For the middle class and the affluent, local ties seem to matter less and less these days, but in the inner city, your life can be irrevocably shaped by what block you live on. Living the Drama takes a close look at three neighborhoods in Boston to analyze the many complex ways that the context of community shapes the daily lives and long-term prospects of inner-city boys. David J. Harding studied sixty adolescent boys growing up in two very poor areas and one working-class area. In the first two, violence and neighborhood identification are inextricably linked as rivalries divide the city into spaces safe, neutral, or dangerous. Consequently, Harding discovers, social relationships are determined by residential space. Older boys who can navigate the dangers of the streets serve as role models, and friendships between peers grow out of mutual protection. The impact of community goes beyond the realm of same-sex bonding, Harding reveals, affecting the boys’ experiences in school and with the opposite sex. A unique glimpse into the world of urban adolescent boys, Living the Drama paints a detailed, insightful portrait of life in the inner city.

This study will endeavor to present, in simple and concise form, a survey of this continuous dramatic movement from its earliest recorded expression to contemporary moments under a single cover. Since to know thoroughly the dramatic output of any one period might command the industry of a lifetime, the task is a colossal one and precludes any pretense at completeness; the treatment is suggestive rather than informative, and should be supplemented by a study of the plays indicated under each section. After all, the important thing is not the painful piling of fact upon fact but gaining an intelligent working knowledge of the whole and knowing exactly where to turn for detail when it is needed. The information has been gathered from many works upon the various phases, to which the writer is deeply indebted, all of which are indicated in the bibliographies. We purpose, then, to take a sort of ''Cook's Tour'' over the whole domain of the drama, touching the main points of interest, and leaving the reader to return and explore at leisure.

Real Life Drama is the classic history of the remarkable group that revitalized American theater in the 1930s by engaging urgent social and moral issues that still resonate today. Born in the turbulent decade of the Depression, the Group Theatre revolutionized American arts. Wendy Smith's dramatic narrative brings the influential troupe and its founders to life once again, capturing their joys and pains, their triumphs and defeats. Filled with fresh insights into the towering personalities of Harold Clurman, Lee Strasberg, Cheryl Crawford, Elia Kazan, Clifford Odets, Stella and Luther Adler, Karl Malden, and Lee J. Cobb, among many others, Real Life Drama chronicles a passionate community of idealists as they opened a new frontier in theater.

"All the World's a Stage"— What Part Will You Play? You know what drama is...in your circle of friends, your workplace, your extended family, and in the unexpected circumstances of life. But has it gotten to be too much? Truth is, we've all been both actor and audience when it comes to life's dramas. But here's another truth: You don't have to let it sweep you away. Discover a biblical script for a more peaceful life as you learn how to... dial down the drama in your own life respond appropriately to situations that would otherwise escalate incorporate "scene changes" to eliminate inevitable drama view high-maintenance individuals through the eyes of Christ become an anchor in the storms that swirl around you The world may be a stage—but you can find freedom from the drama.

A fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.

Eddie, an unemployed truck driver, reunites with his ex-wife Ani after she suffers a devastating accident. John, a brilliant and witty doctoral student, hires overworked Jess as a caregiver. As their lives intersect, Majok’s play delves into the chasm between abundance and need and explores the space where bodies—abled and disabled—meet each other.

Drama as Therapydescribes and defines dramatherapy, providing in one volume a definition of the core processes at work in dramatherapy, a clear description of how to structure sessions, a thorough review of techniques and a wide range of examples from clinical practice. At the heart of the book is a definition of the nine core processes which define how and why dramatherapy can offer the opportunity for change. Also included are step-by-step breakdowns of the ways of working with a broad range of clients. Dramatherapy's approach to role, play, mask, ritual, performance and script are all described. The book includes extensive historical material from the 1920s to the present day, covering work in the US, the UK, Russia and the Netherlands. It challenges previous accounts of dramatherapy's history with details of Evreinov's Theatrotherapy, Iljine's work in Russia and interviews with innovators in the field, including Peter Slade, Sue Jennings and Marion Lindquvist.