Synopses & Reviews
Drama Worlds examines the complex improvised event called process drama and identifies it as an essential part of today's theatre. Cecily O'Neill considers process drama's sources and connections with more familiar kinds of improvisation: the texts it generates, the kinds of roles available, factors such as audience and dramatic time, and the leader's function in the event.
She provides examples of several process dramas and identifies key dramatic strategies and characteristics.
The explicit associations between theatre form and process drama make this approach accessible and its purposes and possibilities easy to understand, particularly to those working in actor training and theatre. Teachers and directors will discover effective ways to explore drama worlds and achieve a significant dramatic experience for all participants.
Review
Drama Worlds by Cecily O'Neill will be a book for the 90s and beyond. . . . It will promote considerable direction for educators, press their thinking forward, and constitute an invaluable resource in the advocacy for process drama.NADIE Journal
Synopsis
Drama Worlds examines the complex improvised event called process drama and identifies it as an essential part of today's theatre.
Description
Includes bibliographical references (p. 161-164) and index.
About the Author
Cecily O'Neill has written a number of books on drama education, including Drama Worlds: A Framework for Process Drama (Heinemann, 1995). One of the foremost authorities in the field, O'Neill lectures and conducts workshops throughout the world. She divides her time between London and the United States, where she is an associate professor of drama education at The Ohio State University.
Table of Contents
Encounters: Process Drama and Improvisation
Designs for Action: Scripts and Texts
New Worlds from Old: Discovering Pre-Texts
Scenes and Episodes: Defining the Drama World
Transformations: Roles and Roleplay
Expectations: Time in Process Drama and Theatre
Conspiracies: Audience and Participation
Devices: Structuring the Dramatic Experience