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Book Summary
Performance Making: a pedagogy for... by Anna Furse is a practical guide for educators and artists who want to teach performance creation. It offers a structured pedagogy blending theory and studio practice, helping students develop original work. Ideal for drama lecturers, workshop leaders, and postgraduate students, this book provides exercises, reflective frameworks, and assessment strategies to support creative risk-taking in performance-making classrooms.
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About Performance Making: a pedagogy for...
In Performance Making: a pedagogy for..., Anna Furse draws on decades of experience as a theatre maker and educator to articulate a rigorous approach to teaching performance creation. The book moves beyond directing or acting manuals to focus on the generative process of making new work. Furse outlines a pedagogical framework that integrates embodied practice, critical reflection, and collaborative devising. Chapters likely cover workshop structures, improvisation as research, dramaturgical thinking, and methods for giving feedback and assessment. Rather than prescribing a single method, Furse encourages teachers to adapt principles to their own contexts. The text balances theoretical underpinnings with concrete studio exercises, making it a valuable resource for those who train the next generation of performance makers. It addresses the challenges of facilitating student-led creativity while ensuring academic rigour and safety.
Who should read Performance Making: a pedagogy for...?
This book is essential for drama and performance lecturers in higher education, particularly those teaching devising, contemporary performance, or practice-as-research. Workshop facilitators, community theatre leaders, and artist-educators will find its pedagogical frameworks adaptable. Postgraduate students in theatre and performance studies, especially those preparing to teach, will benefit from Furse's reflective approach. It also suits curriculum designers seeking to embed creative process and critical reflection into performance programmes.
Pros & Cons
Pros
- ✓ Provides a clear, adaptable pedagogical framework for teaching performance making
- ✓ Balances theoretical rigour with practical studio exercises and examples
- ✓ Written by an experienced practitioner-educator with deep insight into creative process
- ✓ Addresses assessment and feedback strategies specific to devised performance
- ✓ Encourages reflective practice and critical thinking in both teachers and students
Cons
- ✗ May be too specialised for general drama teachers focused on text-based theatre
- ✗ Assumes some prior experience in facilitating performance workshops
- ✗ Limited focus on digital or interdisciplinary performance contexts
- ✗ Some readers may want more concrete lesson plans rather than principles
- ✗ Not a step-by-step curriculum; requires adaptation to specific settings
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Frequently asked questions
Is this book suitable for teachers new to performance making?
It is most useful for those with some facilitation experience, but newcomers can adapt its principles with additional planning. It offers a strong conceptual foundation.
Does the book include ready-to-use lesson plans?
It provides pedagogical frameworks and example exercises rather than a fixed curriculum. Teachers are encouraged to adapt the material to their context.
Is it focused on a particular style of performance?
It emphasises contemporary devised and collaborative performance, but the principles apply broadly to creative processes across theatre forms.
Can it be used for community or youth theatre settings?
Yes, while written with higher education in mind, the pedagogical approaches are adaptable to community and youth contexts with appropriate adjustments.
Does it address assessment of student performance work?
Yes, the book includes discussion of feedback and assessment strategies suited to process-based, devised performance, which is often challenging to evaluate.
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