Birmingham Hippodrome’s Post

Let’s go!! My session focuses on Thriving (Not Surviving)Your First Year. We are going to dive into ways to care for your well-being during that magical (but often overwhelming!) first year using my MAGIC Method™️ Framework!

Step into the dynamic world of Theatretrain with Artistic Director Kevin Dowsett 🎭, where character shines through in interactions with children and young people. Join us as we delve into the diverse spectrum of theatre technicians, from the reluctant gatekeepers to the enthusiastic allies, shaping the stage with their attitudes and actions. Ready to dive deeper? Read the full blog by clicking the link or above in the bio! 📖🔗 https://buff.ly/4dsNKlN

How can we adapt Forum Theatre to build dialogue between communities affected by wildfires? How can we use Forum Theatre to deconstruct polarizing narratives of the Self and the Other? How can we use this method to avoid violent escalation and devise collective action across the divides of conflict? The article I just published in Peacebuilding (co-authored with Lorenza Fontana and Caleb Johnston) addresses these questions and presents an innovative contextualization of Forum Theatre to transform socio-environmental conflicts. Open access. https://lnkd.in/d3QaUsjY 

Today we spotlight Early Theatre for participating in our S2O program and a publisher of original, peer-reviewed scholarly research on medieval and early modern performance and theatre history. They also celebrate and showcase critical studies of plays and performances. In particular, the editors encourage original discussions of underexplored plays, authors, or types of performance; arguments that challenge conventional assumptions about periodization, performance, or reception; and studies that bring new theoretical, critical, or performance approaches to bear on early texts. Discover and explore the full list of S2O publishers here: https://bit.ly/MUSE_S2O #s2o #openaccess

Theatre in education empowers students by shifting responsibility and authority. It disrupts the traditional teacher-student dynamic, creating a more open and authentic exchange of ideas. Through artificial structures, theatre paradoxically fosters real-world connections and learning. As educators, we can use student led theatre experiences to animate students, transforming them from passive recipients to active, empowered learners taking ownership of their education. (with Will Bastow, former theatre student, former Arts Captain SMACS, WAAPA Theatre Graduate, actor)

Indigenous communities or local communities need to strengthen their cultural and creative sectors to enable them to control their narratives and represent themselves authentically on the international stage. This involves preserving and promoting their cultural heritage, empowering creative individuals, and ensuring sustainable economic opportunities. This empowerment not only preserves and promotes cultural heritage but also fosters economic growth and social cohesion within Indigenous communities. For this to happen, a conducive environment must be in place, not only to encourage education on the creative economy but also to allow individuals and the local communities to thrive through the industry. Here's our case for the creative economy in Africa: https://lnkd.in/dxtCrKbz

Reclaim The Bernie Grant Arts Centre Call to Action: Saturday 29th June 2024 2pm - 5pm Big Thanks to the community for supporting Black Arts Production Theatre (BAP) 👏🏾👏🏾 Speakers: Justice4Windrush & the local community The BGAC come from the community for local artists and to give local employment. Let our voices be heard… join us on this day... Questions: 1. How is our local theatre being used? 2. How many community events have you seen at the BGAC? 3. What are the aims and objectives of the BGAC? 4. Is it reasonable to only give one-month to a rent increase?

been doing some personal archiving lately and happened upon this prophetic insight by Diep Tran 12 years ago, recounting the Humana Festival (which included my play HOW WE GOT ON) before I had heard of anything called TYA "Navigating that natural conflict between the young and the old—how do we transition into maturity? how do we engage with those so many years ahead of us?—was a theme reiterated in a majority of the works at Humana. That common strand in a batch of plays is a helpful indicator of what is in the air among theatre professionals of late—and lately, theatres seem to asking: How do we attract a younger audience? Besides taking advantage of social media and enabling audience members to live Tweet during a show, there is one fundamental way to do that: Tell young people’s stories" . . https://lnkd.in/gdhJQiHD

Picture a college professor using complex sentences and obscure words to convey a point; "In the pursuit of achieving percussive excellence upon the grand stages of Broadway, an aspirant must cultivate not only a profound technical proficiency across a diverse array of rhythmic patterns but also an intuitive grasp of the symbiotic relationship between percussive elements and the theatrical narrative, thereby facilitating an auditory experience that both complements and enhances the visual spectacle and resonates with the audience on a visceral level." While they might sound intelligent, not everyone will be able to comprehend what they're trying to convey. https://lnkd.in/ds72f3eW

Sunday ruminations... In some of my doctoral research I note the intentional theatricality of the modern international school 'experience'. I pose this is a hypernym of a number of contributing factors such as: uniform, ritual, architecture, branding, 'story' and more. I argue this is ultimately produced to ensure and increase profitability. I have just started Helen Nicholson's fantastic 'Theatre & Education' which details Howard Barker's (interesting bloke) 1997 cultural manifesto (pp. 7/8/9). There are, in my opinion, some immediate comparisons to be drawn from his reflections on theatre and iterations of education today. As you read the following quotes, I wonder if you, like I, could imagine international education being labelled the same way. Replace theatre with education, let me know what you think... "He states that today's theatre is sterile because it has become, respectively, either an industry with a market, or a social service with a popular obligation" "Barker paints a picture of a contemporary theatre that is responsive to a society 'obsessed with profit and enlightenment''" "he remains critical of a culture industry that is regulated by the power of the conscience or the demands of commerce" "a theatre that is driven by commerce...can succeed only in reproducing life as it is already known and understood" Professor Colin Beard Stephen Larsen David Willows Tristan Bunnell Kevin J Ruth #edchat #education #philosophy #theatre #experientialeducation