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Theatre for Community Conflict and Dialogue: The Hope Is Vital Training Manual Paperback

ISBN-13: 978-0325000022 ISBN-10: 0325000026 Edition: 1st

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Theatre for Community Conflict and Dialogue: The Hope Is Vital Training Manual + Games for Actors and Non-Actors 2nd Edition + Theatre of the Oppressed
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Product Details

  • Age Range: 11 - 17 years
  • Paperback: 176 pages
  • Publisher: Heinemann Drama; 1 edition (May 26, 1998)
  • Language: English
  • ISBN-10: 0325000026
  • ISBN-13: 978-0325000022
  • Product Dimensions: 9 x 6.1 x 0.4 inches
  • Shipping Weight: 8.8 ounces (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #261,303 in Books (See Top 100 in Books)

Editorial Reviews

About the Author

Michael Rohd is a theatre artist and educator. He is also founder and director of Hope Is Vital, the theatre and community dialogue/outreach organization on which this book is based, and has conducted residencies, trainings, and workshops using these techniques throughout the country. Rohd is currently based in Blacksburg, Virginia.

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Customer Reviews

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Most Helpful Customer Reviews

27 of 29 people found the following review helpful By psambol@erols.com on February 6, 1999
Format: Paperback
Michael Rohd is currently doing exciting work across the country, using improvisational theater techniques to connect with young people and communities in ways that echo Paul Sills' original intention when he founded The Compass Players and Second City: to connect viscerally with the community to create a dialogue for social change. As Jeffrey Sweet documented in his book "Something Wonderful Right Away," the original members of Compass and Second City (Mike Nichols, Elaine May, Severn Darden, Shelley Berman, Barbara Harris, Alan Arkin, etc.) were quick to pick up on the disparity between Sills' goal and the reality of their set-up. Their audience tended to be the insulated academic populace connected to the University of Chicago, whereas Sills was hoping to connect with the community at large. They simply weren't playing to the people Sills wanted to reach, and the people Sills wanted to reach were not coming to this coffeehouse. In Michael Rohd's hands, Paul Sills' work is being perpetuated. He has been taking the practices of improvisational theatre on the road, working with students, adults and teachers to create an open forum for dealing with and discussing today's complex issues. His book is a clear, tightly written manual describing a catalogue of theater games that are fun, creative, joyful, instantly accessible, that take workshop members on a clear arc from learning to trust each other to sharing to creating improvised scenes, all in an amazingly brief time span. For those in the Theatre Industry, Rohd's book is the best description of what goes into the making of an ensemble company and the creation of the Group Mind since Del Close's book, "Truth in Comedy."
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17 of 17 people found the following review helpful By Meg Glaser(mglaser@ucla.edu) on June 17, 1999
Format: Paperback
This book provided a guide for Becca Kirsch and I to work with a group of high school students. The activities described in the book build on each other and it was inspiring to watch the students' enthusiasm and discovery through the process. Michael Rohd is correct when he says that the activities help people to get to know each other in new ways. I think that the interaction that comes from participating in these theater games is crucial to help build new ways of communicating and problem solving.
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9 of 9 people found the following review helpful By Jennifer Robison on November 4, 2002
Format: Paperback
I work as a Art Focus Drama teacher for K-7 students who come from various socio-economic backgrounds and home lives. I found this book a very valuable resource, especially for students who have a difficult time with issues of trust, language, and ensemble work. It is great to have a resource that contains detailed exercises within a logical framework, that not only works, but explains itself in a manner that even classroom teachers, with no drama experience whatsoever, can accomplish.
A highly suggest this for teachers who want to use drama as a way to improve communication and explore problem solving in a new, creative, and very effective way.
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