Creativity In Theatre: Theory And Action In The... EXCLUSIVE

Suzanne Burgoyne is the director of the Center for Applied Theatre and Drama Research at the University of Missouri (MU). The center's projects include interactive theatre, the teaching of creativity for the Honors College and the bioengineering capstone course, and helping teach scientists how to communicate with the public for a National Science Foundation (NSF) grant. Suzanne is also currently the Curators' Distinguished Teaching Professor of Theatre at the Department of Theatre at MU. She has taught directing and dramaturgy at the National Theatre Institute of Belgium and been editor of Theatre Topics, vice president for Professional Development for the Association of Theatre in Higher Education, and has published articles on directing and American drama in Theatre Journal, American Drama, Theatre Topics, and Text and Performance Quarterly. With Clyde Ruffin, she founded the Interactive Theatre Troupe at MU and served as a co-investigator on Ford Foundation's Difficult Dialogues and the National Science Foundation (NSF) ADVANCE grants programs using interactive theatre. Suzanne is currently editing a volume, Creativity in Theatre: Creativity theory and Action in Theatre and Drama Education for a Springer series co-edited by Ron Beghetto. She is also consulting on an NSF grant using interactive theatre with online avatars to provide diversity training for geoscientists. Suzanne earned a certificate from the Belgian National Theatre Institute and holds a M.A. in theater from Ohio State University and a Ph.D. in theater from the University of Michigan. She is a Fellow of Salzburg Global Seminar Session 468, The Performing Arts in Lean Times: Opportunities for Reinvention in 2010, and Session 547, The Neuroscience of Art: What are the Sources of Creativity and Innovation? in 2015.

Creativity in Theatre: Theory and Action in The...

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A core tenet of psychodrama is Moreno's theory of "spontaneity-creativity".[4] Moreno believed that the best way for an individual to respond creatively to a situation is through spontaneity, that is, through a readiness to improvise and respond in the moment.[5] By encouraging an individual to address a problem in a creative way, reacting spontaneously and based on impulse, they may begin to discover new solutions to problems in their lives and learn new roles they can inhabit within it.[4] Moreno's focus on spontaneous action within the psychodrama was developed in his Theatre of Spontaneity, which he directed in Vienna in the early 1920s.[6] Disenchanted with the stagnancy he observed in conventional, scripted theatre, he found himself interested in the spontaneity required in improvisational work. He founded an improvisational troupe in the 1920s. This work in the theatre impacted the development of his psychodramatic theory.[5]

From 1980, Hans-Werner Gessmann developed the Humanistic Psychodrama (HPD)[22] at the Bergerhausen Psychotherapeutic Institute in Duisburg, Germany.[23]It is based on the human image of humanistic psychology [24] All rules and methods follow the axioms of humanistic psychology. The HPD sees itself as development-oriented psychotherapy and has completely moved away from the psychoanalytic catharsist theory.[25] Self-awareness and self-actualization are essential aspects in the therapeutic process. Subjective experiences, feelings and thoughts and one's own experiences are the starting point for a change or reorientation in experience and behavior towards more self-acceptance and satisfaction. The examination of the biography of the individual is closely related to the sociometry of the group.

Creative development in art, dance, music, and theatre is central to the College of Creative Arts. The College provides graduate students with a place where they can forge a personal understanding between artistic practice and theory, and form both personal and professional insights that explore and expand the nature of human creativity. Combining performance, exhibition, and scholarship in ways that address both traditional and innovative approaches to art, dance, music, and theatre, graduate students gain a greater understanding of the arts and--in turn--themselves.

This course explores the idea that to learn to teach writing best, we must write and read; these acts cannot be disconnected. Students read and discuss accounts by professional writers, student writers, teachers of writing, and writing researchers. The discipline of composition studies, as well as reflections by writers on writing, is rich with interesting documentation, important theory, and vigorous dialogue. Students write for an audience to read and respond, in a broad variety of genres including the personal essay, the poem, short fiction, short nonfiction, the letter, the one-pager, and an experimental blur of genres. Writing is one tool for working out thinking. It is a link between inner speech and a frame for talk, a link between writer/speakers and reader/listeners. It is a writing teacher's responsibility to create an environment that ensures a diet of varied writing and broad reading, a community of rich, specific responders, and lots of opportunities for revising and careful editing. Along with the development of the individual writer-reader, the "social construction of knowledge" is an important concept in a writing class, and students experience it in this course. There are no actual stages, there is no specific process, but we can describe and theorize about prewriting techniques, revision strategies, conferencing models, inventories of grammatical conventions and mechanics, and publishing opportunities. Describing writing allows us to freeze the action to discover conditions under which writing takes place, and what the differences are in every writer's approach. To teach writing, you need to see that the act of writing is different with each piece you write, that you contribute to the next piece you write with each piece you read.

2004: CREATIVITY AND THE ARTISTIC EXPERIENCEExamine how the arts intersect with our daily lives. Composeand create basic examples of abstraction and 20th centurymodernism. Trace the global influences and roots of ourcurrent culture. Explore the science of acoustics and itseffect on performing spaces. Discuss the process of an artsperformance. Apply themes of improvisation, creativity andhow we process beauty. Investigate emerging brain science asit relates to art, beauty and pleasure. Identify the uniqueways of knowing embodied in the arts distinct fromscientific measurements. No prior knowledge of visual,theatrical or musical arts needed.(3H,3C) 041b061a72