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Dramatic Events: How to Run a Successful Workshop
 
 
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Dramatic Events: How to Run a Successful Workshop [Paperback]

Peter Reynolds , Richard Hahlo
4.0 out of 5 stars  See all reviews (1 customer review)
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Frequently Bought Together

Dramatic Events: How to Run a Successful Workshop + Play Acting: A Handbook of Theatre Workshops for Actors, Teachers and Directors (Performance Books) + 101 Drama Games and Activities
Price For All Three: £37.68

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Product details

  • Paperback: 208 pages
  • Publisher: Faber and Faber; Re-issue edition (4 April 2003)
  • Language English
  • ISBN-10: 0571191614
  • ISBN-13: 978-0571191611
  • Product Dimensions: 21.2 x 13.6 x 1.6 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 428,474 in Books (See Top 100 in Books)

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Richard Hahlo
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Product Description

Product Description

Learning from a workshop is quicker and has more lasting effect than any other practical exercise. Dramatic Events shows you how to stimulate workshop participants, through a series of exercises and examples, to release their energy, to free their bodies and their voices, to listen, to think, to be creative, to engage in focussed exchanges with other people, to take risks and to watch others and learn. Whether you are an experienced or novice workshop leader, working in theatre, teaching or training in education or business, Dramatic Events will be an invaluable source book to read and to use.

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Most Helpful Customer Reviews
10 of 10 people found the following review helpful
By A Customer
Format:Paperback
Having run ad-hoc workshops before with indifferent success, I was intrigued by a book that essentialy was a 'how-to' of practical drama. My initial scepticism was washed away by the fascinating examples from the work of the authors.

Separate chapters deal with Improvisation (far more useful than Keith Johnston's earnest books), Shakespeare (a call for the improtance of verse to be stressed), mask and chorus work, and realistic theatre a la Stanislavsky.

Although I found the chapter on mask work irritating (a matter of personal prejudice) it was still interesting. The authors recognise that different works require different skills and styles of acting, and provide useful exercises for each.

Unlike many of these sorts of books (one thinks of Boal) there is no deadly political thought behind this work. The authors set out to provide workshop leaders with exercises that will entertain and inspire people to inspire others.

If I have one negative criticism, it is that some of the writing seems aimed at the experienced workshop facilitator. This was slightly off putting in a book aimed at all levels of experience.

This minor criticism aside, I would recommend this book to anyone who wishes to revive or inspire a group's interest in theatre. The comments I received from participants after I used this book for a workshop were the most positive I have heard for a long time.

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