Details
The Autistic Stage
How Cognitive Disability Changed 20th-Century Performance|
37,45 € |
|
| Verlag: | SensePublishers |
| Format: | |
| Veröffentl.: | 30.10.2015 |
| ISBN/EAN: | 9789463001816 |
| Sprache: | englisch |
Dieses eBook enthält ein Wasserzeichen.
Beschreibungen
This is
a book for those who have a stake in and curiosity about the relationship
between autism and the stage. Performance here covers theatre to therapy,
film to biography, art and beyond. If you are a theater or film critic, a
speech or drama therapist, a higher education specialist or special education
instructor, a parent of a child on the autism spectrum or an individual with
ASD interested in theatre, this book may hold unique value for you. This work
is meant to cover a range of issues and reach out to audiences, critics,
professionals and parents who want to know more about performance
representations of autism. One message reverberates throughout the book: each
autistic person illustrates different approaches to and perspectives on life.
We become richer each time we come to understand these new perspectives and
performance powerfully enhances our understanding of them. Autism Spectrum
Disorders include alternative modes of processing information, recording
images, discoursing with others, and interpreting social scenes. In this
conversation, performance can function as an analytical lens, a
representational space, a means of perceptual innovation, and a therapeutic
tool. The definition of autism as a disorder has evolved from its first diagnosis
in the 1940s to our current frame of reference with several key revisions.
These three categories—interaction, communication, and perseveration—underlie
any published study of those on the autism spectrum. What has shifted in
recent years is an approach to disability that positions autism as a social
construction rather than a medical problem.
a book for those who have a stake in and curiosity about the relationship
between autism and the stage. Performance here covers theatre to therapy,
film to biography, art and beyond. If you are a theater or film critic, a
speech or drama therapist, a higher education specialist or special education
instructor, a parent of a child on the autism spectrum or an individual with
ASD interested in theatre, this book may hold unique value for you. This work
is meant to cover a range of issues and reach out to audiences, critics,
professionals and parents who want to know more about performance
representations of autism. One message reverberates throughout the book: each
autistic person illustrates different approaches to and perspectives on life.
We become richer each time we come to understand these new perspectives and
performance powerfully enhances our understanding of them. Autism Spectrum
Disorders include alternative modes of processing information, recording
images, discoursing with others, and interpreting social scenes. In this
conversation, performance can function as an analytical lens, a
representational space, a means of perceptual innovation, and a therapeutic
tool. The definition of autism as a disorder has evolved from its first diagnosis
in the 1940s to our current frame of reference with several key revisions.
These three categories—interaction, communication, and perseveration—underlie
any published study of those on the autism spectrum. What has shifted in
recent years is an approach to disability that positions autism as a social
construction rather than a medical problem.
Foreword;
Preface; Acknowledgements; Introduction; Thinking Spatially, Speaking
Visually: Robert Wilson and Christopher Knowles; “Autism as an Aesthetic
Anchor”; Performance Always Starts with the Body; Wilson’s Intersection with
Disability; Wilson and Autism; Spatial Thinking and Language; Translating
Disability; Process and Production; Visual Music in Space; Autistic Parallels
in Einstein on the Beach; Multiplicity in Wilson’s Opera; Behold, Chekhov
Lizardbrain; How Pig Iron Works; Models of the Brain; Dimitri’s Autistic
Mind; Temple Grandin’s Theories on Autism; Dimitri/Lizardbrain; Lost and
Lonely; Clowning and the Role of Physical Theatre; Repetition; Musicality and
Movement; Connecting Wilson, Chaikin, and Pig Iron; SHUT EYE; Pig Iron’s
Place in Experimental Theatre; The Wanderer: Staging Autism as a
Service-Learning Project; Methodology; Observations at the School;
Citizenship and Service-Learning; Background to Theatre for Social Change;
Devised Theatre; Different Learning Pathways; The Wanderer Script; Scene 1:
The First Doorway; Scene 2: The Dancing Fields; Scene 3: Fortress of
Solitude; Scene 4: Silent Wood; Scene 5: Juggling Hollow; Scene 6:
Reconciliation; Production Choices; “Performance of Possibilities”; Questions
of Representation; The Model of Augusto Boal’s Forum Theatre; Giving Voice;
Further Developments; Autistic Techne: Thinking in Pictures and Starring in
Film; Heidegger’s Notion of Techne; Portrayals of Autistic Behavior; Getting
Inside Temple Grandin; A Series of Doors; The Routine of Space; The Squeeze
Machine; Learning from Another’s Disability; More Doors of Transition;
Redesigning Cattle Chutes; Changing Views of Autism; Autism is a World;
Autism: The Musical; Disney dialogues: No Sidekick Left Behind; Rehearsing
Social Skills; “Just Your Voice!”; “Beauty Lies Within”; Conversations with
Iago; Consummate Method Actor; “Context Blind”; Perseverative Behavior; “I am
the Protekter of Sidekicks”; Reinventing Scripts; Searching for the Hero
within; Making Room for Improvisation; “Disney Therapy”; The Power of Story
in Shaping Our Lives; Animated Films as Mirror; The Lion King;
Autism-Friendly Performance on Broadway; “Follow Your Passion: Find Your
Place”; Arts Therapy for Autism: Translating a New Theory of Mind; Quest for
Meaning; Connection to Language; Theatre Therapy; Capacity for Symbolic
Thought; Drawing and Language; Theories of Mind; Visuals Aids as Road Maps;
Developing a Toolkit of Skills; Alternate Means of Communication;
Augmentative Devices; New Technologies; Autism and Theatre Practice; Autism
and Presence; The Role of Performance Skills; Exercises of Healing and
Development of Empathy; Breaking Down Scenes into Small Steps;
Neuroplasticity: Change through Experience; Other Disorders; Spatial
Training; Embodied Pleasure: Autistic Behavior and the Dance of Social
Interaction; Faces of Autism; Bibliography.
Preface; Acknowledgements; Introduction; Thinking Spatially, Speaking
Visually: Robert Wilson and Christopher Knowles; “Autism as an Aesthetic
Anchor”; Performance Always Starts with the Body; Wilson’s Intersection with
Disability; Wilson and Autism; Spatial Thinking and Language; Translating
Disability; Process and Production; Visual Music in Space; Autistic Parallels
in Einstein on the Beach; Multiplicity in Wilson’s Opera; Behold, Chekhov
Lizardbrain; How Pig Iron Works; Models of the Brain; Dimitri’s Autistic
Mind; Temple Grandin’s Theories on Autism; Dimitri/Lizardbrain; Lost and
Lonely; Clowning and the Role of Physical Theatre; Repetition; Musicality and
Movement; Connecting Wilson, Chaikin, and Pig Iron; SHUT EYE; Pig Iron’s
Place in Experimental Theatre; The Wanderer: Staging Autism as a
Service-Learning Project; Methodology; Observations at the School;
Citizenship and Service-Learning; Background to Theatre for Social Change;
Devised Theatre; Different Learning Pathways; The Wanderer Script; Scene 1:
The First Doorway; Scene 2: The Dancing Fields; Scene 3: Fortress of
Solitude; Scene 4: Silent Wood; Scene 5: Juggling Hollow; Scene 6:
Reconciliation; Production Choices; “Performance of Possibilities”; Questions
of Representation; The Model of Augusto Boal’s Forum Theatre; Giving Voice;
Further Developments; Autistic Techne: Thinking in Pictures and Starring in
Film; Heidegger’s Notion of Techne; Portrayals of Autistic Behavior; Getting
Inside Temple Grandin; A Series of Doors; The Routine of Space; The Squeeze
Machine; Learning from Another’s Disability; More Doors of Transition;
Redesigning Cattle Chutes; Changing Views of Autism; Autism is a World;
Autism: The Musical; Disney dialogues: No Sidekick Left Behind; Rehearsing
Social Skills; “Just Your Voice!”; “Beauty Lies Within”; Conversations with
Iago; Consummate Method Actor; “Context Blind”; Perseverative Behavior; “I am
the Protekter of Sidekicks”; Reinventing Scripts; Searching for the Hero
within; Making Room for Improvisation; “Disney Therapy”; The Power of Story
in Shaping Our Lives; Animated Films as Mirror; The Lion King;
Autism-Friendly Performance on Broadway; “Follow Your Passion: Find Your
Place”; Arts Therapy for Autism: Translating a New Theory of Mind; Quest for
Meaning; Connection to Language; Theatre Therapy; Capacity for Symbolic
Thought; Drawing and Language; Theories of Mind; Visuals Aids as Road Maps;
Developing a Toolkit of Skills; Alternate Means of Communication;
Augmentative Devices; New Technologies; Autism and Theatre Practice; Autism
and Presence; The Role of Performance Skills; Exercises of Healing and
Development of Empathy; Breaking Down Scenes into Small Steps;
Neuroplasticity: Change through Experience; Other Disorders; Spatial
Training; Embodied Pleasure: Autistic Behavior and the Dance of Social
Interaction; Faces of Autism; Bibliography.
Through discussions of theory and practice, Telory D. Arendell acknowledges the impact that Cognitive Disability in general and Autism in particular have had on the performing arts community in the United States from 1970 to our current times This is a book for those who have a stake in and curiosity about the relationship between autism and the stage This work is meant to cover a range of issues and reach out to audiences, critics, professionals and parents who want to know more about performance representations of autism
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