die Lehrerinnen und Lehrer in ihrer Arbeit an der Schule unterstützen können. Die Arbeit von Schulpädagogen, Sonderpädagogen oder Ergotherapeuten sollte sich dabei immer auf theoriegestützte Erkenntnisse aus der Wissenschaft stützen. Vor allem die Entwicklungspsychologie bietet durch das Beobachten und Beschreiben von Verhalten und Erleben bei Kindern und Jugendlichen Erklärungsperspektiven und konkrete Hilfestellungen für sonderpädagogisches Personal an Schulen.