Dissertations / Theses on the topic 'Community theatre'
To see the other types of publications on this topic, follow the link: Community theatre.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Community theatre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.
Find full textAbstract:
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.
2
Farrow, Angela Rosina. "Community theatre in the Manawatu." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312439.
Full text
3
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.
Full text
4
Madzik, Christine, and Christine Madzik. "Sojourn Theatre Company: A Case Study in Community-Based Theatre." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12372.
Full textAbstract:
This thesis examines contemporary community-based theatre processes and efficacy through a case study of Sojourn Theatre Company. Chapter II overviews Sojourn's production history and explores the company's style. Chapter III discusses the theatre-making process, from project conceptualization to performance. Chapter IV examines approaches for assessing Sojourn's efficacy. The research was based on company interviews, primary observation, archive materials, and audience reviews. The results of the study indicate that Sojourn relies heavily on audience engagement and community participation to assess its work. In addition, both a production's purpose and its target audience play a large role in determining efficacy.
5
Robinson, Yvonne Natalie. "The cultural geographies of community theatre." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415200.
Full textAbstract:
Against a backdrop of growing interest in performance geographies and performative notions of embodiment and social identity, this thesis critically examines the geographies of 'community theatre' (or 'theatre in the community'). Drawing on in-depth qualitative research, the study is concerned to analyse the forms of 'community' presumed in and produced through the performances of community theatre companies in London. It focuses in particular on detailed case studies of three companies - London Bubble, Outside Edge and Tamasha - which were chosen to examine how different engagements with the notion of 'community' are made through performance and practice. This thesis demonstrates how practices of community theatre have been positioned marginally to that of mainstream and established theatre. Through the empirical analysis, it examines both the opportunities and contradictions that an engagement with the discourse and practice of 'community' brings for community theatre companies. It also illustrates how 'theatre in the community' companies mobilise themselves in ways which may be both subversive, democratic and powerful. Engaging with forms of performative art that work with ideas of community and notions of communality articulated through performance, the thesis helps to rectify the absence of geographic research on the social spatial constitution of the arts. In so doing, it seeks to contribute to emergent understandings of the social and cultural geographies of performance.
6
Woodruff, Graham James Michael. "Community arts theatre : subversion or incorporation?" Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405025.
Full text
7
Farrow, Heather Lynn Carleton University Dissertation Geography. "Local organizing and popular theatre: case studies from Namibia and South Africa." Ottawa, 1992.
Find full text
8
Coon, Sarah Marie. "Crossing the Aether-Net: Community and the Theatre of Team StarKid." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429204552.
Full text
9
Guse, Anna. ""I Am More Than an Inmate...": Re/Developing Expressions of Positive Identity in Community-Engaged Jail Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636691932172.
Full text
10
Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.
Full text
11
Hayes, S. "Building community : a sociology of theatre audiences." Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.
Full textAbstract:
This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.
12
Balzer, Timothy R. "Theatre, /quit the potential community in World of warcraft /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244054978.
Full text
13
Richards, Keith Owen. "The Red Bull as community theatre in Clerkenwell." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37230.pdf.
Full text
14
Sikhafungana, Zuko Wonderfull. "Theatre formations: Rethinking theatre and its spaces in Cape Town." University of Western Cape, 2020. http://hdl.handle.net/11394/7550.
Full textAbstract:
Magister Artium - MAScholarship on theatre in South Africa has shown how under the Apartheid government theatrical practices were divided into different genres such as protest theatre, township theatre, black theatre, mainstream theatre etc. In many ways theatre today presents the same fractures and polarisations: community and mainstream theatre. This study investigates ways in which black theatre artists from marginalised and disadvantaged communities with and without formal training negotiate themselves within theatre spaces in Cape Town. Discussing and analyzing the works and the trajectories of two case-studies: the Ukwanda Puppet and Design Company and the Back Stage Theatre Production Company, I attempt to demonstrate how works of arts that awkwardly sits with labels such as “community” or “mainstream” theatre are emerging more and more in the Cape Town theatre scene.
15
Kershaw, Barrie Richard. "Theatre and community : alternative and community theatre in Britain, 1960-1985; an investigation into cultural history and performance efficacy." Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280752.
Full text
16
Savard, Shannon N. Savard. "Growing Tribes: Reality Theatre and Columbus' Gay and Lesbian Community." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524152632871631.
Full text
17
Kauli, 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 textAbstract:
This research was developed between Australia and Papua New Guinea (PNG) over two years investigating ways in which theatre for development could be held accountable for the claims it makes especially in PNG.
The motivation to improve theatre for development (TfD) practice was triggered by the desire to enhance the democratic processes of collaboration and co–creativity often lacking in TfD activity in Papua New Guinea. Through creative practice as research and reflective processes, working with established and experienced local community theatre practitioners, a new form of theatre for development, Theatre in Conversations evolved. This form integrated three related genres of TfD including process drama, community theatre and community conversations. The suitability and impact of Theatre in Conversations was tested in three remote villages in PNG. Findings and outputs from the study have the potential to be used by theatre for development practitioners in other countries.
18
Zontou, Zoe. "Applied theatre and drugs : community, creativity and hope." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/applied-theatre-and-drugs-community-creativity-and-hope(06d06a21-dff7-449a-9332-8dad1d0bdb84).html.
Full textAbstract:
This thesis presents a spectrum of different practices, with many different ways of thinking about the application of theatre with problem drug users. It starts from the question of how applied theatre might assist problem drug users to socially reintegrate, and moves on to ask further questions with regard to its potential to promote personal change and contribute to the participants' social acceptance. The two research questions that have driven my enquiry are: to what degree can participation in applied theatre assist problem drug users towards their social reintegration? And: how does the implementation of applied theatre with this specific client group inform us about its potential to promote personal change? By using evidence from theatre projects carried out in England and Greece, this thesis attempts to illustrate how different forms of theatre can be implemented with the aim of supporting the individual's journey to recovery and reintegration. This thesis is divided in three thematic units: community; creativity; and hope. Each unit explores the potentially powerful relationship between the dramatisation of stories of recovery and their presentation to a public audience. By positioning the outcomes of the research in relation to the debates around current drug policies and applied theatre's potential to act as a transformative agent, this thesis sets out to explore factors by which participation in applied theatre has the potential to have an impact on problem drug users by operating as an 'alternative substance'. In particular, it seeks to examine the possibility of applied theatre operating as an alternative form of 'escapism' from the participants' current community (community of exclusion), thus functioning as a motivational force towards their social reintegration. It will suggest that applied theatre has the power to promote personal change by regenerating the individuals' social and creative components and by awakening their desire for affiliation and belonging.
19
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 textAbstract:
Transformational Drama is theatre which acts as a catalyst for change in communities and in society. It addresses issues of social importance and changes people's perceptions, attitudes and reactions to those issues. This thesis explores the foundational theory behind transformational drama, including the use of drama as an applied art as found in the work of Jacob Moreno (the founder of psychodrama), Richard Scheckner and Augusto Boal. It then examines the reclamation of the transformational properties of drama from the behavioural sciences back into the conventional theatre by looking at the community theatre and Theatre-In-Education movements. Three plays are examined for their transformational effect - Aftershocks, Property of the Clan/Blackrock, and Runaways. Each had their own particular methodology (verbatim, scripted and devised) which leant itself toward theatre which caused social change. Each created transformations in the communities for which they were originally produced but each also went on to affect wider, main-stream audiences. In researching these three plays, the author combined elements of each, as well as the foundational theory, to create a new methodology for the production of transformational drama. This method was trialled in Back From Nowhere, a production based on the issue of youth-suicide. The thesis details the process used to create this play and an analysis of the resulting product.
20
Connick, Robert. "Creating an Audience for Community Theatre: A Case Study of Night of the Living Dead at the Roadhouse Theatre." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1181759033.
Full text
21
Smith, Anne Louise. "Elasticity, community & hope: understandings from participatory theatre performance." Thesis, University of British Columbia, 2006. http://hdl.handle.net/2429/38342.
Full textAbstract:
This performative inquiry begins with a research project I conducted in the summer of 2004, a six week “participatory
theatre laboratory’ with eight undergraduate students in the Theatre Program of the Department of Theatre, Film & Creative
Writing, at the University of British Columbia. Integral to the laboratory were six participatory theatre performances with day
camps in the Greater Vancouver area. Seven youth leader participants from three of these performances and two student
actors were interviewed six to eight weeks later to discover what they remembered of their experience with ParticipAction
Theatre. Their responses cover a wide range of interests, focusing predominantly on the value of involvement.
My conceptual explorations encompass the late twentieth century movement towards audience involvement in theatre
performance, theatre for education and social change, performance studies, and the relation of the artist, as mystic, to the
community. Community is a contested term: I borrow from the Amerindian1 understanding of community to ground my own
interpretation. I perform this inquiry as an ongoing journey of discovery, using stories from the Tricksters’ Theatre tours, my
initial work in participatory performance, to propel the journey between stopping places of reflection.
Elasticity, community, and hope, are three concepts that have risen through my exploration of the experience of participatory
theatre. Elasticity bespeaks the dynamic of inter-relationships between people when they perform together. I identify what
participants have reported as a ‘feeling of community’ when performing together to be an “excess” of performance”
(Kershaw, 1 999, p. 64). This dissertation explores how participatory theatre performance can generate these “excesses”
and theorizes an elastic connection between performing together and feeling a sense of community. The value of feeling
community is that it may reveal an emergent culture of hope in situations where people perform together.
1 I choose to use the designation “Amerindian” following Olive P. Dickason’s rational that it is more specific than “Native”
“Indian”, or “Aboriginal” (Dickason, 2002, p. xiv-xv).Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
22
Kintigh, 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 textAbstract:
The primary purpose of this study was to use some of the action methods of playback theatre to facilitate the acquisition of knowledge through the experience of building community. The impact of action methods on group dynamics and the relationship among methods, individual perceptions, and the acquisition of knowledge were analyzed. The researcher suggested that playback theatre action methods provided a climate in which groups can improve the quality of their interactions. The Hill Interaction Matrix (HIM) formed the basis for the study's analysis of interactions. Since the researcher concluded there were significantly more interactions coded in the "power quadrant" after training, the researcher assumed that playback theatre action methods are a catalyst for keeping the focus on persons in the group, encouraging risk-taking behaviors, and producing constructive feedback between members. Based on session summaries, individual interviews, and an analysis of the Group Environment Scale (GES), the training group became more cohesive, became more expressive, promoted independence, encouraged self-discovery, and adapted in innovative ways. The experience of an interconnected community created a space where positive growth could occur. The researcher concluded that the process of community building is intricately connected with a person's ability to make meaning out of experiences. Participants in the study noted several processes by which they acquired new knowledge: (a) knowledge through internal processes, (b) knowledge through modeling, (c) knowledge through experiences, (d) knowledge through acknowledgment and application. Acknowledging and applying knowledge were behaviors identified as risk-taking, communication and active listening, acceptance of diverse cultures and opinions, and building community relations. The study suggested further research in the effects of these methods compared to other learning methods, the effects of these methods on other types of groups, the effects of the leader's relationship to the group, and the long-term effects on group dynamics.
23
Dlamini, Betty Sibongile. "Women and theatre for development in Swaziland." Thesis, SOAS, University of London, 2008. http://eprints.soas.ac.uk/28833/.
Full textAbstract:
This thesis explores women and theatre for development in Swaziland. It focuses on how theatre for development is used as a tool in the development of women. Firstly, I examine the key concepts used throughout the thesis and I pay special attention to Theatre for Development. In the second chapter, I give an account of the country's history and pay special attention to the social status of women. In chapter 3, I examine the various forms of performance found in Swaziland and how they impact on the development of Swazi women. In the fourth chapter, I consider the evolution of literary practice in Swaziland and discuss two play-texts in English by H.I.E Dhlomo, a key literary figure and pioneer playwright of modem black drama in South Africa. I explore A Witch in My Heart by Hilda Kuper, a white anthropologist who lived in Swaziland in the mid twentieth century, and lastly. The Paper Bride by Zodwa Motsa, a contemporary Swazi writer. Next, in chapter 5, 1 investigate the first phase of Theatre for Development in Swaziland where non-governmental organizations, the Swazi Government and independent individuals worked together using Theatre for Development in Swazi communities. I consider first the workshops initiated by the youth. In chapter 6, I give an account of workshops involving whole communities and the kudliwa inhloko ebandla, a workshop that involved men only. In all these workshops 1 examine how they impacted on the development of women. I then conclude with a discussion of the findings of the study and their implications for the development of women.
24
Burton, David. "Playwriting methodologies in community-engaged theatre practice in regional Australia." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/213228/1/David_Burton_Thesis.pdf.
Full textAbstract:
This thesis examines playwriting methodologies commonly used in community-engaged theatre practice in regional Australia. Since 2003, the Queensland Music Festival has committed to commissioning original community-engaged works in regional Queensland communities. These works, typically featuring a cast of many hundreds and audiences of many thousands, are unique examples of community-engaged theatre work. Since 2013, Burton has served as playwright on these works and has undertaken practice-based and practice-led research across four case studies, along with complementary interviews. The research positioned the playwright in a dense and complex network of stakeholders in community-engaged practice.
25
Erçin, Nazlihan Eda. "Community [Theatre] & Self: An (Auto) Ethnographic Journey Through A Case Study of The Stage Company." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/732.
Full textAbstract:
What constitutes an artistic community? Why do people come together and form a group to make art despite all the sacrifices that they need to make in terms of time, space, and resources? (Why) Do we need Community (and) Theatre? This paper is about an interpretive and auto-ethnographic field research about a local community theatre, The Stage Company, in Carbondale, Illinois. It aims to demonstrate how theatre can be a bridge between community and self and lead them to come closer, change and grow by challenging each other. It provides an extensive description of The Stage Company by focusing on the cultural and performative features of the community theatre and the individual experiences of the company members as well as the journey of the ethnographer in conducting the research. How might a `community theatre' function in the lives of its members within a particular socio-cultural context and why would a researcher, who is a cultural, ethnic, and lingual other in the field, choose to spend a year with that community theatre? What does she find and learn about the various definitions of the concept of the community theatre, the features of community theatre culture in US, the place of The Stage Company within the theoretical definition of community theatre, the role of The Stage Company in the lives of its members and the role of this research in the ethnographer's life in terms of finding her own future path in relation to theatre and community?
26
Lutwama, Evelyn. "Communication for development : community theatre and womens rights in Buganda (Uganda)." Thesis, University of Leeds, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496133.
Full text
27
Razzaque, Khan Ahmed Abidur Hayes Mike. "Community theatre media as a means of human rights education : a case study of Makhampom theatre group in Thailand /." Abstract Full Text (Mahidol member only), 2005. http://10.24.101.3/e-thesis/2548/cd377/4537442.pdf.
Full text
28
Dennis, Rea. "Public Performance, Personal Story: A Study of Playback Theatre." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367072.
Full textAbstract:
In this study I explore the hybrid ritual performance form of Playback Theatre through audience members' experiences. The particular Playback Theatre application under consideration is the one-off community-based event. Selected writing from the Playback Theatre practice field assists in the establishment of the study focus. Literature from performance and ritual theory provides a framework for the inquiry. Theory about stories and storytelling offers a complementary lens that acknowledges the centrality of personal story in Playback Theatre. Contemporary writing about the experience of community is included to illuminate the experience of the public-private convergence in the Playback Theatre event. This study adds the voices of audience members to the writing about Playback Theatre from a practitioner perspective. The research has been undertaken using an ethnographic approach that draws on participant observation, informal group and individual interviews and researcher reflexivity.
Audience members engage in the one-off community-based Playback Theatre performance as participants and spectators. The study finds that the ritual framework offered by Playback Theatre is central to creating an environment for participation through the encouragement of flow experiences. Audience members' desire and capacity to participate is influenced by their initial engagement and their on-going negotiation of the tension of participation that is evoked through the repeated invitation implicit in the form. As participants, audience members' focus tends to be predominately on themselves as they resolve numerous responses to the invitation to participate. In order to accomplish this, many audience members engage in reflective distance, a momentary moving away from the liminal pull of the performance with the intention of re-entering. A resistance to surrendering to the invitation to participate challenges some audience members. The study identifies a number of barriers to participation. The focus on self that the invitation to participate creates is transformed when a storyteller emerges from the audience, at which point, audience members shift to focus on the teller. This constitutes a period of deep listening where audience members demonstrate a commitment to hearing the teller and appreciating the performers. While spectating, audience members experience connection to the teller and connection to the ideas presented in their stories. Watching the enactment they may have this experience expanded or heightened through the amalgamation of the multiple perspectives that the actors evoke as they interpret the story in the dramatised enactment. The collective experience of spectating yields multiple moments of communitas. This might be impeded if an individual has a persistent story they feel reluctant to tell or if an audience member is featured in a story told by another. The after-show period is shown to be an intrinsic part of the ritual event facilitating the incorporation of the experience for audience members as they prepare to re-enter the ordinary social world. This occurs through on-going storytelling and reflective discussion. The informal nature of this period is insufficient for some audience members who may require specific debriefing. The one-off community-based Playback Theatre performance is an opportunity for people to gather as a community and to tell and listen to stories. This requires an interactive process of risking and listening and provides audience members with an opportunity to see themselves and to see The Other. The study concludes that the application of Playback Theatre in this context is a metaphor for community.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Full Text
29
Senff, Sarah A. "IN SEARCH OF A POLYPHONIC COUNTERNARRATIVE: COMMUNITY-BASED THEATRE, AUTOPATHOGRAPHY, AND NEOLIBERAL PINK RIBBON CULTURE." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1376083772.
Full text
30
Jones, David. "Aesthetic justice and communal theatre : a new conceptual approach to the community play as an aspect of theatre for empowerment." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/59535/.
Full textAbstract:
This study re-conceptualises the community play as an aspect of contemporary British theatre. In the context of the idea of an arts entitlement which has two components, participation and enjoyment, it examines three antecedents to current practice. These are: theatre and empowerment, which looks at the work of Brecht and Boal on conceptions of the audience; outreach work, which examines the de-mystification of art by looking at the relationship between theatre and education and community arts, which focuses on harnessing the creative potential of ordinary people. The lines of development which link these three areas to the community play are investigated. The history and origins of the form are outlined and Ann Jellicoe's work with the Colway Theatre Trust is examined. The study offers a new conceptual vocabulary for the analysis of community playmaking which has three principal terms: aesthetic materialism - a development of Marxist principles as they relate to a consideration of the aesthetic circumstances of the people; aesthetic justice - an application of Beardsley's concept to contemporary society and current theatre practice; and communal theatre - a new term developed as a result of this study which clarifies the differences between participation and collaboration in the making of community theatre. These three concepts are united by their relationship to the rejection of bourgeois control of cultural capital which underpins the investigative stance of the study. Contemporary society is characterised by the study as aesthetically unjust and the main questions it asks relate the search for aesthetic justice to the developing form of the community play. The theoretical investigations of the study are contextualized by fieldwork which consisted of a participant observation case study of the community department of the Belgrade theatre, Coventry. This spanned two years and focused on the 1992 Coventry community play Diamonds in the Dust. The study concludes with a comparison of the main forms of participatory theatre in the 1990s which offers a means of identifying the heuristic value of the various models of community playmaking with respect to their potential for empowerment and contribution to aesthetic justice. The implications of the study are that the participatory element of the arts entitlement needs to be strengthened into true collaboration between the professionals and the non-professionals involved in order to ensure equality of access to, and popular control of, the cultural capital which is symbolised by the community play. Communal theatre projects of this sort are assessed as being able to promote the kind of shared experience which is necessary for the development of a more aesthetically just society.
31
Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.
Full textAbstract:
The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.
32
Osborne, Elizabeth Ann. "Staging the people revising and reenvisioning community in the Federal Theatre Project /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6858.
Full textAbstract:
Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
33
Banting, Sarah Lynn. "Common ground and the city : assumed community in Vancouver fiction and theatre." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/29155.
Full textAbstract:
This dissertation offers a new approach to an enduring question in literary studies: how do certain genres mediate an experience of “imagined community”? In studies of Canadian literature, texts are frequently analyzed for how they represent place—and how they evoke national, regional, local, or transnational communities by depicting characters’ lives in place. This project shares that interest in place, but rather than asking how place is represented, it asks what audiences are addressed when fiction and theatre performances refer to specific places. Shifting focus onto these works’ address to particular imagined audiences allows me to consider how they mediate their actual audiences’ relationships to specific places and to other local and non-local populations. Taking novels, short stories, and plays set in metropolitan Vancouver as a case study, I analyze narrative address using the tools of linguistic pragmatics, in particular theories of audience design, relevance, and common ground. I then adapt these ideas to the analysis of live performance in conventional theatres.
I find a variety of different modes of address implicit in how these works style their references to the city and its landmarks. All of the plays and some of the narratives address audiences who share their knowledge of certain parts of the city. They offer insight into what parts of a city residents imagine sharing with their anonymous fellow city-dwellers, on what social basis they share these extended neighbourhoods, and what are the limits of this “common ground.” Other narrators address audiences for whom the city is unfamiliar territory. Their narratives illuminate the social contexts that connect people across spatial divides and the various interests that, in the narrators’ opinion, distant audiences might have in being introduced to Vancouver. While the written narratives address audiences who have a specific amount of knowledge of Vancouver but might themselves be anywhere, the plays potentially produce a “strong” form of common ground by bringing their audience together at a particular site. I argue that this experience constructs what Arjun Appadurai calls “locality,” thus offering insight into what locality might feel like in a modern Canadian city.
34
Maunder, Paul Allan. "The Rebellious Mirror,Before and after 1984:Community-based theatre in Aotearoa." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5381.
Full textAbstract:
In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
35
Soraruf, Louis Peter. "Baltimore community theatre project activating neighborhoods through exposure to process of production /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/9006.
Full textAbstract:
Thesis (M.Arch.) -- University of Maryland, College Park, 2008.Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
36
Rukuni, Samuel. "Theatre-for-development in Zimbabwe : the Ziya Theatre Company production of Sunrise." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/27465.
Full textAbstract:
This dissertation for the M.A. in Creative Writing consists of a full-length play, titled Last Laugh and a mini-dissertation. The mini-dissertation explores the phenomenon of Theatre-for-Development, which differs significantly from the performance tradition of classical African drama. The study identifies ways in which Theatre-for-Development practitioners, animators or catalysts, (interchangeable names given to agents who teach target community members theatre-for-development skills) abandon the conventions of classical African drama performances, in terms of the form of plays, stage management and costumes. They find different and less formal ways to tackle the social problems which the target communities experience. The origins of Classical African drama are traced from the western tradition, from which it borrows heavily, and there is some discussion of the socio-historical conditions that prevailed during the time when African playwrights performed those plays, and the rise of nationalism in colonised African states, which in part influenced their production. This study then examines how the socio-political dynamics in the Zimbabwean post-farm-invasions era gave rise to Theatre-for-Development projects in the newly resettled farming communities that faced social development challenges. Despite the land gains peasants enjoyed, the resettled communities found themselves in places far away from schools, hospitals, shops and social service centres. That was the source of their problems. It will be shown how government sponsored Theatre-for-Development groups to mobilise the people, through theatre, to initiate home-groomed solutions to their social and economic problems during a time when the government was bankrupt and the country’s economy was shattered by the destruction of the agricultural and mining sectors, triggered by the invasions of the white commercial farms. The Ziya Community Theatre’s production of Sunrise is analysed in the light of these considerations.Dissertation (MA)--University of Pretoria, 2012.
English
unrestricted
37
Hauman, Amanda. "Rebonding Anomic Communities with Theatre of the Oppressed." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2379.
Full textAbstract:
This thesis explores whether Augusto Boal’s Theatre of the Oppressed (TO) can help anomic communities, affected by deindustrialization and globalization, in the U.S. Midwest, specifically looking at Saginaw, MI. After presenting a paper at the American Symposium for Theatre Research (ASTR) conference in 2009, the author attended a Theatre of the Oppressed facilitator training in Port Townsend, WA under the direction of Marc Weinblatt. She then conducted her own Theatre of the Oppressed workshop in Saginaw, MI to analyze the abilities of Theatre of the Oppressed in an anomic community. Each experience is detailed and followed by the author’s conclusions and hopes for Theatre of the Oppressed in the Midwest.
38
Preston, 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 textAbstract:
This study is research into practice, concerned with locating a critical perspective into the possibilities of drama in achieving sustainable development within communities. This qualitative research approach draws on action-research paradigms, ethnographic techniques and drama methodologies to create in depth analysis of the facilitation and action of community drama within case study contexts. The case study contexts were drawn from the field of mental health provision and the context of self-advocacy for people with learning difficulties. Drama and video workshops were facilitated within these groups between periods of 9 - 18 months. Participants were involved from three groups including a women's group and a male orientated group within mental health provision, and a group for young adults with learning difficulties within a self advocacy project. This thesis contributes to knowledge in the field of Theatre for Development and UK community based drama in the following ways: The thesis suggests that previous assumptions and claims as to the 'success' of community drama projects need closer, critical interrogation. Analysis of the field work reveals that 'visions' of theatre and development face conflict when positioned in context, as both the nature and action of community is itself contested and ambivalent. The relationship of the facilitator role to other involved parties is given specific interrogation. The role and persona of the facilitator as a key player is identified, and demonstrated as such throughout the thesis through adoption of self-reflexive strategies of writing. It becomes clear that the radical, pedagogic intent of the drama process to foster collective ownership through the critical addressing and the representation of issues pertinent to a group's social reality, is questioned by those involved at various levels in the process. In exploring the nature of drama and video representations as resistance and intervention, sites of personal resistance and 'counter' interventions are illuminated. However, the reality of resistance is also bound up within the complexity of identity politics where the consequences of 'coming out' and accepting a label can become both a liberatory and oppressive experience. In chapter eight the continual difficulty of sustainability is examined and critiqued in the light of key issues identified within the previous chapters. Finally, the thesis assesses the substantive issues in relation to current discourses in cultural theory. By resisting opportunities to prescribe models and techniques thus reproducing the discourses critiqued this study culminates with optimism. Developing creative frameworks, that genuinely engage with contradiction and the complicated politics of context, are deemed as critical conditions for practices.
39
Schönfeldt, Ylva. "-"Varsågod publiken". : Community Theatre- en möjlig väg för tonårstjejer att ta plats i samhällsdebatten?" Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-102179.
Full textAbstract:
This paper is a qualitative study based on a phenomenological perspective. The purpose of the study has been to examine how the artistic work with a Community Theatre can visualize the beliefs held by young girls in Skellefteå today regarding the power structures that exist in their lives and how they affect them. Furthermore, the study aims to examine how the work of a theater can provide participants with the opportunity to visualize these structures of power to the public. Questions raised in the study concerns the power structures the young girls are experiencing in their daily lives, how they affect them, how to through a theater approach them in an artistic practice and how the participants' experience of existing power structures is influenced by the work of a theater. The study began with a focus conversation about the participants' view of power in different areas. Based on the conversation, we decided to revise and orchestrate a part of Shakespeare's Othello, focusing on jealousy and men's violence against women in intimate relationships. This was rehearsed and performed to an audience during Trästockfestivalen in Skellefteå. The study ended with a further focus conversation which concerned the work of the theater production and how it affected the participants' view of power. The results show that participants believe that it has been useful to work with the power structures in this way. In particular, they have appreciated the discussions and the opportunity of amateurs to work with the profession, and in this work get visibility to real-life, current issues for an audience.
40
Zurn, Elizabeth. "Celebration and Criticism: The State of Present Day Scholarship on Community-based Performance." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1241034400.
Full text
41
Stockil, Emily. "Development, belonging and change : a study of a community theatre-for-development initiative in KwaZulu-Natal." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8166.
Full textAbstract:
Includes abstract.Includes bibliographical references (leaves 82-86).
This dissertation seeks to address issues related to community change within the field of Theatre-for development. It proposes and then investigates various ways in which a community may seek to retain a sense of collective ideology in the light of both positive and negative developmental change, as promulgated by agents outside their community. Chapter one, Introduction, begins by introducing the reader both to the fieldwork project and the community, Khethani township, in which the masters degree filedwork was undertaken. It was this fieldwork which prompted the research enquiry covered by this dissertation, to which the reader is introduced. It delineates the research methodologies of both the fieldwork project and this dissertation, and positions the writer in relation to this study. The initial aim of the fieldwork project was to do a practical enquiry into the methods of workshop theatre and the development of a distinct theatre aesthetic that emerges from a community as a result of workshop theatre practices. Having completed the fieldwork project and having considered the results of the initial fieldwork aims a larger research enquiry developed as to the role of workshop theatre within the broader context of community development and this has now become the focus of this dessertation.
42
Harrison, 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 textAbstract:
Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood.
Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.
43
Little, Edward J. "Theatre and community, case studies of four Colway-style plays performed in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41562.pdf.
Full text
44
Penton, Jennifer. "A Creative Approach to Community Building: Theatre Making with Culturally Diverse Young People." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/371915.
Full textAbstract:
The purpose of this study is to examine the contribution that community-based theatre makes to community building with culturally diverse young people. The study also examines how community-based theatre, as part of the wider field of applied theatre, engages with and operates in the context of community. This is important due to an increasing need to build stronger culturally diverse communities. Certain global events threaten the stability of culturally diverse communities and in a time of high migration levels and increasingly diverse communities, approaches are needed that can respond to these tensions and that can also work to build inclusion. This thesis focuses on a practice-based research project that was conducted with culturally diverse young people in Melbourne, Australia throughout 2012. The project was established and delivered by the author and involved young people of refugee and migrant backgrounds participating in theatre workshops, devising and performing a theatre piece, and facilitating a peer-led theatre workshop. Action research and reflective practice were engaged as the methodology for the research as this approach provided a framework that corresponded to the participatory, youth-led nature of the practice. Qualitative data were collected through interviews with the participants, video footage of the theatre workshops, a reflective journal maintained by the author, and various materials that emerged through the project such as scripts, notes, and discussions. The data were analysed through a process of coding and categorising with patterns emerging to determine key areas of interest. These areas provided the foundation for the arguments within the thesis, resulting in three chapters which examine and discuss the findings from the research. In summary, these chapters can be described as examining the topics of “relationships”, “representation,” and “risk”. The first of these chapters considers the area of relationships in connection to community building by examining the research findings through a psychology framework. Key findings are that community-based theatre has the potential to reduce discrimination and build inclusive communities through several core areas including cooperation and interaction. It is also noted that the theatrical elements of narrative and embodied engagement enhanced these outcomes, by creating significant opportunities for participants to share information about culture, build trust, and develop connections among group members. The psychology framework offers explicit avenues for these results to be articulated, thus moving the topic of relationships away from the anecdotal and defining the ways in which community-based theatre can contribute to community building. The following chapter focuses on the concept of representation, examining the finding that the research project offered dialogical opportunities for participants to speak “about” and “to” community. In particular the study finds that the theatre-making process created a representational space whereby participants could explore and communicate issues relating to community and self. Furthermore, this led to moments of self-reflection and community dialogue, with the participants using theatrical elements such as narrative and character to define, interrogate, and reflect their reality. The final chapter of the three considers the nature of risk within community-based theatre practice. This chapter asks questions about the ethical considerations that emerged within the project relating to storytelling and the use of participants’ personal narratives that contain elements of trauma. The chapter discusses the risk associated with participants contributing personal narratives to a theatre-making process and notes that this risk must be carefully considered by practitioners. Within the specifics of this research there is also further risk around performing community narratives to community, particularly when community is portrayed in a negative light. The chapter considers the decisions made by the author within the context of the research project and further examines the steps that can be taken when approaching the concept of risk. It is hoped that this study will contribute to a greater understanding of community-based theatre as a community-building tool and that this in turn will assist in building and supporting healthy communities.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
Full Text
45
Siplin, Bianca Alechia. "ENGAGING AND EDUCATING AMERICAN CULTURE THROUGH PERFORMANCE, ART, AND COMMUNITY OUTREACH IN THE STAGE PRODUCTION OF MICHAEL CRISTOFER’S THE SHADOW BOX." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1186176431.
Full text
46
Maritz, 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 textAbstract:
This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response.Dissertation (MA (Drama))--University of Pretoria, 2011.
Drama
unrestricted
47
Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.
Full textAbstract:
The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.
48
Desai, I. R. B. "Producing the Mahatma : communication, community and political theatre behind the Gandhi phenomenon 1893-1942." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522879.
Full text
49
Iles, 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 text
50
Graham, Catherine. "Dramaturgy and community-building in Canadian popular theatre, English Canadian, Québécois, and Native approaches." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29949.pdf.
Full text