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Bilston, Darren. "Directing Children's Theatre." Thesis, Bilston, Darren (2002) Directing Children's Theatre. Honours thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/40845/.
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This Meta - thesis is an accompaniment to the practical work I engaged in for my Honours study. I worked with several different groups in the area of Directing Children's Theatre. My aim was to explore the ways in which one could direct children's theatre for the purposes of education, entertainment and vocation. This paper covers the theoretical side of my studies, working from theories on education, direction and Theatre in Education. From these three theoretical bases, I have developed a working theory for myself centred on a concept of "creative learning.'
I have also provided documentation of my work in the field with three organisations - Barking Gecko Children's Theatre Company, the Murdoch Children's Performing Group and Thornlie Primary School. This documentation covers the work I was engaged in, my aims and objectives and the processes I encountered/employed, including examples of how my own theory was put into practice, and the successes and failures of that practice.
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Wood, Margot. "Children's theatre : in search of an approach to theatre by children, for children." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50296.
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Thesis (MA)--Stellenbosch University, 2005.ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once.
AFRIKAASNE OPSOMMING: Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer, selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm en 'n stortingsterrein vir hulpbronne van volwasse teater. Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is gebaseer op die idee dat spel 'n belangrike en voordelige aspek van kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander area, wat die fokusarea van hierdie studie is, is gemoeid met verhoogaanbiedings vir kinders, dus Kinderteater. Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore as gevolg van swak metodologie. Histories het die waardes en oogmerke rondom Kinderteater onwikkeling ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die kwaliteit van beide die finale produk en die proses waardeur die eindproduk bereik is. 'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en probleme wat spesifiek handeloor die proses van regie vir kinders as spelers. Moontlike oplossing vir hierdie probleme salondersoek word. 'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese projekte sal gebruik word om die menings van praktisyns op die gebied te ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in Kinderteater is altyd beide onderwyser en regisseur.
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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.
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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008."A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.
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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.
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Al, Hinai Kamla Alwaleed. "Children’s theatre in Oman 1970- 2007: towards a developed theatre." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41016/1/Kamla_Al_Hinai_Thesis.pdf.
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Children’s theatre exists along with other theatrical forms in the cultural life of the Sultanate of Oman. Despite the fact that Omani Children’s Theatre started its life at the beginning of the 1970s, many challenges and obstacles continue to face its ongoing development. A significant landmark in this development was the first Omani Children's Theatre Festival which took place in 2007, thirty-five years after the first Omani children’s play was produced in 1972. This festival represents a new era in the history of Omani theatre in general and the history of children’s theatre in particular.
This study investigates how Children’s Theatre in the Sultanate of Oman can become a viable and valued form of art for the future. It outlines the historical background and the present situation of Omani children’s theatre and, through discussions with interviewees, defines the obstacles it presently faces and suggests ways to overcome them. The study provides a clear vision for a strong children’s theatre culture in Oman and outlines recommendations for achieving this vision.
Presently, there is little written documentation about children’s theatre in Oman. This study provides the first comprehensive historical overview.
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Marshall, Brian M. "Caryl Crane Children's Theatre A Strategic Analysis." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302124613.
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Tzibazi, Vasiliki. "Researching primary school children's "museum theatre" experiences." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/10712.
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As the number of museums that employ theatre as part of their educational provision is increasing there is a need for the articulation of the theoretical framework and an in-depth insight into the children's "museum theatre" experiences. The aim of this empirical research is to examine how primary school children "make meaning" of the form and content of the experience in two forms of "museum theatre": a) a participatory theatrical experience in the heritage site of Clarke Hall and b) first person interpretation events in the Museum of London. Based on the principles of the constructivist qualitative paradigm, the research attempts to offer an insight into how the children understand the content and format of the "museum theatre" experience. The research focuses on the interrelationship between the children's prior-to-the-event agenda and their "museum theatre" experiences and examines the children's experiences as products of relationships between the involved parties: the museum's agenda and the schools' agenda. The constructivist paradigm and the interpretive sociological approach illustrate the epistemological position that underpins the formulation of the research questions and the methodological framework employed. The data generation methods derive from ethnographical research methods and mainly involve interviews, observations and children's drawings. The research attempts to elucidate the parameters that shape the children's "museum theatre" experiences. These include the museum's setting and objects, the children's willingness to suspend disbelief, the interactive/participatory aspects of the experience and the opportunities given to children for reflection and generation of new understandings. The research findings underline the subjectivity of the theatrical experience, as shaped through the various objectives and expectations of the involved parties. They suggest that interplay between the event's format/content and the experience's fictional/real context is evident in the children's interpretation of their "museum theatre" experience.
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Wolgast, Amanda. "EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002172.
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Terry-Beitz, Paulene. "Developments in children's theatre in Adelaide, 1836-1959 /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art329.pdf.
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Kibler, Amanda H. "Once upon a time making fairy tales relevant in contemporary theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002988.
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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.
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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.
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Ewu, Rachel Jumai. "A proposal for the development of children's theatre in Nigeria." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252686.
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McCoy, Allen. "TYA Methodology Twentieth-Century Philosophy, and Twenty-First Century Practice: An Examination of Acting, Directing, and Dramatic Literature." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3943.
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Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.
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Soderbery, Celeste Koren. "The use of children's theatre as a tool for teaching environmental education." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2476.
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The play, Madagascar Mayhem, was devised as a means of developing ecological understanding about rain forest preservation and educating and expanding upon the use of drama as it relates to environmental education. By being involved in and learning about issues addressed in the play's content, students learned about how their actions may have a positive impact on rain forest preservation, the biodiversity of Madagascar, its agricultural loss and the movement to protect it.
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L'heureux, Lisa Joan Marie. "Une ouverture sur le monde : children's theatre and Théâtre de la Vieille 17." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2510.
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Over the past three decades, the plays and productions of Theatre de la Vieille 17 have made significant contributions to French Canadian children's theatre. Their productions embrace a fantastical and imaginative narrative that make them accessible to most audiences. As much as this company shows a remarkable openness to the world, it maintains strong ties to the Franco-Ontarian theatre milieu. This thesis examines key elements that have contributed to La Vieille 17's continual commitment to children's theatre as well as ways in which its productions and policy making have resulted in its increasing artistic and financial success.
This study begins by looking at La Vieille 17's three most significant plays: Le Nez, Mentire, and Meta. This analysis takes into consideration the narrative of each play, production elements, co-producers and collaborators, funding, the scope of their tour, and awards and recognition. Each of these aspects contribute to giving these productions a broader world view and help to establish La Vieille 17 as a leading producer of children's theatre.
The second part of this thesis analyses key moments during the company's history as well as moments in which it has acted as a common front with other Franco-Ontarian theatre companies. Both of these activities have shaped La Vieille 17's children theatre programming and have led the company to create a successful model in which to produce their works.
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Lamb, E. M. "The children's playing companies of early modern London : childhood, theatre, identity (1599-1613)." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432592.
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Pretorius, Louis. "An analysis and proposed expansion of the market for theatre for young people in the Western Cape." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/1552.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
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Sun, Angela. "Promoting breast cancer screening among Chinese American women through young children's theatrical performance." ScholarWorks, 2009. https://scholarworks.waldenu.edu/dissertations/686.
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Research has revealed that underutilization of breast cancer screening by ethnic minorities often is related to language difficulties and cultural values and beliefs about cancer. The problem addressed in this secondary data analysis was the late diagnosis of breast cancer in the Chinese immigrant community. The purpose of the quasi-experimental study was to test the efficacy of a theatrical preschool performance, guided by the diffusion of innovation theory, in educating Chinese American women about breast cancer detection. The research questions sought to determine whether the performance increased the participants' knowledge of breast cancer screening guidelines and whether country of origin, length of stay in the United States, and self-reported attentiveness were associated with knowledge gain of breast cancer screening guidelines. The preschool performance was performed by Chinese children ages 3 to 5 who displayed breast health guidelines from the Susan G. Komen for the Cure. One hundred and seventy-seven pre- and postperformance surveys were collected from a sample of Chinese women (84% foreign born). The secondary data were analyzed using standard linear regression analyses and bivariate logistic regressions. The findings demonstrated that promoting breast health screening guidelines among Chinese American women through a preschool theatrical performance significantly increased the participants' knowledge of the guidelines. However, no major impact was detected between knowledge score and attentiveness to the theatrical performance and any of the demographic variables. Health care professionals can foster social change by adapting a preschool theatrical performance to educate ethnic communities on cancer control guidelines for early detection.
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Toruño, Caren Ann. "Readers theatre: Part of the elementary reading program." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1826.
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Tauscher, Bryanna Nicole. "Theatre for Young Audiences and Educational Study Guides: Design, Implentation and Teachers' Perceptions." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193261.
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The purpose of this study was to evaluate a Theatre For Young Audiences (TYA) paper and multimedia study guide and to investigate teachers' perceptions of study guides created for TYA. It used current literature surrounding TYA performances, supplemental materials for the elementary classroom, and multimedia in performance and education, to glean critical elements for creating a useful TYA study guide. These elements provided the framework for creating a rubric to evaluate a TYA study guide's potential success in the classroom. The mixed methods study then used the created rubric to evaluate etc . . .'s (Educational Theatre Company) 2005 Hey Diddle Diddle! The Rhymes and Rhythms of Mother Goose study guide. This data was combined with surveys administered to elementary teachers. The study guide rated high on the rubric and teachers' perceptions were generally positive. Overall the analysis yielded information useful for the creation of future guides and research.
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Pantouvaki, Sofia. "The effects of theatrical storytelling and scenography on children : the case of children's theatre in the ghetto of Terezín (1941-45)." Thesis, University of the Arts London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650324.
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Alzadjali, Khalid bin Abdul Rahim. "Children's drama : technical and educational approaches to the development of TV and theatre drama in Oman." Thesis, University of Hull, 2002. http://hydra.hull.ac.uk/resources/hull:8498.
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The purpose of this study is to explore how Omani children's drama, in schools and theatres and T.V. can be developed and enriched to become a useful educational tool for the nation's development, while also meeting children's cognitive and emotional needs. In order to do so, the origins and development of Arab and Omani theatre and T.V. are traced, the goals of the Omani development strategy and the expected roles of theatre and T.V. are discussed, and examples of good practice from the Arab world and the West are considered. The work is qualitative in nature, depending largly on writings on drama, on the researcher's extensive experience in television and theatre production and direction, and on visits to observe children's theatre in the U.K., United States, and Arab Gulf States. In addition, a small survey was carried out among Omani teachers to explore their perceptions of the role and practice of drama in schools, and a seminar was held in which various experts came together to discuss issues in Children's Drama and Theatre and to identify obstacles. As a practical experiment a play, Titi and Toti, was directed and produced by researcher to demonstrate the feasibility and value of developing theatre for children in Oman. It is shown that drama in Oman is in the early stages of development and is dominated by television. Children's theatre as a distinct form hardly exists at all. Obstacles include lack of resources, inadequate training, and conservative social atitueds [i.e. attitudes] which associate drama with pagan superstition, time-wasting, and alien cultural values. Nevertheless, a few successful experiments suggest that useful Western models such as Theatre in Education can be reconciled with elements of Oman's rich cultural heritage, to produce works for children that are entertaining, informative, and consistent with local values. Recommendations are made for the development of Omani children's theatre and drama in line with the nation's overall cultural strategy.
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Tsurumaki, Megan Wiley. "You can't stop the beat bringing musical theatre to underprivileged youth." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4692.
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In an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating today's youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students. The thesis will chronicle the development of a script with the intent of producing it in Title I elementary schools located in lower socio-economic areas of Orlando, Florida. The script will be based on Hans Christian Anderson's fairy tale "The Ugly Duckling." The final product will be a musical theatre piece to take into the school system to be performed by the students. The body of the thesis will contain my prior experiences of bringing musical theatre to underprivileged youth. The document will also include chapters detailing the process of creating the script and composing the music. Research will determine the socio-economic challenges prevalent in the under-represented cultures in the urban schools of Orlando. Finally, the thesis will contain a section of the actual script and will conclude with a chapter summarizing the reactions to the first reading of the play.ID: 029050200; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 54).
M.F.A.
Masters
Department of Theatre
Arts and Humanities
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Schuitema, Karian. "Children's theatre in the UK : representing cultural diversity on stage through the practices of interculturalism, multiculturalism and internationalism." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z914/children-s-theatre-in-the-uk-representing-cultural-diversity-on-stage-through-the-practices-of-interculturalism-multiculturalism-and-internationalism.
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The UK is a diverse society. It has had a colonial past and is now part of an interconnected global world. Past and present immigration have continuously shaped and re-shaped the ethnical, racial and cultural made up of its people. Children’s theatre can be understood as a theatrical dialogue between the adult practitioner and the child as an audience member that takes place at a specific time and place, while set in a wider social historical context. As such, it is important to understand how this diversity, found within the society, is represented on stage and how it informs this theatrical communication between adult and child. This thesis will therefore focus on the related practices of interculturalism, multiculturalism and internationalism, to discuss the importance but also the problems associated with representing cultural diversity. It will specifically focus on interculturalism which, in short, attempts to stage the interaction between multiple cultural influences. Understanding children’s theatre as a dialogue, this practice is particularly interesting as the cultural interaction between the representation on stage and the cultural background of the young audience members should also be considered. The central argument of this thesis is that intercultural productions can acknowledge and contribute to the cultural diversity found in the UK and offer children and young people from a range of different backgrounds, cultural representation and an opportunity to feel included in what is presented on stage. This in turn counters the desire to construct national identities as homogeneous, authentic and superior, excluding the cultural ‘other’ not just from the theatrical experience but denying access and participation in the ‘nation’s culture’. The thesis will discuss the problems associated with interculturalism, as staging the 3 ‘other’ culture might risk stereotypical and exotic representations as well as cultural appropriation and exploitation to underline creative processes. It will also take into account the increasingly negative perception of the terms ‘multiculturalism’ and ‘globalisation’ that generally inhibits the attempts of representing cultural diversity on stage. Overall, this research highlights the difficulties of cultural representation on the stage, but also focuses on the reasons and benefits of creating theatrical productions that more accurately represents the UK’s ‘globalised’ and ‘diverse’ society.
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Crow, Ruthanne Lay. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade-- The Young Company, 1974-2001." Diss., CLICK HERE for online access CLICK HERE for online access, 2002. http://patriot.lib.byu.edu/u?/MTAF,24579.
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Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2002.Includes CD-ROM: "The Whittlin' Whistling Brigade, The Young Company. Electronic and multi-media thesis by Ruthanne Lay Crow, July 2002." Includes bibliographical references (p. 228-229).
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Mayo, Megan E. "Building a workable model for youth theatre an exploration into a courageous and complex field." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4798.
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As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults. Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field.ID: 030646248; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 109).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences Track
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Rocha, José Geraldo. "A ciranda das crianças: improvisação e jogo teatral como estética e linguagem nas encenações do pasárgada." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-13032017-115129/.
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Este trabalho é um recorte investigativo sobre a improvisação e o jogo teatral como estética e linguagem nas encenações do Grupo Pasárgada, ao longo de quatro décadas e meia de atuação, propondo novos olhares e caminhos sobre o teatro para crianças e jovens e sua contribuição para a cena teatral contemporânea. Na presente Dissertação de Mestrado, destaco em três textos escritos e encenados por mim, exemplos de minha atuação prática e teórica, embasada no jogo teatral e no conceito de modelo de ação de Bertolt Brecht, como método de aprendizagem em seu caráter coletivo e pedagógico. Destaco também a importância do vasto universo da cultura popular brasileira, com seus jogos tradicionais, contos populares, cantigas de roda, brincadeiras infantis e seu significado presente em praticamente toda a minha obra. Apresento ainda, como registro, a continuidade dessa investigação através de uma dramaturgia em processo, tematizando A Cruzada das Crianças, de Marcel Schwob e o poema homônimo de Bertolt Brecht, sobre crianças em tempos de guerra - os ecos do passado - buscando revelar a invisibilidade que a criança vem ocupando através dos séculos, sendo vítima da mais completa indiferença e da mais cruel das exposições.This work is an investigative cut on improvisation and theatrical play as aesthetic and language in stagings of Pasargadae Group, over four and a half decades of work, proposing new looks and ways of theater for children and young people and their contribution to contemporary theater scene. In this Master\'s Dissertation highlight in three texts written and staged for me examples of my practical and theoretical performance, based on the theatrical play and action model concept of Bertolt Brecht as a learning method in their collective and pedagogical. I also highlight the importance of the vast universe of Brazilian popular culture, with its traditional games, folk tales, nursery rhymes, children\'s play and its present meaning in almost all my work. I present also as a record, the continuation of this research through a playwriting process, thematising the Children\'s Crusade, written by Marcel Schwob and the eponymous poem by Bertolt Brecht, on children in times of war - the echoes of the past - seeking reveal the invisibility that the child has occupied over the centuries, victim of the most complete indifference and the cruelest of exhibitions.
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Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.
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The aim of this study is to investigate theatre plays for children staged by
the State Theatres and private theatre companies in one specific theatre season in
Bursa in terms of their essential language, physical, educational, entertainment
and social characteristics. More specifically, the present study examines
appropriateness of theatre plays for children in term of these essential
characteristics stated by the experts and also opinions of audiences, parents,
teachers, and professionals gained by interviews.
Twelve preschool children between the ages of 5 and 6, ten parents who
had 5 or 6-year-old children, and two preschool drama teachers were asked about
their opinions after attending one or more of the theatre plays which were chosen
for the study. The theatre plays which were chosen for the study were also scored
according to the five different essential characteristics by two coders by using the
&ldquotheatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.
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Duggins, Angela. "Thinking Before You Act: A Constructive Logic Approach to Crafting Performance-for- Development Narrative." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3342.
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The intent of this thesis was to test the feasibility of constructing performance-for-development narrative using a constructive logic approach. I created an equation which expressed the sum of non-human-elements as the sum of a narrative with each element serving as a variable. I used a review of persuasion literature to provide insight into the selection and manipulation of each variable. I provided my family as a hypothetical example and used my knowledge of their preferences and communication styles in conjunction with the literature and the equation to craft a narrative which might increase pro-school attitudes in other families like my own. I found that there exists a narrative comprised of only non-human elements that are likely to yield change in an audience given a specific situation, and that a constructive logic approach can be used to craft performance-for-development narrative.
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Herbert, Mikaela, and Annika Nilsson. "Scen: Almgården - Om bostadsområdets betydelse för barn i en delad stad." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21601.
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Denna uppsats har sin utgångspunkt i hållbar stadsutveckling - med särskild inriktning på socialhållbarhet - och studerar konsekvenser av den segregerade staden Malmö. I fokus stårbostadsområdet Almgården och dess betydelse som kontext för barns identitetsarbete ochsocialisering. Med utgångspunkt i teorier om socialt hållbar stadsutveckling, boendesegregation,grannskapseffekter, samt barns socialisering och identitetsarbete ges en förståelse förbostadsområdets betydelse för barns uppväxtvillkor. Uppsatsen innehåller en nulägesbeskrivning ochhållbarhetsanalys av Almgården som kontext, baserad huvudsakligen på intervjuer med boende ocholika företrädare för den kommunala verksamheten i området. Sammantaget indikerar situationenpå Almgården sämre förutsättningar för god hälsa och välfärd och medför faktorer som kan påverkabarns uppväxtvillkor negativt. Ur ett hållbarhetsperspektiv är den centrala utmaningen på Almgårdenatt motverka brister i jämlikhet och delaktighet. I uppsatsen görs bedömningen att så kan ske genomatt stärka individer och deras anknytning till området och genom att stärka tilliten och förtroendetinom bostadsområdet och gentemot det omgivande samhället och därmed stärka den kollektivaförmågan. En del av uppsatsen är en förstudie till ett projekt, som är tänkt att bidra till ökad socialhållbarhet i Almgården. För att ta vara på barnens perspektiv på Almgården, på barns villkor, och påett sätt som samtidigt stärker barnen föreslås projektet Communityteater Almgården. Projektet kanbidra ytterligare till förståelsen av bostadsområdets betydelse för barn och ungdomarsförutsättningar samtidigt som det har en gynnsam effekt för den sociala hållbarheten på Almgården.The focus of this master’s thesis is socially sustainable urban development and investigates theimplications of segregation in the city of Malmö. It focuses on the neighborhood of Almgården andits significance as a context for children's identity and socialization. Theories of socially sustainableurban development, housing segregation, neighborhood effects and children’s socialization andidentity making contribute to enhance our understanding of the neighborhood’s importance forchildren's living conditions. The thesis includes a presentation and a sustainability analysis of thecurrent situation in Almgården, mainly based on interviews with residents of Almgården andrepresentatives of the municipal administration. Overall the situation in Almgården indicatesrelatively poor conditions for good health and well-being which may affect children's living conditionsand development in a negative way. From a sustainability perspective, the key challenges inAlmgården would include promoting equality and inclusion, for example by strengthening theindividuals and their identification with the neighborhood, and promoting the collective efficacy bybuilding trust and confidence among neighbors and towards citizens in adjacent neighborhoods aswell as towards the municipal administration and its staff. The thesis also includes a feasibility studyproposing the project Community Theatre Almgården. While giving voice to the children ofAlmgården and supporting a socially sustainable development of the neighborhood, the project mayalso contribute to improve our knowledge of neighborhood effects on children’s living conditions.
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Konesko, Patrick M. "Representing Childhood: The Social, Historical, and Theatrical Significance of the Child on Stage." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1365154777.
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Santanello, Patricia Jane Ed D. "The Experiences of Parents/ Caregivers of Children with Autism Spectrum Disorder at a Sensory Friendly Theatre Performance." University of Findlay / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1595544825926404.
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Chamberlain-Snider, Sandra. "Arts Umbrella's Theatre Troupes : a history of theatre training for children and youth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44203.
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Arts Umbrella is a not-for-profit arts education centre for children and youth ages two to nineteen. Its Theatre program has been providing artistic theatre training to young people in the Metro Vancouver area for almost thirty years. This study's objective is to present the history of the Theatre Troupes within a historiographical methodology that takes into account all the contributing factors towards the program's successful development. The material archive resources of Program Guides, Reports to the Board, Newsletters, Show Programs and the original Business Plan are documented in a chronological exposition of the Theatre Troupes' history along with interviews with Arts Umbrella co-founder Carol Henriquez, the influential Troupe directors Sarah Rodgers, Paul Moniz de Sa and Susanne Moniz de Sa, other artist-instructors and a summary of survey questionnaire responses from parents and alumni. The young theatre students at Arts Umbrella have experienced a rich and diverse history of theatre artists in Vancouver, in a safe and nurturing environment that has been consistently funded and stable administratively since inception of the Theatre Arts program in 1984.
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Leyva, Luvel Garcia. "A cruzada das crianças: sinais históricos nas performances e no teatro cubano." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-12012016-094659/.
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O teatro infantil, no contexto do teatro contemporâneo compartilha com manifestações estéticas da dança, das artes visuais e o cinema, uma crise de identidade e uma indefinição de seu estatuto epistemológico. Somam-se a isso os fenômenos diferenciais dentro deste campo do teatro, cujas formulações desestruturam qualquer unidade ou homogeneidade do conceito teatro infantil que se tente construir. Não há, portanto, um Teatro Infantil, mas sim diferentes conceitos, identidades, práticas ou disciplinas teatrais que dialogam com as diversas infâncias e suas performances culturais e que contribuem para a sua definição. Nesse sentido, esta dissertação pretende refletir sobre a presença das crianças no teatro cubano, colocando em discussão o fenômeno do teatro infantil e o teatro com crianças à luz do teatro contemporâneo, para entender os principais enfoques pedagógicos do teatro com crianças em Cuba.The children\'s theater, in the context of contemporary theater shares an identity crisis and a blurring of their status epistemological with other expressions of this art; as well as aesthetic manifestations such as dancing , arts visual and cinema. The identity crisis and a blurring of their status epistemological therefore, added to this the differential phenomena inside the field of theater, increase the impossibility of defining the children\'s theater in simple terms. One cannot say a that there is a Children\'s Theatre, but rather different concepts, identities, practices or theatrical disciplines that establish a dialogue with the various kinds of childhood and their cultural performances. Accordingly, this research intends to reflect about the presence of children in the Cuban theater, discussing the children\'s theater phenomenon and the theater with children in the light of contemporary theater, in order to understand the main pedagogical approaches of the theater with children in Cuba.
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Munro, Lucy. "Children of the Queen's revels : a Jacobean theatre repertory /." Cambridge : Cambridge university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40137350b.
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Laissle, Kate M. "An Examination of the History and Practices of Children's Theater Culminating in a Touring Production of Thumbelina: The Story of a Brave Little Girl." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275666975.
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Pantouvaki, Sofia. "The effects of theatrical storytelling and scenography on children: The case of childrens theatre in the ghetto of Terezin (1941-45)." Thesis, University of the Arts London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490964.
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The main aim of this research project is to investigate the power of theatrical storytelling and image over children's everyday lives, examining theatrical performances by and for children in the Theresienstadt ghetto during World War II. The historical research develops based on the unique case of the 'mOdel ghetto-town' of Theresienstadt (Terezfn) in former Czechoslovakia, which, being neither a ghetto neighbourhood within a city nor a concentration-extermination camp, is recognised today as a huge 'workshop' where all manner of art was developed under occupation. This study focuses on children's theatrical creation and explores the dynamics of theatrical action, storytelling and scenography in children's lives under these specific coercive conditions. The elements of theatrical performance produced by and for the ' young inmates in the ghetto are documented by original diary entries, notes, posters, drawings and archival testimony from survivors, as well as by a series of original interviews with Theresienstadt survivors conducted as part of this study. The research provides the first detailed documentation of children's performances in Theresienstadt as well as an in-depth analysis of the staging of the two main children's productions staged between 1941 and 1945: the opera Brundibar and the dance-musical performance Little Fireflies. The researcher's own artistic identity as a scenographer has been a key element defining the point of view of this study, which also explores how a theatrical/visual metaphor can express the ineffable. Furthermore, the interaction between reality and fantasy through theatre providing ways to experience and deal with reality with the support of our imagination is investigated. The effects of theatre on the children of Theresienstadt a're examined from four points of view, Le. from a cultural, educational, sociological and psychological perspective, arguing theatre as a means of enhandng freedom of spirit, as well as enriching children's upbringing. ' The thesis concludes with a contemporary evaluation of the research results pertaining to this part of European cultural and theatrical history, pointing to the important function of theatre as a motivating power providing spiritual support in life.
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Lorenz, Lissette. "Rustbelt Theater: Children's Environmental Justice Narratives from South Elyria, OH." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338855346.
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Radvan, Mark Lucjan. "The Tashi project 2004-2010 : developing methods for creating theatre works that fully engage children aged between 3 and 10." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60981/1/Mark_Radvan_Thesis.pdf.
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Over a seven-year period, Mark Radvan directed a suite of children’s theatre productions adapted from the original Tashi stories by Australian writers Anna and Barbara Fienberg. The Tashi Project’s repertoire of plays performed to over 40,000 children aged between 3 and 10 years old, and their carers, in seasons at the Out of the Box Festival, at Brisbane Powerhouse and in venues across Australia in two interstate tours in 2009 and 2010. The project investigated how best to combine an exploration of theatrical forms and conventions, with a performance style evolved in a specially developed training program and a deliberate positioning of young children as audiences capable of sophisticated readings of action, symbol, theme and character. The results of this project show that when brought into appropriate relationship with the theatre artists, young children aged 3-5 can engage with sophisticated narrative forms, and with the right contextual framing they enjoy heightened dramatic and emotional tension, bringing to the event sustained and highly engaged concentration. Older children aged 6-10 also bring sustained and heightened engagement to the same stories, providing that other more sophisticated dramatic elements are woven into the construction of the performances, such as character, theme and style.
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Budd, Natasha N. "Staging childhoods : experiments in authentic theatre making practice with children." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76092/4/Natasha_Budd_Thesis.pdf.
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This practice-led PhD project investigates the ways in which society positions children through a broad set of social, cultural and historical considerations and examines these within the frame of theatre making. The study proposes a model of practice that moves beyond participant empowerment toward a more dynamic understanding of the creative process that sees adults and children working together to create mainstream artistic product. It contends that this model creates conditions conducive to authentic theatre making practice with children as evidenced in the researcher’s original performance work Joy Fear and Poetry.
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Jorgensen, Luke. "Boal and youth theater in the United States /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2000.
Find full textAbstract:
Thesis (Ph.D.)--Tufts University, 2000.Adviser: Downing Cless. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 216-223). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Starcher, Mary E. "Cindy's feller: an adaptation of Cinderella." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc798179/.
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The problem with which this thesis is concerned is that of writing and directing an adaptation of the classic fairy tale, Cinderella. This study is a culmination of research on children's theatre, and the writing and producing of children's plays. The research led to the writing of the first draft of Cindy's Feller, an adaptation of Cinderella, beginning with a scenario which utilized a country-western theme. Upon completion of the first draft, the play was produced at North Texas State University during the summer of 1981. Stage directions of the play, a director's log of daily rehearsals, and an evaluation of the final productions were recorded to provide a stimulus for the writing of a final draft of Cindy's Feller and the preparation of this thesis.
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Munro, Allan John. "Athol Fugard's My Children! My Africa! in the South African theatre paradigm." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298485307.
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Lish, Jamie. "Adapting The End: Responding to Standards of Learning in Theatre for Children." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1766.
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Theatre is the passport to the creation of a balanced educational system in the United States (US), while standardized testing is the downfall of the ideology behind ‘No Child Left Behind’ (NCLB). As an educator, I was greatly influenced by Howard Gardner, theorist of Multiple Intelligences and Neil Fleming theorist of learning modalities. This work has carried over into my work in theatre as a director. Theatre does not have to didactically serve formal education, which emphasizes mathematics and reading/writing, nor does it have to be merely a spectacle. Theatre can be experimental, artistic, cathartic, foster social and intrapersonal skills and increase intelligences in all areas for children and adults. The adaptation of the children’s book The End by David LaRochelle into a play for children demonstrates the potential that lies within the art of theatre to be more than just entertainment. Furthermore, my work on the adaptation of The End was greatly influenced by my research and participation in the production of Pinocchio with Ohio Valley Summer Theatre in the fall of 2008. From this production, I gained considerable knowledge on the topic of Commedia Del’ Arte which impacted my work on my own production The End.
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Glover, Ann L. (Ann Louise). "Billikin Whiskers and the Mountain Trolls: A Children's Play." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500252/.
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This thesis is a play for children. The story and the characters were derived from traditional Norwegian fairy tales. The central character is Billikin Whiskers, a billy-goat, who is captured by three trolls--Sparky, Garr and Pragg. The play is set on a mountain in Norway. The central idea of the play is the issue of intelligence--represented by Billikin Whiskers--versus physical strength--symbolized by the trolls.
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Warren, Stephanie L. "Interactive theatre techniques and focus groups for children : the advantages of playful participation." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1519.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Nursing
Nursing
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Galligan, Joshua M. "DE-MASKING THE SILENCE - Drama Therapy: For Children with ASD." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1793.
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This dynamic form of pedagogy attempts to cross the interdisciplinary boundaries between theatre, psychology, and modern medicine. What I attempt to present in this thesis is a systematic developmental framework for the theoretical use of drama therapy with children suffering from Autism Spectrum Disorder. This approach has been based on in-depth interdisciplinary study which makes use of the most current research looking at the neurological makeup of the autistic brain. This systematic approach examines the mirror neuron system which has been labeled as a major defect in children with ASD. Through the use of theatrical techniques such as acting, movement, voice and speech combined with modern theatre theory and clinical practice this creative approach allows for integration of imagination and self discovery. By engaging autistic children in drama therapy intervention I believe it is possible to stimulate the underdeveloped mirror neurons which cause the defects in social, emotional, and language skills. By pushing the perceived concept of theatre beyond aesthetics it is possible to expose its obligation to a healthier society.