Sidney Homan – författare

In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare. The collection is divided into four sections: studying the text as a script for performance; exploring Shakespeare by performing; implementing specific techniques for getting into the plays; and working in different classrooms and settings.

The contributors offer a rich variety of topics, including:

For fellow instructors of Shakespeare, the contributors address their own philosophies of teaching, the relation between scholarship and performance, and—perhaps most of all—why in this age the study of Shakespeare is so important.

Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare. The collection is divided into four sections: studying the text as a script for performance; exploring Shakespeare by performing; implementing specific techniques for getting into the plays; and working in different classrooms and settings.

The contributors offer a rich variety of topics, including:

For fellow instructors of Shakespeare, the contributors address their own philosophies of teaching, the relation between scholarship and performance, and—perhaps most of all—why in this age the study of Shakespeare is so important.

Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society.

The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives.

Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.

Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society.

The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives.

Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.

This volume explores how and why we deny, or manipulate, or convert, or enhance reality. Finding it important to come to terms with reality, with what is there before us, and, with reality however defined, to live responsibly, this collection takes a truly multidisciplinary approach to examining the idea that history, the truth, facts, and the events of the present time can be refashioned as prismatic, theatrical, something we can play with for agendas either noble or ignoble.

An international team of contributors considers the issue of how and why, in dealing what is there before us, we play with reality by employing theatre, fiction, words, conspiracy theories, alternate realities, scenarios, and art itself. Chapters delve into issues of fake news, propaganda, virtual reality, theatre as real life, reality TV, and positive ways of refashioning and enhancing your own reality.

Drawing on examples from film studies to sociology, from the social sciences to medicine, this volume will appeal to scholars and upper-level students in the areas of communication and media studies, comparative literature, film studies, economics, English, international affairs, journalism, philosophy, psychology, sociology, and theatre.

This volume explores how and why we deny, or manipulate, or convert, or enhance reality. Finding it important to come to terms with reality, with what is there before us, and, with reality however defined, to live responsibly, this collection takes a truly multidisciplinary approach to examining the idea that history, the truth, facts, and the events of the present time can be refashioned as prismatic, theatrical, something we can play with for agendas either noble or ignoble.

An international team of contributors considers the issue of how and why, in dealing what is there before us, we play with reality by employing theatre, fiction, words, conspiracy theories, alternate realities, scenarios, and art itself. Chapters delve into issues of fake news, propaganda, virtual reality, theatre as real life, reality TV, and positive ways of refashioning and enhancing your own reality.

Drawing on examples from film studies to sociology, from the social sciences to medicine, this volume will appeal to scholars and upper-level students in the areas of communication and media studies, comparative literature, film studies, economics, English, international affairs, journalism, philosophy, psychology, sociology, and theatre.

Sidney Homan defines a pivotal line as “a moment in the script that serves as a pathway into the larger play … a magnet to which the rest of the play, scenes before and after, adheres.” He offers his personal choices of such lines in five plays by Shakespeare and works by Beckett, Brecht, Pinter, Shepard, and Stoppard. Drawing on his own experience in the theatre as actor and director and on campus as a teacher and scholar, he pairs a Shakespearean play with one by a modern playwright as mirrors for each other. One reviewer calls his approach “ground-breaking.” Another observes that his “experience with the particular plays he has chosen is invaluable” since it allows us to find “a wedge into such iconic texts.” Academics and students alike will find this volume particularly useful in aiding their own discovery of a pivotal line or moment in the experience of reading about, watching, or performing in a play.

Sidney Homan defines a pivotal line as “a moment in the script that serves as a pathway into the larger play … a magnet to which the rest of the play, scenes before and after, adheres.” He offers his personal choices of such lines in five plays by Shakespeare and works by Beckett, Brecht, Pinter, Shepard, and Stoppard. Drawing on his own experience in the theatre as actor and director and on campus as a teacher and scholar, he pairs a Shakespearean play with one by a modern playwright as mirrors for each other. One reviewer calls his approach “ground-breaking.” Another observes that his “experience with the particular plays he has chosen is invaluable” since it allows us to find “a wedge into such iconic texts.” Academics and students alike will find this volume particularly useful in aiding their own discovery of a pivotal line or moment in the experience of reading about, watching, or performing in a play.

The collection Art’s Visionary Moment: Personal Encounters with Works That Last a Lifetime was inspired by T. S. Eliot’s observation in his Dante (1929): “The experience of a poem is the experience both of a moment and of a lifetime. … There is a first, or an early moment which is unique, … which can never be forgotten, but … is never repeated integrally; and yet which would become destitute of significance if it did not survive in a larger whole of experience.” In this collection, scholars and artists from a variety of fields speak in personal terms, but with what one has called “intellectual passion,” of a work of art (poem, play, novel, film, visual art, among others) that, as Dante suggest, has had an immediate effect on them (the “Visionary Moment” from the title) yet survives “in a larger whole of experience” (that “Last a Lifetime” in the collection’s sub-title). Some of the titles of essays already submitted show the range of this inquiry: “Conversations with the Dead”; “Playing Richard III: The Experience of a Moment and a Lifetime”; “Picasso’s ‘Three Musicians’”; “Poetry Meets Power: Tamburlaine the Great”; “Pleasant Dreaming with ‘Thanatopsis’”; “From Madness to Miracle: An Encounter with Shakespeare’s Winter’s Tale”; “Fight the Power” Spike Lee’s Visionary Moment”; and “Plastic Art Moment.”