Playing period plays
Author : Lyn Oxenford
Publisher :
Page : 0 pages
File Size : 46,30 MB
Release : 1958
Category : Acting
ISBN :
Author : Lyn Oxenford
Publisher :
Page : 0 pages
File Size : 46,30 MB
Release : 1958
Category : Acting
ISBN :
Author : Lyn Oxenford
Publisher : Dramatic Publishing
Page : 340 pages
File Size : 38,15 MB
Release : 1958
Category : Acting
ISBN : 9780853435495
Author : Lyn Oxenford
Publisher :
Page : 66 pages
File Size : 12,93 MB
Release : 1957
Category : Theater
ISBN :
Author : Lyn Oxenford d
Publisher :
Page : 330 pages
File Size : 27,51 MB
Release : 1959
Category :
ISBN :
Author : Lyn Oxenford
Publisher :
Page : pages
File Size : 22,31 MB
Release : 1955
Category : Costume
ISBN :
Author : Lyn Oxenford
Publisher :
Page : 96 pages
File Size : 49,85 MB
Release : 1957
Category : Acting
ISBN :
Author : Lyn Oxenford
Publisher :
Page : 85 pages
File Size : 12,34 MB
Release : 1957
Category : Theater
ISBN :
Author :
Publisher :
Page : 79 pages
File Size : 27,12 MB
Release : 1957
Category : Theater
ISBN :
Author : Lyn Oxenford
Publisher :
Page : 104 pages
File Size : 43,89 MB
Release : 1957
Category : Acting
ISBN :
Author : Mary Flanagan
Publisher : MIT Press
Page : 363 pages
File Size : 22,67 MB
Release : 2013-02-08
Category : Computers
ISBN : 0262518651
An examination of subversive games like The Sims—games designed for political, aesthetic, and social critique. For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative games—games that challenge the accepted norms embedded within the gaming industry—and argues that games designed by artists and activists are reshaping everyday game culture. Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of “playing house” include Dadaist puppet shows and The Sims. She looks at artists’ alternative computer-based games and explores games for change, considering the way activist concerns—including worldwide poverty and AIDS—can be incorporated into game design. Arguing that this kind of conscious practice—which now constitutes the avant-garde of the computer game medium—can inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.