John Freeman – författare

In the course of John Freeman's editorial work one major theme has come up repeatedly: how climate change is making inequalities much worse. Freeman has engaged with some of today's most eloquent writers on this issue, resulting in a collection of fiction, essays, poems, and reportage. Margaret Atwood conjures with a dystopian future in three remarkable poems. Lauren Groff takes us to Florida; Edwidge Danticat to Haiti; Tahmima Anam to Bangladesh. Eka Kurniawan takes us to Indonesia and Chinelo Okparanta to Nigeria. These are news stories, with the emphasis on story, about the most important crisis of our times.

The Oxford Handbook of Developmental Behavioral Neuroscience is a seminal reference work in the burgeoning field of developmental behavioral neuroscience, which has emerged in recent years as an important sister discipline to developmental psychobiology. This handbook, part of the Oxford Library of Neuroscience, provides an introduction to recent advances in research at the intersection of developmental science and behavioral neuroscience, while emphasizing the central research perspectives of developmental psychobiology. Contributors to the Oxford Handbook of Developmental Behavioral Neuroscience are drawn from a variety of fields, including developmental psychobiology, neuroscience, comparative psychology, and evolutionary biology, demonstrating the opportunities to advance our understanding of behavioral and neural development through enhanced interactions among parallel disciplines. In a field ripe for collaboration and integration, the Oxford Handbook of Developmental Behavioral Neuroscience provides an unprecedented overview of conceptual and methodological issues pertaining to comparative and developmental neuroscience that can serve as a roadmap for researchers and a textbook for educators. Its broad reach will spur new insights and compel new collaborations in this rapidly growing field.

The best in short fiction from around the world, from celebrated anthologist and author John Freeman and award-winning novelist Rabih AlameddineIn The Penguin Book of the International Short Story, writers from different nations, languages and sensibilities come together in a globe-spanning and long overdue tour of modern fiction. In ‘Super-Frog Saves Tokyo’, Haruki Murakami presents a man who believes a giant amphibian is enlisting him to protect his city from an impending earthquake. In ‘War of the Clowns’, Mozambique’s Mia Couto sketches a perfect allegory for our divided culture. In the predecessor story to her iconic novel The Vegetarian, Han Kang depicts a protagonist quietly undergoing an unlikely transformation in a high-rise in Seoul. A Colm Tóibín character thinks, ‘I do not even believe in Ireland’, while Carol Bensimon reflects from Brazil, ‘All great ideas seem like bad ones at some point’. Salman Rushdie brings us to unsettled rural India, Olga Tokarczuk to a circus exhibit, Abdellah Taïa to the queer Arab world, Ted Chiang to a far-off galaxy.For a long time, it was the norm for three quarters of the stories in international anthologies to be American or English. In this collection, the work of thoughtful and accomplished translators opens the door wide for those curious about what lies beyond the Western canon and classroom. Writers from six continents, ranging from new voices to literary icons, each offer a window into a distinct point of view, both transcending and illuminating their place of origin. They offer not only captivating prose, but a reminder of the power of the imagination across space and time.

Michael T. Hannan and John Freeman examine the ecology of organizations by exploring the competition for resources and by trying to account for rates of entry and exit and for the diversity of organizational forms. They show that the destinies of organizations are determined more by impersonal forces than by the intervention of individuals.

Tracing the Footprints is aimed at students, teachers, practitioners and lecturers involved in the documentation of practice. On a surface level, it documents the construction of a performance project, 'At Last Sight,' which was made with a group of final year UK undergraduates. Beyond this, and more importantly, the book serves as a unique document of the activities involved in articulating the processes of live performance. What the book demonstrates is that theatre making is not just one process but many; all linked, interwoven, impossible to disentangle.

Contemporary theatre is going through a period of unparalleled excitement and challenge. Terms like 'postmodern' and 'postdramatic' have their own contested and defended histories, while notions of truth in verbatim theatre are open to serious critical challenge. Theatre writing can result in no words being spoken and nothing appearing on the page, and productions are stretching the boundaries of space, place and context like never before. This revised and significantly expanded edition of New Performance/New Writing explores immersive and solo theatre, autoethnography, applied drama, performance writing, plot, story, narrative and devising. It presents an invaluable response to questions that arise from new theatre, prompting active reading that enhances classroom and workshop learning, and improves productivity in rehearsal. Each chapter explores a key aspect of theatre study, while an extensive timeline of theatre events gives a broad overview of its evolution. Case studies on practitioners as diverse as Kneehigh, Punchdrunk, Mark Ravenhill and Forced Entertainment are scattered throughout the book, along with detailed suggestions for workshops, which encourage readers to test some of the book's ideas in practice.

Contemporary theatre is going through a period of unparalleled excitement and challenge. Terms like 'postmodern' and 'postdramatic' have their own contested and defended histories, while notions of truth in verbatim theatre are open to serious critical challenge. Theatre writing can result in no words being spoken and nothing appearing on the page, and productions are stretching the boundaries of space, place and context like never before. This revised and significantly expanded edition of New Performance/New Writing explores immersive and solo theatre, autoethnography, applied drama, performance writing, plot, story, narrative and devising. It presents an invaluable response to questions that arise from new theatre, prompting active reading that enhances classroom and workshop learning, and improves productivity in rehearsal. Each chapter explores a key aspect of theatre study, while an extensive timeline of theatre events gives a broad overview of its evolution. Case studies on practitioners as diverse as Kneehigh, Punchdrunk, Mark Ravenhill and Forced Entertainment are scattered throughout the book, along with detailed suggestions for workshops, which encourage readers to test some of the book's ideas in practice.

This insightful and practically-focused collection brings together different approaches to actor training from professionals based at universities and conservatoires in the UK, the US and Australia. Exploring the cultural and institutional differences which affect actor training, and analysing developments in the field today, it addresses a range of different approaches, from Stanislavski's System to contemporary immersive theatre. With hands-on focus from some of the world's leading programmes, and attention paid to ethical control, consent and safe practice, this book sees expert tutors exploring pathways to sustainable 21st century careers. Designed for tutors, students and practitioners, Approaches to Actor Training examines what it means to train as an actor, what actors-in-training can expect from their programmes of study and how the road to professional accomplishment is mapped and travelled.