Notice bibliographique
Résumé
In this editorial, the editor reflects on the current political climate in the US and its impact on theatre education. The editor then introduces this issue, in which our contributors have reflected on their diverse practices, many of which fall under or draw upon trauma-informed and healing centered practices. In Divided We Stand, Carmen Meyers uses verbatim documentary theatre to investigate how women in the U.S. negotiated and maintained their identities and relationships in today's climate of political polarization. Taiwo Afolabi focuses on his performance in an applied theatre project with refugees, immigrants, and international students in Victoria, British Columbia to explore how his migratory and mobility experiences shape his identity and in turn reveal expression in his artistic practice. In her narrative of practice, Kaitlin O.K. Jaskolski highlights the methods used to facilitate, assess and stratify learning outcomes in order to create a culture of inclusion as illustrated through case studies on devising and the performance of Aesop's Idols at Westside Inclusive Theatre Company in Houston, Texas. Lea Ticozzi reviews her staging of Neil Simon's The Gingerbread Lady with young people at a high school in Switzerland. The students embodied physical, intellectual and emotional experiences by staging characters who address sexist, LGBTQ, and racial issues as illuminated through their written reflections. Amanda Claudia Wager and Sara Schroeter explore their experiences as drama-in-education professors in Canada teaching educators how to create and facilitate process drama and call for artists and educators to be more thoughtful in approaching the creation and facilitation of process drama, especially when teaching people with different subjectivities and positionalities. To illustrate active learning methods, U.S. based teacher-educator Rosalind M. Flynn presents a lesson sequence and resources for teaching theatre history. In Santiago, Chile, theatre practitioner Moira Fortin works through and into the intersections between illustration and theatre, as she explores her collaboration with visual artist and illustrator Carolina Schütte González as they created a graphic transposition of Ibsen's A Doll's House. Dawn Ingleson probes her use of conflict resolution models at a Primary School Federation in London, UK. Ingleson implements nonviolent communication, systems theory, and philosophy for children to create a simultaneous community of inquiry and practice using versions of forum theatre and process drama via a journey of immersive practice.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,003 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».