Dissertations / Theses on the topic 'Communism – Drama'
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Thomsen, Frank. "Von der Taktik zur Tugend Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929-1945 /." Frankfurt : Lang, 2008. http://catalog.hathitrust.org/api/volumes/oclc/272561135.html.
Full textSheehy, Margaret. "Community and celebration in community plays." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369683.
Full textNelson, Bethany. "Drama and multiculturalism : power, community and change." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/45734/.
Full textPreda, Colegiu Roxana Natalia. "Petru Dumitriu – Le drame de l’écrivain entre deux mondes." Thesis, Paris Est, 2015. http://www.theses.fr/2015PESC0025.
Full textThe current thesis is the story of a life, peaks and abysses, light and darkness, smiles and tears. The two complementary halves of life, a way of personal and unique expression, a creative force that goes beyond the limits, the indisputable literary talent, here are some keywords that perfectly characterize our author.The continual metamorphosis unpredictable manifested in his work and the secrets of his writing, both challenged and appreciated are only general tracks that we propose to develop throughout this research.The many recent publications show great interest that exists for a current and still unexhausted subject to a time that elicits a long string of questions, which continues to surprise. A topic of discussion still effervescent and passionate, which welcomes more and more participants willing to deliver mysteries of a heavy and dark time.Why "The drama of the writer between two worlds"? An apparently simple title for a truly complex issue. Probably because Petru Dumitriu is an atypical case; in contrast to those who prefer to live in silence their dramas, preserve their privacy at the maximum while sealed forever in the depths of their soul, Petru Dumitriu chooses aperture, total sincerity, the narrative assumed an experience that moves from the very first sentences
Aitchison, Bridget Mary. "Transformational drama: theatre for community and social change." Thesis, Faculty of Creative Arts, 2001. https://ro.uow.edu.au/theses/943.
Full textLi, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
Full textYU, Hsiao Min. "English drama For critical pedagogy : adapting Caryl Churchill’S dramas as a methodological tool for community-engaged theatre workshopping in post-Umbrella Movement Hong Kong." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/eng_etd/12.
Full textEsterhuysen, Jana Maria. "’n Ondersoek na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80359.
Full textENGLISH ABSTRACT: In this research paper an investigation into applied theatre as medium for community development in the Stellenbosch area is conducted. An initial investigation was launched to determine whether there are currently organizations in the Stellenbosch area that uses applied theatre for the purpose of community development. This investigation concluded that there are organizations currently in the Stellenbosch area that make use of community theatre, but not necessarily for the purpose of community development. After further research, it was found that there are organizations in the greater South Africa who make use of other forms of applied theatre as a medium for community development such as theatre for development and theatre-ineducation. Consequently, brief overviews of the different forms of applied theatre are given, explained and discussed under the following three categories: applied theatre in education, applied theatre in the community and applied theatre in the workplace. From this description it was determined that community theatre and theatre in education is the most appropriate forms of applied theatre for community development. An empirical study was launched to investigate existing and/or completed applied theatre projects in the Stellenbosch area as well as the greater South Africa to determine which projects have been undertaken, which forms of applied theatre has been used and what the focus and outcomes of the projects was. Interviews were conducted with specific organizations to determine how applied theatre is being applied as medium for community development. Following the existing projects and the identified forms of applied theatre that could be used for community development, it was decided to conduct and launch a theatre for development project in the Stellenbosch area. There is currently no similar theatre for development projects and the feasibility of such a project has been questioned in a practical manner in a case study. The case study was launched at a school in the Stellenbosch area where a project that deals with the importance of school attendance were undertaken with a group of Grade 7 students. After completion of the research study it has been determined that applied theatre can be used as a medium for community development in the Stellenbosch area. Although there are several challenges to face such as finance and planning associated with the execution of an applied theatre project, it is possible for such a project to be potentially successful.
AFRIKAANSE OPSOMMING: In hierdie navorsingstudie word daar ondersoek ingestel na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing. Hierdie navorsing rus op drie bene, naamlik ’n literatuurstudie, ’n empiriese ondersoek in die vorm van onderhoude en ’n gevallestudie in die vorm van ’n teater vir ontwikkeling-projek. Eerstens word ’n bondige oorsig van die verskillende vorme van toegepaste teater gegee. Die verskillende vorme word uiteengesit en bespreek onder die volgende drie kategorieë, naamlik: toegepaste teater op onderwysgebied, toegepaste teater in die gemeenskap en toegepaste teater in die werkplek. Uit hierdie omskrywings is bepaal dat teater vir ontwikkeling, gemeenskapsteater en teater-in-die-onderwys oënskynlik die mees gepaste vorme vir gemeenskapsontwikkeling is, alhoewel die begrip toegepaste teater oor die algemeen verandering van een of ander aard ten doel stel. ’n Empiriese ondersoek is geloods na bestaande en/of afgehandelde toegepaste teaterprojekte in die Stellenbosch-omgewing, sowel as die groter Suid-Afrika om te bepaal watter projekte is reeds aangepak, watter vorme van toegepaste teater gebruik word en wat die fokus en uitkomste van die projekte is. Daar is gevind dat organisasies in die Stellenbosch-omgewing wat wel teater as medium vir ontwikkeling gebruik, meestal fokus op gemeenskapsteater. Organisasies in die groter Suid-Afrika maak egter ook gebruik van ander vorme van toegepaste teater vir gemeenskapsontwikkeling, soos byvoorbeeld teater vir ontwikkeling en teater-in-die-onderwys. Na aanleiding van die bestaande projekte en die geïdentifiseerde vorme van toegepaste teater vir gemeenskapsontwikkeling is daar besluit om ’n teater vir ontwikkelings-projek in die Stellenbosch-omgewing te loods. Daar is tans geen soortgelyke teater vir ontwikkeling-projekte nie en die lewensvatbaarheid van so ’n projek is op praktiese wyse ondersoek in ’n gevallestudie. Die gevallestudie is geloods by ’n skool in die Stellenbosch-omgewing waar daar met Graad 7- leerders ’n projek aangepak is wat handel oor die belangrikheid van skoolbywoning. Na afloop van die navorsingstudie is daar bepaal dat toegepaste teater wel suksesvol as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing gebruik kan word en in sommige gevalle reeds gebruik word. Daar is wel verskeie uitdagings, onder andere met betrekking tot finansies en beplanning, wat gepaard gaan met die uitvoering van ’n toegepaste teaterprojek. Alle aanduidings is egter dat sulke projekte ’n beduidende impak op ’n gemeenskap kan hê.
Munday, Caitlin Ruth. "Conceptualising the drama classroom as community: a case study approach to effective learning and teaching." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/12867.
Full textSebestyen, John S. "Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.
Full textJennings, Matthew. "The Function and Impact of Community Drama in Northern Ireland 1998-2008." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520527.
Full textChaney, David Christopher. "Spectacular drama in urban entertainment : the dramatisation of community in popular culture." Thesis, Durham University, 1985. http://etheses.dur.ac.uk/10497/.
Full textKrebs, Katja. "Dissemination of culture through a translational community : German drama in English translation on the London West End stage from 1900-1914." Thesis, University of Hull, 2002. http://hydra.hull.ac.uk/resources/hull:12373.
Full textHarrison, Kiersten Rose. "A Theatre for Change: Applying Community Based Drama Practices into Ontario Middle Schools." Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20511.
Full textKnightsbridge-Randall, S. J. "The drama of a policy process : community education in Waltham Forest 1984-89." Thesis, Cranfield University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385763.
Full textOlson, Grant. "Rediscovering 'invisible communication' : a re-evaluation of Stanislavski's Communion via 'radiation'." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32199/.
Full textBadir, Patricia L. "Playing space : 'Commonwealth', 'community' and dramatic activity in York, Beverly and Hull, 1500-1600." Thesis, University of Leeds, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369539.
Full textIles, Timothy John Frederick. "Towards a new community. Abe Kôbô, an exploration of his prose, drama, and theatre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27668.pdf.
Full textWanless, Rebecca Anne. "The Progression and Development of Community in a First Grade Classroom." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354680730.
Full textGibson, Susan E. "Drama praxis : Rural arts workers and lifelong learning : a phenomenological study." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1359.
Full textAhern, John N. "Conscience, the Other and the moral community: a study in meta-ethics and tragedy /." Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2676.
Full textKintigh, Monica R. "Peer Education: Building Community Through Playback Theatre Action Methods." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2230/.
Full textYasar, Mustafa. "An ethnographic case study of educational drama in teacher education settings resistance, community, and power /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149082511.
Full textPreston, Sheila. "Theatre for development in context : exploring the possibilities and contradictions of visions of theatre and development within the action of community." Thesis, University of Winchester, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341380.
Full textFitts, Elizabeth Ashley. "An examination of classroom community in the drama classroom through action research and refractive practitioner research." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399638139.
Full textMcKay, Joseph A. J. "There are many rooms in God's house bridging the gap between pastoral counseling and the community of faith /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
Full textKauli, Jacqueline. "Establishing the conceptual and practical foundations of a new form of theatre for development: Theatre in conversations." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84751/2/Jacqueline_Kauli_Thesis.pdf.
Full textDe, Bruyn Lavona. "Exploring social identity through theatre : an examination of the process of creating Jingle Dreams with youth in the coloured community of Clanwilliam." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/10391.
Full textThis dissertation examines the process of creating Jingle Dreams with the youth in Clanwilliam. It aims to ascertain whether the processes of Community Theatre drama create opportunities for the individuals in the identified community to explore a social identity influenced by historical legacy, heritage, memory (or absence thereof) and socio-economic environment. The intention of the dissertation is influenced by the Applied Drama mission to benefit individuals, communities and societies through artistic forms of intervention such as dramatic activities, theatre directing, mediation and discussions. I will examine how the processes and the performative qualities of drama and theatre have the potential to transform individuals and society. Community Theatre creates the space for young people to share and question common experiences of life. This ensures that marginalised voices are heard which has psychological and social benefits for the participants. The dissertation proposes to interrogate how young people revealed their social identity through the narrative structure, dialogue, stereotypes and symbols in Jingle Dreams. I have been strongly motivated by the work of Augusto Boal which was the source of a large part of the dramatic processes. In the research process, the young people belonging to The Community Networking Creative Arts Group were encouraged to find their own forms of artistic, cultural and theatrical expression. During the rehearsal process, the group improvised and developed many scenes which reflected issues such as alcoholism, drug abuse, domestic violence and intergenerational tension. The narrative of the performance was based both on their stories and on stories from their community. It reflected their circumstances, their struggles, their hopes and their dreams. Theatre devised in community situations reflects concern with the representation of memory, and participants are invited to recognise that autobiographical narratives have social, communitarian and historical significance, as well as personal relevance. Performers drew on their own experiences to devise the scenes. This process often emphasised how the boundaries between truth and fiction are blurred. The lack of a clear distinction between fact and art facilitated the revelation, exploration and contestation of social identity.
Odhiambo, Christopher. "Theatre for development in Kenya : in search of an effective procedure and methodology." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/20919.
Full textENGLISH ABSTRACT: This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. The works of Paulo Freire and Augusto Boal provide the study with a theoretical model in which its basic assumptions and arguments are tested and developed. These two authors, whose works are related in many ways, privilege the use of participatory approaches in the process of creating critical consciousness and promoting change in the individual and in society; these are fundamental requirements in any meaningful practice of Theatre for Development. The findings of this study reveal the discursive and eclectic state of the practice of Theatre for Development in Kenya as originating from a multiplicity of factors such as the skills (or lack thereof) of the practitioners, government interference and the prescriptive agenda and demands of the project funding bodies, institutions and agencies as well as the proliferation of NGOs using Theatre for Development but lacking its foundational philosophy and methodology. This study therefore suggests that, for the enterprise to be more effective and efficient there is a serious need to reflect critically on its procedures and methodology in order to improve and guide its operation. These fundamental aspects include collaborative research, codification, interactive participation, and facilitation and intervention, and are not prescriptive matters but descriptive, arrived at through a critical analysis of a number of Theatre for Development activities in Kenya. Ultimately the research process has thus highlighted a number of weaknesses and strengths in the practice of Theatre for Development in Kenya. Because Theatre for Development is a performance event, the study utilised both quantitative and qualitative research methods. This was necessary, because the study depended on a bibliographical review, unstructured interviews and action research, where the researcher participated in Theatre for Development projects, happenings and related activities
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoek na Teater vir Ontwikkelling in Kenya. Dit poog om die verskillende manifestasies van die praktyk te karteer en beskryf waardeur dit, tot ‘n mate, a kritiese model vir praktisyns en aandeelhouers kan dien. Die onderneming is egter op geen wyse ‘n soeke na ‘n rigiede, allesomvattende teoretiese model nie, maar bied tog ‘n beskrywing van aspekte van Teater vir Ontwikkelling waarbinne en waardeur transformasie van sosiale optrede en handeling in hierdie eklektiese veld kan plaasvind. Met dit in gedagte word na ‘n aantal toepaslike en kontrasterende gevallestudies van Teater vir Ontwikkelling gekyk om ‘n perspektief te ontwikkel wat praktisyns in staat sal stel om hulle eie praktyke krities en effektief te kan evalueer. Die werk en geskrifte van Paulo Freire en Augusto Boal verskaf die teoretiese model vir hierdie ondersoek, wat die basiese beginsels en uitgangspunte daarvan in die Afrika-konteks uittoets en ontwikkel. Hierdie skrywers, wie se werke nou verband hou met mekaar, gee voorkeur aan ‘n interaktiewe, deelnemende benaderings tot die ontwikkelling van ‘n kritiese bewussyn en die stimulering van verandering by die individu en in die gemeenskap. Dié benaderings is fundamenteel tot enige sinvolle aanwending van Teater vir Ontwikkelling. Daar is bevind dat die beoefening van Teater vir Ontwikkelling in Kenia uiters eklekties en uiteenlopend van aard is en dat hierdie stand van sake toegeskryf kan word aan ‘n verskeidenheid faktore, insluitend die vaardighede (of tekort aan vaardighede) van praktisyns, inmenging deur die regering, voorskriftelike agendas en vereistes gestel deur borge en befondsingsagentskappe, edm. ‘n Ander faktor is die geweldige toename in nie-regeringsorganisasies (NGO’s) wat van Teater vir Ontwikkelling gebruik maak terwyl hulle nie oor die basiese filosofiese en metodologiese kennis en opleiding beskik nie. Die bevinding is dus dat sodanige programme slegs meer effektief en doeltreffend bedryf kan word indien daar ernstig besin word oor fundamentele prosedures en metodologieë, om aan die verdere bedryf van die program(me) rigting te kan gee en uitkomste te verbeter. Fundamentele aspekte hierby betrek sou insluit spannavorsing, samewerking, kodifisering, interaktiewe deelname, fasilitering en intervensie, wat nie voorskriftelik is nie, maar beskrywend en rigtinggewend van aard, afgelei uit ‘n kritiese ontleding van ‘n aantal Teater vir Ontwikkelling aktiwiteite in Kenia. Die navorsing het dus uiteindelik ‘n aantal sterk- en swakpunte in die praktyk van Teater vir Ontwikkelling in Kenia belig. Omdat Teater vir Ontwikkelling ‘n aanbiedings-gebeurtenis (“performance event”) is, het die ondersoek beide kwantitatiewe en kwalitatiewe navorsingsmetodes gebruik. Dit was nodig omdat die ondersoek gebruik gemaak het van formele literatuurstudie, sowel as ongestruktureerde onderhoude en aksienavorsing, waartydens die navorser self deelgeneem het aan van die Teater vir Ontwikkelling projekte, gebeure en aktiwiteite.
Tabor, Nicole Malkin. "A shimmering doubleness : community and estrangement in novelized dramas and dramatized novels /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883691271&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Full textMinton, Gretchen E. "Imaginative space and the construction of community, the drama of Augustine's two cities in the English Renaissance." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ46392.pdf.
Full textJaramillo, Nathalia E. "Nepantla pedagogy urban schools, social dramas, and las madres of Mirasur /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1456285081&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textSt, Pierre Kelly M. "Revolutionizing Czechness: Smetana and Propaganda in the Umělecká Beseda." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333472822.
Full textRead, Richard. "Revitalizing New Orleans theatre community: a report on an Arts Administration internship with DramaRama New Orleans, Louisiana, Summer and Fall, 1997." ScholarWorks@UNO, 1999. http://scholarworks.uno.edu/aa_rpts/38.
Full textPecore, Joanna Theresa. "Sounding the spirit of Cambodia the living tradition of Khmer music and dance-drama in a Washington, DC community /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/196.
Full textThesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Clifford, Sally Margaret. "Why have you drawn a wolf so badly? : community arts in healthcare." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35893/1/35893_Clifford_1997.pdf.
Full textSanchez-Camus, Roberto. "Applied live art : co-authorship in socially engaged and site-responsive performance practice." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6027.
Full textLarsson, Carina. "Pedagogiskt drama i socialt arbete - Kreativa metoder för att behandla etiska frågor i socialt arbete." Thesis, Malmö universitet, Fakulteten för hälsa och samhälle (HS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-25238.
Full textThe purpose of this study was to investigate how educational drama methods can be used in social work to increase reflection in the professional’s work life. Furthermore, it was studied whether organizations that work with educational drama methods contribute to supporting vulnerable and marginalized groups in society. I made six semi-structured interviews with informants from different organizations in southern Sweden that presented different creative working methods that they use. The informants work, among other organizations, on behalf of governmental and municipal organizations, but also with their own independent productions to process various ethical issues in society. Since educational drama methods have proven to contribute to in-depth and active reflections, the result is that these methods are favorable complements and alternatives to traditional supervision. Furthermore, various methods that the informants work with have proven to contribute to increased empowerment of marginalized individuals and they have also given them a chance to get their voices heard. The cuts made in the cultural budget therefore not only affect the cultural life itself but likewise the society and social work. The creative methods could be used on a much larger scale, as they have genuine potential to affect change in our society.
Brand, Amelda. "Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoek." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52858.
Full textENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk. Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is. Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid- Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by ontwikkelde lande se beskouings aansluit. Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik. Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees. Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in die voorafgenoemde teatervorme. Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater en is dikwels in die praktyk omruilbaar.
Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.
Full textFerrer, Joshua. "The community of women in María de Zayas y Sotomayor's La traición en la amistad." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1091819243.
Full textBastani, Nava Corinne. "A project proposal for the formation of People’s Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2149.
Full textIn the present chaos surrounding society, youth are in dire need of tools that will enable them to navigate life’s tests and help them understand their role in building a new world civilisation. It is not enough though merely to hear and profess grand ideals, action needs to accompany words. Action happens when ethics and spiritual principles are integrated at a deep level and become part of an individual’s character. The following mini thesis is a project proposal for the formation of a Drama Workshop called People’s Theatre. People’s Theatre aims to help youth become of service to humanity through the internalization of morals and through the realization of their spiritual identity and their oneness with the entire human race. The project proposal begins with an explanation of why the project is being implemented on a local level and where it fits in on a global level. The project utilises three component parts that are seen as necessary if the project is to be sustainable. There are dramatic, moral education and service component parts to the project. The dramatic component will focus particularly on the ZIPoPo method which has been chosen due to it being a powerful medium of expression as well as its focus on positive decision making and moral development. Following this, the project proposal goes into detail concerning the necessary steps needed to be taken in order to practically implement the project and make it a success. The format follows a typical project proposal format. Another factor that was decided upon in order to help make the project more sustainable was that the project would be divided into three main phases. These phases are talked about throughout the proposal. There is also an analysis about why certain activities were chosen and how to take advantage of any opportunities that may arise and lead to the further success of the project. Particular attention was paid to how to make the project truly sustainable and participatory and in this way enable it to succeed. Empowerment begins by teaching people how to walk their own path to development. The following project proposal provides a detailed plan on how to help youth to do just that.
Le, Grange Rene. "Effective planning and organisation of a student theatre festival." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.
Full textHill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.
Full textBorland-Sentinella, Deanna. "Embodied futures: Weaving futures thinking, applied theatre and community development in creative and participatory embodied practice." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205943/1/Deanna_Borland-Sentinella_Thesis.pdf.
Full textAebi, Delphine. ""Il faut trouver un modus vivendi" : le scandale au théâtre des années 1940 aux années 1960." Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL025/document.
Full textOur whole approach is based on the observation that scandal, often addressed through moral discourses that condemn or celebrate it, is actually a protean and profoundly ambiguous event. Because drama is closely linked to the concepts of emergence and immediacy, scandal finds on stage the perfect place for its release. However, in the eyes of authors seeking a definition of their identity and their relationship to others, drama and scandal, although commonly associated with notions of the spectacular, exhibition and conflict, should not be reduced to this trope. The years 1940 to 1960 in France are a troubled and unstable period, leading playwrights from different horizons to converge towards the same goal: creating a vibrant community. Scandal represents for them a privileged means of communication between the stage and the audience, offering hope of a theatre capable of reconciling the individual and the city
Santos, Valmir Jesus dos. "Coreutas de Barão Geraldo: uma transversal do Teatro de Grupo no distrito de Campinas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-31082009-100856/.
Full textThis work describes the mechanism of organization and creation of three theater groups from a small town called Barão Geraldo located in the city of Campinas, São Paulo, Brazil. The data were collected through observation and interviews. In a narration form we aimed to detach the subjectivity in the discourses and practices of those groups. We traced the historical background of the town and of the groups: Lume - Núcleo Interdisciplinar de Pesquisas Teatrais, Boa Companhia de Teatro e Barracão Teatro. From a historical perspective we exposed a broad and peculiar view of making art in an area where coffee and sugar cane farms existed between XIX and XX centuries and which was occupied by Campinas State University in the 1960\'s bringing some modernity to the space, but also some social and economical shock. Most of the actors-creators study or teach at Departamento de Artes Cênicas do Instituto de Artes (Institute of Art). Lume became part of the University first as a lab for studying and training the body movements, then as an interdisciplinary center of theatrical research and after some struggle it has some institutional support to keep their work. Boa Companhia and Barracão follow independents paths, but their workers have the university as a reference. The artists found and systematize a meticulous research towards the art of the actor, through the study of masks, the clown art and the body mimesis. Their processes display a deontoly to their work. The three groups have their offices in Santa Isabel Village. Nowadays, there are at least 12 collectives working in the surroundings of Barão Geraldo. They harmonize with the increasing theater group production in Brazil since the 1990\'s, which are called experimental spectacle\' created collectively and motivated by cultural policies which focus on citizenship. The evident contradiction of a group culture is the difficulty in captivating the local public, who exclude themselves because of the impact the University had on them in the past. This exhilarates an artistic victory and challenges the life of art in the community.
Ferrer, Joshua. "The Community of Women in María de Zayas y Sotomayor’s La traición en la amistad." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1091819243.
Full textMaritz, Gerrit Ulrich. "An appreciative inquiry approach to community theatre on HIV and AIDS education for young people." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/26490.
Full textDissertation (MA (Drama))--University of Pretoria, 2011.
Drama
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Gaskin, Kelly Michelle. "Assessing risk in a community intellectual disability sample : the clinical utility of the Dynamic Risk Assessment and Management System (DRAMS) : a study of clinician evaluations." Thesis, University of Leicester, 2007. http://hdl.handle.net/2381/9547.
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