In the two decades since the publication of the second edition, Learning Through Theatre has further established itself as an indispensable resource for scholars, practitioners and educators interested in the complex interrelations between teaching and learning, the performing arts, and society at large. Theatre in Education (TIE) has consistently been at the cutting edge of the ever-growing field of Applied Theatre; this comprehensively revised new edition makes an international case for why, and how, it will continue to shape ways in which the participatory arts contribute to the learning of young people (and increasingly, adults) in the 21st century. Drawing on the experiences and insights of theorists and practitioners from across the world, Learning Through Theatre shows how theatre can, and does, promote: participatory engagement; the use of innovative theatrical form; work with young people and adults in a range of educational settings; and social and personal change. Now transatlantically edited by Anthony Jackson and Chris Vine, Learning Through Theatre offers exhilarating new reflections on the book's original aim: to define, describe and debate the salient features, and wider political context, of one of the most important - and radical - developments in contemporary theatre.

In the two decades since the publication of the second edition, Learning Through Theatre has further established itself as an indispensable resource for scholars, practitioners and educators interested in the complex interrelations between teaching and learning, the performing arts, and society at large. Theatre in Education (TIE) has consistently been at the cutting edge of the ever-growing field of Applied Theatre; this comprehensively revised new edition makes an international case for why, and how, it will continue to shape ways in which the participatory arts contribute to the learning of young people (and increasingly, adults) in the 21st century. Drawing on the experiences and insights of theorists and practitioners from across the world, Learning Through Theatre shows how theatre can, and does, promote: participatory engagement; the use of innovative theatrical form; work with young people and adults in a range of educational settings; and social and personal change. Now transatlantically edited by Anthony Jackson and Chris Vine, Learning Through Theatre offers exhilarating new reflections on the book's original aim: to define, describe and debate the salient features, and wider political context, of one of the most important - and radical - developments in contemporary theatre.

This is an account of the origins, development and current state of the repertory theatre movement in Britain. The movement had its roots in ideas, experiments and traditions stretching back into the nineteenth century, and first found its voice in 1907 with Miss Horniman's company in Manchester. Since then it has played a vital - often a dominant - role in British twentieth-century theatre. As a method of theatre organisation, repertory refers to those theatres based primarily in the regions, housing a resident acting company and seeking to maintain each season a programme of plays catering for the tastes of the whole community. But the theory has never been dogmatic and the movement has evolved from a gamut of complex factors, not least the visions of particular personalities. Major landmarks in the history include the effects of the two World Wars, the advent of substantial state funding for the Arts, the growth of cinema and television and the renewal of theatre's link with the community in the form of such initiatives as Theatre- in-Education. The history concludes with a detailed study of six representative regional theatres: The Nottingham Playhouse; The Citizens' Theatre, Glasgow; The Salisbury Playhouse; The Victoria Theatre, Stoke; The Everyman, Liverpool; and The Royal Exchange, Manchester. Appendixes include a Chronology, sample repertory programmes from the period, audience attendance figures and some comparative statistics about funding. Interspersed through the text are photographs of selected theatre exteriors, auditoria, stages and productions.

Dwarves, elves, goblins, trolls, dragons and wizards - these are the ingredients of J.R.R. Tolkien's wonderful fantasy, the prelude to The Lord of The Rings, now the subject of a major feature film series. The hero of the tale is Bilbo Baggins, a home-loving unambitious hobbit who is suddenly thrust into what turns out to be the biggest adventure of his life. Guided by Gandalf the wizard, Bilbo and a company of dwarves set out to destroy Smaug the Magnificent, a ferocious dragon who guards a treasure hoard. Their journey contains many dangers, and in facing them the reluctant Bilbo's great resourcefulness and courage surprises everyone - not least himself! Since it was first broadcast in 1968, this BBC Radio 4 dramatisation has become a classic in its own right, perfectly evoking Tolkien's magical other world and its enchanting, fantastic inhabitants. 5 CDs. 4 hrs 15 mins.

Disaster relief volunteers share their accounts of helping others.

Ever Wondered How So Many Black Women Have Become The Happiest Women They Have Ever Been After Going Natural...? "Who Ever Heard Of A Woman Cutting Her Hair --- And Feeling More Beautiful At The Same Time? You're About To Discover The closely guarded secrets of many natural women That Will Allow You To Have The Natural Hair You've Always Wanted... But SHHH, This Is What They Never Wanted You To Know About Your Natural Hair " And Don't For One Second Think That Straight Hair Is The Only Way To Look Beautiful, Stunning Or Even Professional... It's Not It's Just People Fear What They Don't Know or Don't Understand. And That is why I'm so excited about sharing my secrets of going natural journey with you. I have uncovered the truth why many African American women struggle to love and nurture their God-given hair. What has happened over the years is that too many women have simply bought into a lie. They either think that their natural hair may be unattractive or unprofessional (which is definitely not true). They fell pressured by loved ones (husbands, co-workers, or family members etc.) to look like every other woman. As if no one will accept you if you have natural hair. Trust me, these woman are not alone, and I can say that because I have personally been there myself. The problem I faced in going natural was a personal struggle. I honestly did not like what I saw in the mirror. As I crossed those hurdles, I began to see the very same issues with women all around me that had been contemplating going natural. It is really a battle within because I believe when you conquer yourself, the world (outsiders) are easy. Women we are always thinking about others. At the same time, we too forget that we deserve to be happy. Wanting everyone to be happy, but rarely are we happy. And it's sad that so many woman are just flat out scared of what other people may think of them. We have women who can't even live their own life (or where their own hair) because of the opinions of others. Well what I want to do is give you access to my story, my mindset during this time, and a blueprint to help you make the transition In The "Secrets of Going Natural." The information I am going to share with you is a must have while transitioning from relaxed hair to your all natural hair. This has become the transition bible for many women with its in depth study of natural hair and its foundational beginning which will cause you to see your hair in a different light. It will empower you to believe in yourself giving you the ability to overcome yourself and others. I want to show you how to overcome the mental barriers that have been keeping you from making the switch. I will show you the Top 3 methods for the transition and teach you how to select the best one for you. You will learn how to find your hair type and how knowing your hair type can help you avoid most of the problems that many women have by not knowing there's. I am also going to share some of the best hair products available today that will totally transform your hair and not break the bank. So how do you get immediate access? All you have to do is click the add to cart button and you will be able to secure your kindle copy at the special book launch price. And I don't know what better advice you could get than from a woman has been there and done that I spent numerous hours reading and searching and conducting interviews with natural hair experts from all over the country so that you don't have to. It would not make sense to struggle trying to figure this natural thing on your own when you could immediately tap into years of research and experience for less one or two of your favorite mochas or a new set of nails. So here it is. Everything I have ever learned about going natural right here at your finger tips and all you have to do is click the add to cart button and instantly you will have all of this valuable information at your finger tips.

You thought that when the Romans left, the Saxons came; at least that was what we were all told in school. There are precise dates as well The Romans left in 410 AD and the Saxons came in 440AD. Somewhere in this clear cut time lies a problem called the Arthurian legends. It is as if the clear cut strata in an archaeological dig are subjected to a microscopic analysis to reveal a rather less clear cut profile. Further, we all have a concept of King Arthur that has been handed to us since the time of Mallory. So that was Arthur was it? Wrong. The only invaders were Saxons, right? Wrong. Arthur was something to do with Merlin-right? Wrong. We are always told the truth by historians, right? Wrong. In terms of what we know, the history has been defined within those references which have led to a distortion of the history. Be in no doubt that King Arthur existed and there was more than one. Unravelling the ancient sources such as Gildas, Nennius, Bede and other works leads us out of a fairytale of Hollywood into the harsh reality of the early post Roman empire; a world of Civil war and Celtic invasion. What has been learned is that there was more than one Arthur, in fact many names were repeated and confused, Ambrosius, Ambrosius Aurielanus, Uther, Arthur, Maximus (which one would you like) and Vortigern at a time when not only were the Saxons coming, so were the Scots (the real name of the Irish as conferred by the Romans), Danes at the same time as a tripartite Roman civil war was taking place. So the history of the time is clear?-please read on, its time to become confused.

The series Religion and Society (RS) contributes to the exploration of religions as social systems - both in Western and non-Western societies; in particular, it examines religions in their differentiation from, and intersection with, other cultural systems, such as art, economy, law and politics. Due attention is given to paradigmatic case or comparative studies that exhibit a clear theoretical orientation with the empirical and historical data of religion and such aspects of religion as ritual, the religious imagination, constructions of tradition, iconography, or media. In addition, the formation of religious communities, their construction of identity, and their relation to society and the wider public are key issues of this series.

The history of British architecture since 1930 has been one of frequently heated controversy between the old idiom and the new and between various social and technological viewpoints. The battle is by no means over; indeed it is spreading to wider issues and outside what was previously a largely professional sphere. A book like this one, which spells out the issues and describes how they arose, is therefore of interest not only to architects and students of architecture but to the growing general public concerned about the man-made environment. Professor Jackson looks at the buildings of the period as the products of peculiar sets of circumstances, as works of art and in terms of what their designers were trying to achieve. And since there is much worth studying in the critical zone that separates architectural claims and hopes from social and aesthetic reality, this book offers both essential background material and a fascinating narrative that will in itself be a subject of controversy.

Performing Heritage is the first book to bring together the range of voices, debates and practices that constitute the fields of museum theatre and live interpretation. Inspiring and challenging in its scope and level of debate, Performing Heritage crosses the disciplines of performance and museum/heritage studies and offers remarkable and timely insights into the processes, outcomes and potential of this rich and rapidly developing practice - and in a variety of international contexts. The book productively brings together academic research and professional practice, and will be essential reading for all those interested in, and concerned with the future of, 'heritage' and its interpretation. -- .

This book is a study of theatre's educational role during the 20th and the first years of the 21st centuries. It examines the variety of ways the theatre's educational potential has been harnessed and theorised, the claims made for its value and the tension bettween theatre as education and theatre as 'art': between theatre's aesthetic dimenstion and the 'utilitarian' or 'instrumental' role for which it has so often been pressed into service. Following a preliminary discussion of some key theoretical approaches to aesthetics, dramatic art and learning and, above all, the relationships between them, the study is organised into two broad chronological periods: early developments in European and American theatre up to the end of World War II, and participatory theatre and education since World War II. Within each period, a cluster of key themes is introduced and then re-visited and examined through a number of specific examples - seen within their cultural contexts - in subsequent chapters. Topics covered include an early use of theatre to campaign for prison reform; workers' theatre, agit-prop and American living newspapers in the 1930s; theatre's response to the dropping of the atom bomb in 1945; post-war theatre in education; theatre in prisons; and the use of performance in historic sites. -- .

This book is a study of theatre's educational role during the 20th and the first years of the 21st centuries. It examines the variety of ways the theatre's educational potential has been harnessed and theorised, the claims made for its value and the tension bettween theatre as education and theatre as 'art': between theatre's aesthetic dimenstion and the 'utilitarian' or 'instrumental' role for which it has so often been pressed into service. Following a preliminary discussion of some key theoretical approaches to aesthetics, dramatic art and learning and, above all, the relationships between them, the study is organised into two broad chronological periods: early developments in European and American theatre up to the end of World War II, and participatory theatre and education since World War II. Within each period, a cluster of key themes is introduced and then re-visited and examined through a number of specific examples - seen within their cultural contexts - in subsequent chapters. Topics covered include an early use of theatre to campaign for prison reform; workers' theatre, agit-prop and American living newspapers in the 1930s; theatre's response to the dropping of the atom bomb in 1945; post-war theatre in education; theatre in prisons; and the use of performance in historic sites. -- .