StartUp is a completely new course for adults and young adults who want to make their way in theworld and need English to do it. StartUp makes learning easy and relevant, focusing on meaningfullanguage that builds student confidence in using English, both in and out of class. Teachers aresupported in numerous ways, minimizing preparation time and providing a flexibility that allowsfor personalized teaching and focus on the skills that are important for their classes.

Site-specific performance - acts of theatre and performative events at landscape locations, in village streets, in urban situations. In houses, chapels, barns, disused factories, railway stations; on hillsides, in forest clearings, underwater. At the scale of civil engineering; as intimate as a guided walk.
Leading theatre artist and scholar Mike Pearson draws upon thirty years practical experience, proposing original approaches to the creation and study of performance outside the auditorium. In this book he suggests organizing principles, innovative strategies, methods and exercises for making theatre in a variety of contexts and locations, and through examples, case studies and projects develops distinctive theoretical insights into the relationship of site and performance, scenario and scenography. This book encourages practical initiatives in the conception, devising and staging of performances, while also recommending effective models for its critical appreciation.

Theatre/Archaeology is a provocative challenge to disciplinary practice and intellectual boundaries. It brings together radical proposals in both archaeological and performance theory to generate a startlingly original and intriguing methodological framework.

Theatre/Archaeology is a provocative challenge to disciplinary practice and intellectual boundaries. It brings together radical proposals in both archaeological and performance theory to generate a startlingly original and intriguing methodological framework.

This is the first full-length study of the history and working practices of the Mickery Theater in Amsterdam. Between 1965 and 1991, under its noted director Ritsaert ten Cate, Mickery became renowned worldwide for promoting and presenting significant international alternative theatre companies, and for staging its own innovative productions. Through a unique "archaeological" approach, combining archival research, oral history, and field observation, this book establishes the singular importance of Mickery and evokes the unique atmosphere of both the building and the activities it nurtured. "A superbly realized biography of an experimental theater. The full life of Mickery emerges through a rich assemblage of people and events."--Edward Scheer, University of New South Wales

Marking Time: Performance, archaeology and the city charts a genealogy of alternative practices of theatre-making since the 1960s in one particular city - Cardiff. In a series of five itineraries, it visits fifty sites where significant events occurred, setting performances within local topographical and social contexts, and in relation to a specific architecture and polity. These sites - from disused factories to scenes of crime, from auditoria to film sets - it regards as landmarks in the conception of a history of performance. Marking Time uses performance and places as a means to reflect on the character of the city itself - its history, its fabric and make-up, its cultural ecology and its changing nature. Weaving together personal recollections, dramatic scripts, archival records and documentary photographs, it suggests a new model for studying and for making performance...for other artistic practices...for other cities. Marking Time is an urban companion to the rural themes and fieldwork approaches considered in 'In Comes I': Performance, Memory and Landscape (University of Exeter Press, 2006).

Marking Time: Performance, archaeology and the city charts a genealogy of alternative practices of theatre-making since the 1960s in one particular city - Cardiff. In a series of five itineraries, it visits fifty sites where significant events occurred, setting performances within local topographical and social contexts, and in relation to a specific architecture and polity. These sites - from disused factories to scenes of crime, from auditoria to film sets - it regards as landmarks in the conception of a history of performance. Marking Time uses performance and places as a means to reflect on the character of the city itself - its history, its fabric and make-up, its cultural ecology and its changing nature. Weaving together personal recollections, dramatic scripts, archival records and documentary photographs, it suggests a new model for studying and for making performance...for other artistic practices...for other cities. Marking Time is an urban companion to the rural themes and fieldwork approaches considered in 'In Comes I': Performance, Memory and Landscape (University of Exeter Press, 2006).

In Comes I is about performance and land, biography and locality, memory and place. The book reflects on performances past and present, taking the form of a series of excursions in the agricultural landscape of eastern England, and drawing from archaeology, geomorphology, folklore, local and family history. Mike Pearson, a leading theatre artist and solo-performer, returns to the landscape of his childhood - off the beaten track in Lincolnshire - and uses it as a mnemonic to reflect widely upon performance theory and practice. Rather than focusing on author, period and genre as is conventional in the study of drama, the book takes region as its optic, acknowledging the affective ties between people and place. Offering new approaches to the study of performance, he integrates intensely personal narrative with analytical reflection, juxtaposing anecdote with theoretical insight, dramatic text with interdisciplinary perception. The performances, ranging from folk drama to contemporary site-specific work, are seen in their relationship to their cultural and physical environment. stamp of authenticity - integrating personal childhood memories with scholarly perception. Innovative form: It is structured as a series of excursions into the landscape, with a large number of personal photographs, reminiscent of the elegiac style of W. G. Sebald's creative writing. Readers have seen parallels with such evocative books as Flora Thompson's Lark Rise to Candleford and Jacquetta Hawkes's A Land.