The French Play : Exploring Theatre "Re-creatively" with Foreign Language Students

Table of Contents

• Cover 1
• Title Page 6
• Bibliographic Information 4
• Dedication 5
• Contents 8
• List of Illustrations 14
• Acknowledgments 16
• Introduction 20
• The Pedagogy of Performance by and 26
• The Creativity-Complexity Matrix by Recreative 29
• Theories 1: Performance and 32
• Theories 2 : The Spect-actorial 34
• Theories 3: Teaching Literary-Dramatic 38
• Theories 4: Regenerating the Creative 44
• Prologue: Advance Preparation 50
• Selecting the Play 50
• Selecting the Rehearsal and 54
• Recruiting the Students 56
• 1 Day One - You’re On! 58
• 1.1 Discussing the Syllabus and the Project: 59
• 1.2 Setting a Creative-Critical- 63
• 1.3 The Introductory Re-creative 65
• 1.4 Assessment of the Re-creative 72
• 1.5 Homework 74
• 2 The First Six Weeks of Performance 76
• 2.1 Creating a Performance Space, 76
• 2.2 Questions 77
• 2.3 Class Roster 77
• 2.4 Recap 78
• 2.5 Warm-Up Exercises 78
• 2.6 Interactive Dramatic Games 82
• 2.7 La Petite Mise-en-Scene 83
• 2.8 Textual Analysis 84
• 2.9 A Performative Approach to the Text 86
• 2.10 Guidelines for Performative-Textual 88
• 2.11 The Journal 91
• 2.12 Schedule of Re-creative Sketches 93
• 2.13 Inducing a Semiotic Understanding 95
• 2.14 The Discovery of Semiotics through 97
• 2.15 Introducing the “Systems” of Style, 98
• 2.16 Day Three and Beyond 109
• 3 The Collaborative Re-Creation 112
• 3.1 The “How To” Guidelines for the 112
• 3.2 D-Day: Pieces Come Together and 116
• 3.3 Collaborative Examination of the 118
• 3.4 My Weekend from Hell! 118
• 3.5 Discussing the Text and Giving 122
• 3.6 Casting: The Anti-(Lone) Star 123
• 4 Co-operatively and Re-creatively Rehearsing, 128
• 4.1 Early Rehearsals 129
• 4.2 Blocking the Text 130
• 4.3 Memorizing Text and Individual 132
• 4.4 The Journal 133
• 4.5 The Week before Spring Break 133
• 4.6 After the Break: Discovering and 135
• 4.7 The Material Genesis of the Play: Set, 137
• 4.8 Collaborative, Co-operative Duties: 141
• 4.9 Poster and Program Design 146
• 4.10 Financing the Production and 147
• 4.11 Activist Promotion: “Storming” 148
• 4.12 The Final Rehearsal Phase 150
• 5 The Opening Show: C’est fini! … 152
• 5.1 Inevitable Doubts and Problems 153
• 5.2 Rehearsing the Audience 153
• 5.3 Audience Feedback: The Survey 158
• 5.4 Photographing and Videotaping 159
• 5.5 On the Road: Another Space, 162
• 6 Post-Performance Student Evaluation of the 166
• 7 The Analytical-Subjunctive Art of Combining 170
• 7.1 Regeneration through Combination 171
• 7.2 Reinterpreting the Absurdity of Cruelty 182
• 7.3 Taking Combination and Con-fusion to 190
• Conclusion 198
• Appendices 204
• Appendix A: Sample Course 204
• Appendix B: Sample Interactive 210
• Appendix C : Sample Study and 220
• Appendix D : Pavis’s Questionnaire 223
• Appendix E : Textual Re-creation: 227
• Appendix F: Sample Excerpts and 232
• Appendix G : Sample Promotional 249
• Appendix H: Audience Survey 254
• Appendix I: Instructions for Final 255
• Works Cited 258
• Notes 262
• Back Cover 272