Titlebook: Creativityin Theatre; Theory and Action in Suzanne Burgoyne Book 2018 Springer International Publishing AG, part of Springer Nature 2018 Ed

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Psychodrama and Creativity in Education’s extensive work with spontaneous role playing resulted in the development of the theory of spontaneity–creativity in which spontaneity, described as an unconservable energy, is seen as the catalyst of the creative process. His first endeavor was establishment of an alternative theater in which dra

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Enhancing Creativity with Neurofeedback in the?Performing Arts: Actors, Musicians, Dancersedback involves learning to self-regulate targeted brain rhythms, rhythms that here have putative relevance to artistic performance. Actors received sensory-motor rhythm training, theorised to favour authenticity in acting, with a training context immersing them in an onstage theatre auditorium thro

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2509-5781 heory, research, and pedagogical practices.People who don’t know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere “interpreters” of the dramatist’s vision. Historically, however, creative mastery and power have passed through diffe

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https://doi.org/10.1007/978-3-642-93450-6ods used in higher education, designed to produce this ability, are herein described along with some methodological variations. A secondary purpose of this chapter is to review some theories of creativity offered by a number of prominent researchers and to show how precisely these theories can be applied to the main elements of the acting process.

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Creative Actingaking the character and scene to various brief extremes. These approaches collectively provide ways to welcome creativity without trying to summon it directly, an approach similar to the way the Stanislavski system indirectly beckons emotion by planting the circumstances in which it is most likely to emerge.