Devising: Pioneering Uncharted Territory in Theater

Throughout theatre history, styles of theatre have come in and out of favor in response to the zeitgeist of the period. Neoclassical, Melodrama, Naturalism, all have their place in history offering enlightenment, passion and truth each in tune with the values of the culture in which it was created. As society transforms, so too does the stage, offering new ways to reflect, interpret and challenge our assumptions about the changing world. Our current society wrestles with a ‘shrinking world’, a world consumed with technological advances that fan the fire of the growing interconnectedness of human beings all over the earth. This ‘shrinking world’ phenomenon has the effect of an‘expanded world awareness’. That is to say, now more than ever we question all assumption regarding singular perspectives and cultural convictions. What our new society values is diversification of insight and a myriad of experiences from which to draw our conclusions about the world in which we live. The kind of theatre that fills this need is Devised Theatre. Theatre is a collaborative art form by nature. Theatre cannot be practiced alone. One must partner other artists as well as an audience in order to create a theatre performance. Theatre is a dialogue which can take many shapes. Devised Theatre is a process of making theatre that enables a group of performers to be physically and practically creative in the sharing and shaping of an original product that directly emanates from assembling, editing and reshaping individual’s contradictory experiences of the world. A devised theatre product is a work that has emerged from and been generated by a group of people working in collaboration. There is an emphasis on a way of working that values an accumulation of ideas. (Oddey)

The Power of Tragedy: An Eighteenth-Century Debate on Theater and its Relevance to Literature Pedagogy Today

This article brings to light a debate on tragic fiction in eighteenth-century France, and more specifically, on whether or not tragedy has the power to transform individuals intellectually and emotionally. Through analysis of abbé Dubos’s Reflexions critiques sur la poésie et sur la peinture and Jean-Jacques Rousseau’s Lettre à d’Alembert sur les spectacles, I contend that Dubos’s overwhelmingly positive conception of fiction—and especially his contention that we learn through the emotions when we engage with tragic fiction—can serve as an admirable pedagogical model for today’s fiction-focused foreign language classrooms.

Protective and risk factors in amateur equestrians and description of injury patterns: A retrospective data analysis and a case - control survey

Background In Switzerland there are about 150,000 equestrians. Horse related injuries, including head and spinal injuries, are frequently treated at our level I trauma centre. Objectives To analyse injury patterns, protective factors, and risk factors related to horse riding, and to define groups of safer riders and those at greater risk Methods We present a retrospective and a case-control survey at conducted a tertiary trauma centre in Bern, Switzerland. Injured equestrians from July 2000 - June 2006 were retrospectively classified by injury pattern and neurological symptoms. Injured equestrians from July-December 2008 were prospectively collected using a questionnaire with 17 variables. The same questionnaire was applied in non-injured controls. Multiple logistic regression was performed, and combined risk factors were calculated using inference trees. Results Retrospective survey A total of 528 injuries occured in 365 patients. The injury pattern revealed as follows: extremities (32%: upper 17%, lower 15%), head (24%), spine (14%), thorax (9%), face (9%), pelvis (7%) and abdomen (2%). Two injuries were fatal. One case resulted in quadriplegia, one in paraplegia. Case-control survey 61 patients and 102 controls (patients: 72% female, 28% male; controls: 63% female, 37% male) were included. Falls were most frequent (65%), followed by horse kicks (19%) and horse bites (2%). Variables statistically significant for the controls were: Older age (p = 0.015), male gender (p = 0.04) and holding a diploma in horse riding (p = 0.004). Inference trees revealed typical groups less and more likely to suffer injury. Conclusions Experience with riding and having passed a diploma in horse riding seem to be protective factors. Educational levels and injury risk should be graded within an educational level-injury risk index.