What is The Sticking Place?
The Sticking Place is an extensive dramatic text resource. It was created by a London trained MA qualified theatre director, playwright, film-maker and senior English / Literature teacher who recognises that language decline is a tyranny that poses a major problem for contemporary society. To reduce language jeopardises access because it works against equality, by limiting the expression of thoughts and ideas.
Who Are You?
The Sticking Place caters for a range of participants. You might be an actor, a theatre director, a tertiary educator, or learner. Corporate training is also available to provide presentational and interpersonal business solutions.
What Else?
The Sticking Place is also a hub for directors and actors. You might want to source high-quality research on a range of eternal works for the stage. You can also download new sketches that have withstood the editing and production process.
How Does It Work?
The Sticking Place recognises that sixty to seventy percent of brain function is devoted to visual analysis. Moreover, most of us are visual learners. Communicating the visual as opposed to the largely textual, the dramatic as distinct from the purely narrative is therefore essential. We offer an embodied way of preparing, empowering, and improving participant responses to dramatic texts, because this leads to greater mutual enjoyment of these important works of art.
Could You Say That Again?
The Sticking Place recognises that dramatic texts need to be studied physically. This is because they are loaded with movement, stillness, given circumstances, action, motivation, conflict, and antithesis within a series of complex and altering spatial relationships. Conveying meaning in absence of this context is inadequate because participants often only see a wall of text. However, learning how to perceive what characters are doing and where, and how to investigate action within language aids appreciation and interpretation.
The failure within education is that the play is often treated like the novel, in which the text and the signposts of meaning are not converted into visual content nor enabled through physical learning. Perhaps because of this, the failure of the modern stage is that it often houses moments that bear no relationship to the dramatic situation.
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