Drama and Digital Arts Cultures: Methuen Drama Engage
Autor Mr David Cameron, Rebecca Wotzko, Professor Michael Andersonen Limba Engleză Paperback – 26 dec 2018
Toate formatele și edițiile | Preț | Express |
---|---|---|
Paperback (1) | 233.08 lei 6-8 săpt. | |
Bloomsbury Publishing – 26 dec 2018 | 233.08 lei 6-8 săpt. | |
Hardback (1) | 598.84 lei 6-8 săpt. | |
Bloomsbury Publishing – 28 iun 2017 | 598.84 lei 6-8 săpt. |
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Specificații
ISBN-13: 9781472592200
ISBN-10: 1472592204
Pagini: 288
Ilustrații: 6 bw illus
Dimensiuni: 138 x 216 x 16 mm
Greutate: 0.46 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Methuen Drama Engage
Locul publicării:London, United Kingdom
ISBN-10: 1472592204
Pagini: 288
Ilustrații: 6 bw illus
Dimensiuni: 138 x 216 x 16 mm
Greutate: 0.46 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Methuen Drama Engage
Locul publicării:London, United Kingdom
Caracteristici
Surveys a field of practice that is studied on the many modules devoted to contemporary performance practices, while uniquely expanding understandings of 'performance'
Notă biografică
David Cameron is deputy director of Academic Technologies in the Centre for Teaching and Learning at the University of Newcastle, Australia. His publications include How Drama Activates Learning: Contemporary Research and Practice (Bloomsbury, 2013) and Drama education with digital technology (Bloomsbury, 2009) both co-edited with M. Anderson.Michael Anderson is Professor of Education at the University of Sydney, Australia. His previous books include: Partnerships in Education Research: Creating Knowledge that Matters (Bloomsbury, 2014), and MasterClass in Drama Education: Transforming Teaching and Learning (Bloomsbury, 2012), and Drama education with digital technology, co-edited with J. Carroll and D. Cameron (Continum, 2009)Rebecca Wotzko teaches in the School of Communication and Creative Industries, Charles Sturt University, Australia.
Cuprins
1. A drama framework for exploring digital arts cultures2. This liquid world: intermediality, postnormality, and new opportunities for arts and education3. Drama and identity in digital arts cultures4. Digital liveness: Playing with time and space5. Proto-pedagogy, intermediality, and drama making6. Games as co-creative dramatic properties7. The playable archive8. Coding and creativity9. The playable city10. Making research in intermedial spaces 11. The future of making / making the future12. Conclusion13. Notes14. References
Recenzii
This has the potential to be a leading book in the field it is itself participating in defining. What they propose is a significant and unique contribution to a specific area of performance studies.... what [it]does and offers goes beyond the by now 'traditional' notions of what constitutes 'digital performance' and challenges the established boundaries of 'performance' itself.
This is a well-formulated and very timely proposal, and an ideal volume for the ENGAGE series. The coauthors have centered their attention on a compelling new way to think about the forms and conventions of drama as conventionally constructed in relation to the relatively new digital culture. Their multiple discussions range widely, moving on from elements of applied drama to consider the many ways these have been effectively and efficiently reformulated within learning practices, collaboration, performance art and a sometimes surprising number of other rubrics. What results is highly suggestive of the ways we might think of drama in a series of new contexts.
This is a compelling topic that is both timely and engaging. My sense is that the intersection of digital methods in education will continue at a rapid progression and the number of relevant programs will continue to expand. This makes the book both timely and likely to be durable in the long run.
This is a well-formulated and very timely proposal, and an ideal volume for the ENGAGE series. The coauthors have centered their attention on a compelling new way to think about the forms and conventions of drama as conventionally constructed in relation to the relatively new digital culture. Their multiple discussions range widely, moving on from elements of applied drama to consider the many ways these have been effectively and efficiently reformulated within learning practices, collaboration, performance art and a sometimes surprising number of other rubrics. What results is highly suggestive of the ways we might think of drama in a series of new contexts.
This is a compelling topic that is both timely and engaging. My sense is that the intersection of digital methods in education will continue at a rapid progression and the number of relevant programs will continue to expand. This makes the book both timely and likely to be durable in the long run.