How to Play in Slow Time
Creativity, Pedagogy, Process
Published on 26. June 2025
Book
Hardback
200 pages
978-90-04-72484-6 (ISBN)
Description
This book considers the role and function of creativity for anchoring educational practices both in universities and beyond. Crucially, the educational practices in question model responsive, careful and attentive encounters with an unfolding present. Reinterpreting the ground-breaking creative processes of leading artists, writers, musicians and dancers, this book offers a toolkit of invitations and encounters that demonstrate how creativity can be practiced - and taught - as a competency that cultivates expertise in harnessing experiment, curiosity, somatic intuition and collaborative practices of world-building. In doing so, the book mounts a vital critical call for developing languages, approaches and methods in both digital and face-to-face learning environments that reconsider creativity as a literacy foundational to all learning settings. Vital to diverse disciplines, fields and professional sectors, this book boldly changes the conversation around the conspicuous role creativity takes in shaping our learning and teaching futures.
More details
Series
Language
English
Place of publication
Leiden
Netherlands
Target group
Professional and scholarly
Product notice
sewn/stitched
Cloth over boards
Dimensions
Height: 239 mm
Width: 157 mm
Thickness: 15 mm
Weight
399 gr
ISBN-13
978-90-04-72484-6 (9789004724846)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Bryoni Trezise | Charlotte Farrell | Alexandra Talamo
How to Play in Slow Time
Creativity, Pedagogy, Process
Book
approx. 06/2026
Brill
€31.00
Shipment within 10-20 days
Persons
Bryoni Trezise is Senior Lecturer in Theatre and Performance at the University of New South Wales. She is the author of Performing Feeling in Cultures of Memory (Palgrave, 2013) and Performing Contemporary Childhoods: Being and Becoming a Viral Child (Routledge 2023).
Charlotte Farrell is a performance maker and Lecturer in Theatre and Performance at the University of New South Wales. She is the author of Barrie Kosky on the Contemporary Australian Stage (Routledge 2021), and co-founder of performance company Body of Work with Emma Maye Gibson.
Alexandra Talamo is a performance artist and sessional Lecturer at the University of New South Wales and National Insititute of Dramatic Art. She has published in Performance Research (2023) and Convergence (2022). She has presented artistic work at The Unconformity (2021) and Kaffee Kuchen-Action Art III (2018).
Maria White is an educator and artist living on unceded Bidjigal land. She holds a Ph.D. in Theatre and Performance Studies from the University of New South Wales and is the Academic Course Coordinator for the Common Subjects at the National Institute of Dramatic Art.
Charlotte Farrell is a performance maker and Lecturer in Theatre and Performance at the University of New South Wales. She is the author of Barrie Kosky on the Contemporary Australian Stage (Routledge 2021), and co-founder of performance company Body of Work with Emma Maye Gibson.
Alexandra Talamo is a performance artist and sessional Lecturer at the University of New South Wales and National Insititute of Dramatic Art. She has published in Performance Research (2023) and Convergence (2022). She has presented artistic work at The Unconformity (2021) and Kaffee Kuchen-Action Art III (2018).
Maria White is an educator and artist living on unceded Bidjigal land. She holds a Ph.D. in Theatre and Performance Studies from the University of New South Wales and is the Academic Course Coordinator for the Common Subjects at the National Institute of Dramatic Art.
Content
Preface: Encountering This Book
Acknowledgements
List of Figures
About the Authors
1 Teaching towards Creating (in) Slow Time
?1 When Teaching Is Making
?2 Why This Book Now?
?3 How to Read This Book
?4 Listening to the Itch
?5 Creativity as a Literacy
?6 Practitioner Profile: Charemaine Seet
2 Practising How to Pay Attention
?1 Introduction
?2 Going with the Flow
?3 The Journey of Attention
?4 Cultivating Tender Attentiveness
?5 The Hum of Creativity
?6 Practitioner Profile: Kirthana Selvaraj
3 Playing with Not-Knowing
?1 Introduction
?2 Ways We Play
?3 Fostering a Playful Attitude: Following the Joy
?4 Fostering a Playful Attitude: Combinatory Play
?5 Creating a Playful Environment: Critical Distance
?6 Conclusion
?7 Practitioner Profile: Pablo Latona
4 Feeling Moving as Thinking
?1 Introduction
?2 Theorising Bodythinking
?3 Conclusion
?4 Practitioner Profile: Emma Maye Gibson
5 Interlude: An Invitation to Rest Workshop
?1 Introduction
?2 Creating the Conditions for Restful Play
?3 Imaging the Restful Body
?4 Building a Nest
?5 Conclusion: Gifting Rest
6 Shifting Perspectives through Imaging
?1 Introduction
?2 Thinking in Images
?3 Discovering through Images
?4 Learning to See Differently: Disrupting Habits
?5 Imaging to Facilitate Embodied Creative Practices
?6 Imaging to Encounter the Other
?7 Imaging to Reimagine: Wider Implications
?8 Conclusion
?9 Practitioner Profile: Victoria Hunt
?10 Practitioner Profile: Karlie Noon
7 Modelling Imagination
?1 Introduction
?2 Modelling in Creative Practice
?3 Teaching Interdisciplinary Creativity through Modelling
?4 Practitioner Profile: Nathan Harrison
?5 Practitioner Profile: Alice Osborne
8 Collaborating Outwards
?1 Introduction
?2 Collaboration in Creative Practice
?3 Collaborative Classroom Experiments
?4 Outwarding
?5 Practitioner Profile: Riana Head-Toussaint
9 Futuring Learning in Ricochet Times
?1 Futuring
?2 Synthesising towards Outwarding
?3 On the Precipice
?4 Holding the Time
?5 Practitioner Profile: Nitin Vengurlekar
Index
Acknowledgements
List of Figures
About the Authors
1 Teaching towards Creating (in) Slow Time
?1 When Teaching Is Making
?2 Why This Book Now?
?3 How to Read This Book
?4 Listening to the Itch
?5 Creativity as a Literacy
?6 Practitioner Profile: Charemaine Seet
2 Practising How to Pay Attention
?1 Introduction
?2 Going with the Flow
?3 The Journey of Attention
?4 Cultivating Tender Attentiveness
?5 The Hum of Creativity
?6 Practitioner Profile: Kirthana Selvaraj
3 Playing with Not-Knowing
?1 Introduction
?2 Ways We Play
?3 Fostering a Playful Attitude: Following the Joy
?4 Fostering a Playful Attitude: Combinatory Play
?5 Creating a Playful Environment: Critical Distance
?6 Conclusion
?7 Practitioner Profile: Pablo Latona
4 Feeling Moving as Thinking
?1 Introduction
?2 Theorising Bodythinking
?3 Conclusion
?4 Practitioner Profile: Emma Maye Gibson
5 Interlude: An Invitation to Rest Workshop
?1 Introduction
?2 Creating the Conditions for Restful Play
?3 Imaging the Restful Body
?4 Building a Nest
?5 Conclusion: Gifting Rest
6 Shifting Perspectives through Imaging
?1 Introduction
?2 Thinking in Images
?3 Discovering through Images
?4 Learning to See Differently: Disrupting Habits
?5 Imaging to Facilitate Embodied Creative Practices
?6 Imaging to Encounter the Other
?7 Imaging to Reimagine: Wider Implications
?8 Conclusion
?9 Practitioner Profile: Victoria Hunt
?10 Practitioner Profile: Karlie Noon
7 Modelling Imagination
?1 Introduction
?2 Modelling in Creative Practice
?3 Teaching Interdisciplinary Creativity through Modelling
?4 Practitioner Profile: Nathan Harrison
?5 Practitioner Profile: Alice Osborne
8 Collaborating Outwards
?1 Introduction
?2 Collaboration in Creative Practice
?3 Collaborative Classroom Experiments
?4 Outwarding
?5 Practitioner Profile: Riana Head-Toussaint
9 Futuring Learning in Ricochet Times
?1 Futuring
?2 Synthesising towards Outwarding
?3 On the Precipice
?4 Holding the Time
?5 Practitioner Profile: Nitin Vengurlekar
Index