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Dissertations / Theses on the topic 'Drama and theater in teaching'

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Published: 10 December 2022

Last updated: 28 January 2023

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1

Anderson, Colin. "Teaching Social Studies Through Drama." DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.

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Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices, cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely & Savage, 2011; Lement & Dunakin, 2005}.

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2

Aronson, Shari Gay 1966. "La carpa: A descriptive model for teaching history through drama in education." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278492.

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This model proposes an approach for teaching history through drama in education. The program uses the framework of la carpa, a Mexican American theatrical tradition. Participants develop historical knowledge and skills of expression while they learn to use their own lives as a key to understanding the lives of others. In the past two decades in the U.S., drama teachers and youth project leaders have been employing social drama to encourage adolescents to express their fears, frustrations and experiences. As with the tradition of la carpa, the scripts reveal sentiments that may not be able to be spoken safely elsewhere. In contrast to the production of classic, scripted plays, social drama provides participants with the opportunity to create their own material using their own lives as primary resources. In addition to challenging participants aesthetically, the teaching model of la carpa fosters interpersonal development.

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3

Murray, Beth. "Nowhere to hide but together : a narrative case study of three classroom teachers, a drama specialist, and their supporters negotiating toward an artistic vision of teaching through drama in an urban elementary school /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907957577.

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4

Wen, I.-chun. "THE EFFECTIVENESS OF LEARNING THROUGH DRAMA IN TEACHING CHINESE AS A SECOND LANGUAGE." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1435882138.

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5

Van, Zyl Yolande. "Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2290.

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Thesis (MDram (Drama))--Stellenbosch University, 2008.
The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.

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6

Bryson, Lucy Lynn. "Drama + math = dramath." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.

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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.
ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities

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7

Lovesy, Sarah Caroline, University of Western Sydney, of Arts Education and Social Sciences College, and School of Education. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning." THESIS_CAESS_EDU_Lovesy_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/787.

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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education
Doctor of Philosophy (PhD)

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8

Lovesy, Sarah Caroline. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051129.144927/index.html.

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9

Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.

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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.

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10

Reznek, Jennie. "Moving ideas about moving bodies : teaching physical theatre as a response to violence and the violated body." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11377.

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Includes bibliographical references.
Includes abstract.
In this thesis I explore my obsession with teaching the physical theatre body over the past twenty-five years.Two sets of questions are proposed: How does the teaching of physical theatre respond to violence and the violated body; and how does pedagogy change when it moves from one context to another? Firstly, I argue that the pedagogy developed by Jacques Lecoq in Paris responded like a pendulum to the extreme violence perpetrated on bodies during the Second World War. I argue that my own practice, influenced by my two years of study at École Jacques Lecoq (1984-1986), continued this tradition by responding to what, I propose, existed as a ‘culture of violence’ in South Africa from the period of colonialism through the apartheid era and into the present. I analyse the impact of violence on the body by focusing on three consequences - stillness, erasure and rupture - and come to an understanding of how the teaching of physical theatre, as per Lecoq and myself, counters all three with a focus on the moving, articulate, individuated body capable of transformation. Secondly, I propose that pedagogy responds to geographic, philosophical and historical contexts and is subject to modification when context changes. The methodology has included conventional research, a comparative analysis of the two contexts, and an analysis of my own experiences - from notebooks that I have kept - as a student and teacher.

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11

Nageldinger, James K. "AN INVESTIGATION INTO THE COLLATERAL IMPACT OF SCHOOL THEATRE AND DRAMA ACTIVITIES ON STRUGGLING READERS." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1409923580.

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12

Fatzinger, Stefanie Abbott. "Weaving Together the Curriculum Through the Integration of Drama in the Classroom: Presenting Spoon River Anthology." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1271007280.

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13

Mallett-Koch, Rosemary Ann. "How to direct a comedy with high school thespians." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/866.

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14

Dunn, Amie. "A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2383.

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As an artist in the field of theatre for young audiences, I encounter many definitions of Â teaching artist,Â and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Â teaching artistÂ continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of Â teaching artistÂ while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I canÂ t help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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15

Massey, Belinda. "Investigations in learning and teaching through metacognition and critical and creative thinking practices in secondary Drama Education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2362.

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Historically, there has been an achievement gap between the performance and written exams in the Year 12 ATAR Drama course in Western Australia, which is illustrated by the disparity in Drama ATAR results since 2010. The aim of the study was to improve students’ written marks in Year 12 ATAR Drama and to explore the development of metacognitive skills through a variety of performance and writing approaches for secondary Drama. The research explored the use of theatrical techniques and workshops to express and articulate ideas in written and verbal responses, which required students to be conscious of their cognitive processes. The research utilised an iterative action research cycle to present a case study, which drew upon performance and written tasks, exercises and simulated exam conditions to provide a reproducible teaching platform for secondary Drama teachers. The research methods included observation and participant observation, reflection and video documentation through field notes, video and photographic capture, interviews, focus groups, and inclass and examination assessments. The findings confirmed that students’ written marks had, to varying degrees, improved in the course, especially through an increased awareness of their metacognition skills. The research offers a reproducible teaching methodology for secondary Drama teachers and provides evidence in support of the development of students’ metacognition skills for lifelong learning.

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16

Cox, Frances Jayne. "The notion of physicality in vocal training for the performer in South African theatre, with particular reference to the Alexander technique." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002366.

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Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.

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17

Camden, Jacquelynn. "The Voice of Ritual: A Pedagogical Exploration Teaching Body and Breath Using the Principles of Ritual Poetic Drama within the African Continuum." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2754.

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THE VOICE OF RITUAL: AN EXPLORATION TEACHING BODY AND BREATH USING THE PEDAGOGICAL PRINCIPLES OF RITUAL POETIC DRAMA WITHIN THE AFRICAN CONTINUUM By Jacquelynn Rae Camden, MFA Candidate A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts Theatre Pedagogy: Voice and Speech & Ritual Poetic Drama Within the African Continuum at Virginia Commonwealth University. Virginia Commonwealth University, 2012 Major Director: Dr. Tawnya Pettiford-Wates, Theatre The focus of my undergraduate training and the concentration of my graduate work have been specifically in two areas: Ritual Poetic Drama Within the African Continuum under the tutelage of Dr. Tawnya Pettiford-Wates, and Voice and Speech with Janet B. Rodgers. I spent my undergraduate years learning and absorbing the material and philosophy of both Rodgers and Pettiford-Wates, and in my first year of graduate work, I was able to study their teaching principles and methodologies within the classroom as a teaching assistant. I was also fortunate enough to study the teaching principles of fellow graduate students within both concentrations: Ritual Poetic Drama Within the African Continuum and Voice & Speech. It is my intention with this thesis, to explain how and why I decided to integrate some of the teaching methodologies of RPDWTAC into the Second Year Voice & Speech course I taught in the fall of 2010, which focused on body and breath. It is my belief that these particular practices of Ritual Poetic Drama within the African Continuum as applied to the Junior Acting Studio are also beneficial in the pedagogy of Voice and Speech in the classroom, because such practices create an environment that encourages the building of an artistic community, personal responsibility, and the freeing of the artist’s body, mind, and spirit, resulting in the freeing of the voice as well.

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Davis, Dena Michelle. ""Only Connect": A Journey of Teaching Henrik Ibsen's A Doll House to Play Analysis Students." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4526/.

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This work examines the author's experience in teaching A Doll House by Henrik Ibsen to students in the course Play Analysis, THEA 2440, at the University of North Texas in the Fall 2003 and Spring 2004 semesters. Descriptions of the preparations, presentations, student responses, and the author's self-evaluations and observations are included. Included as appendices are a history of Henrik Ibsen to the beginning of his work on A Doll House, a description of Laura Kieler, the young woman on whose life Ibsen based the lead character, and an analysis outline form that the students completed for the play as a requirement for the class.

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19

Burt, Jane Caroline. "Dramatic learning : a case study of theatre for development and environmental education." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1003383.

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The aim of my research was to introduce drama, in the form of theatre for development processes, to local Grahamstown Primary School teachers, and to work closely with one teacher to explore theatre for development in the classroom, as a means of introducing both environmental education and learner-centred, constructivist teaching methodologies. I started my research by interviewing Primary School principals as well as sending out questionnaires to teachers, to survey their understanding and practice of drama and environmental education in the school curriculum and to invite them to participate in the research project. In collaboration with Educational Drama and Theatre students, I developed two workshops to introduce theatre for development processes such as image theatre and role-play to the teachers. Nine teachers attended this workshop which was video-taped. After the workshop I gave two lessons at a local school, in partnership with a teacher. Throughout this process I kept a research journal. All action components of the research were followed up with individual interviews, group discussions and a focus group. Although the study gave rise to multiple themes, I chose to highlight two: Firstly, Curriculum 2005 advocates a move towards more learner-centred,constructivist and process-orientated pedagogies. All of the participants in this study, including myself, had intentions of adopting a new approach tq education and teaching but found that we often reverted back to earlier learnt roles of product-orientated, text-based, authoritarian approaches to education which we originally had rejected. Secondly, I reflect on how we set out viewing environmental education, education, drama and research as a process and yet all the participants, including myself, continually tried to 'put on' the perfect performance in the form of a drama, a learning experience and research. This project was a participatory research project. The textwork of the research reflects a post-structural orientation. It has been written in the form of a drama to represent the many voices of the participants, but also to question the role of research in society and make research more accessible to non-academic readers. I also intend to perform the research process at a later stage.

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Cole, Jeffrey. "DROPPING KNOWLEDGE AND BREAKING BARRIERS: MY FIRST YEAR TEACHING AT JOHN MARSHALL HIGH SCHOOL." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1571.

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The following thesis draws from my experiences during my first year teaching at an inner city public school, John Marshall High School, from September 2007 to June 2008. It details apprehensions, conflicts, adjustments and corrections, both in my instructional method and personal interaction with students. I seek to illustrate mistakes and insights any first-year teacher might experience, as well as synthesize my own impressions regarding my evolving teaching philosophy.

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Gotuaco, Jennifer E. "Theatre teachers' attitudes toward the University Interscholastic League One-Act Play contest." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5462/.

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The focus of aesthetic education is reflected in an arts curriculum designed for students to learn skills that make it possible for them to experience the world in a satisfying and meaningful manner. Incorporating aesthetics into school curriculum can be approached through the use of coordinated programs. In the state of Texas, over 1100 schools participate annually in the One-Act Play contest (OAP). The contest is governed by the University Interscholastic League (UIL), which has designed and recommended a structure in which students actively participate in the fine art of theatre. This curriculum is the roadmap for instruction that leads students to learn the value of the aesthetic. This study examines teacher and student perception in the Texas One-Act Play contest and its implications for teaching and learning the aesthetic. The qualitative data were collected through a series of interviews and observations during the spring 2006 with five schools in the north Texas area. Students and teachers at each school were interviewed. Data revealed how the goals of the UIL OAP system are being met based on teachers' practices, perceptions, and experience. Implications of the study are seen through the teachers' attitude toward winning as well as how the elements of teaching, rehearsal technique, and external support systems affect the teachers' contest preparation.

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22

Umerkajeff, Marie. "Närvaro i skolan är något mer än en ✔ i protokollet : En lärares sikte på praktisk kunskap i estetiska kunskapsdimensioner." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32842.

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Detta är en kvalitativ studie med ett hermeneutiskt anslag skrivet ur en dramalärares synvinkel om praktisk kunskap inom estetiska ämnen på gymnasiet. Metoden kallas ”Södertörns-modellen”, en professionell induktiv metod baserad på en fenomenologisk introspektion som hänvisas till som handlingssituationen. De öppna frågorna gäller didaktik och frågor om skillnaden mellan estetisk och konstnärlig i ett pedagogiskt sammanhang. Inlärningen undersöks utifrån en verklig situation med hänvisning till Viola Spolins improvisationsmetoder och särskilt koncentrationspunkten (POC), där studenten är sido-coachad. Tekniken är alienation som beskrivs uti-från ett teaterperspektiv. Genom stöd av teaterpraxis och filosofer som John Dewey, Hans-Georg Gadamer och Susanne Langer, kunskapsteori, metodik för teori och praktik, vägs samman för att beskriva och analysera hur lärandet sker. Ett kritiskt tolkningsutrymme med hänvisning till Platon och Sokrates blir logiken av en hermeneutisk öppenhet. Metoden som sådan bygger på ett dialektiskt förhållande, vilken var grunden för hur både lärandet i handlingssituationen och forskningens framskridande. För att ge svar på vilken kunskap som beskrivs i den svenska sko-lans styrdokument har begreppen för kunskap granskats genom en innehållsanalys. Det finns en dialog mellan teori och praktik för att ta reda på om det finns någon skillnad mellan estetisk och konstnärlig kunskap, där Aristoteles spelar en roll, när ett nytt förslag med estetiska ämnen som åter obligatoriska i gymnasieskolan inom kort introduceras.
This is a qualitative study with a hermeneutical approach written from a drama teacher's point of view on practical knowledge in aesthetic subjects in a secondary school. The method is referred to as “the model of Södertörn”, a professional inductive method based on a phenomenological introspective referred to as the situation of action. The open questions concern didactics and questions about the difference between aesthetic and artistic in a pedagogical context. The learning is examined based on an actual situation with reference to Viola Spolin’s methods of improvisation and point of concentration (POC), where the student is side–coached. The technique is alienation as described from a theatre perspective. Through the support of the theatre practice and philosophers such as John Dewey, Hans-Georg Gadamer and Susanne Langer, knowledge theory, methodology of the theory of practice are weighed together to describe and analyse how the learning occurs. A critical interpretation space with reference to Plato and Socrates becomes the logic of hermeneutic openness. The method as such is built on a dialectic relationship were the basis for how both learning and the research took place. In order to provide answers to what knowledge is, described as in the Swedish schools governing documents, the concepts of knowledge has been reviewed through a content analysis. There is a dialogue between theory and practice to find out, if there is any difference between aesthetic and artistic knowledge, where Aristotle play a role, when a new proposal for introducing aesthetic subjects as mandatory in secondary school makes a new entrance.

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Ulvund, Marit. "Echo theatre : from experience to performance." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63809/1/MaritUlvund_Thesis.pdf.

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This research project investigates the characteristics of Echo Theatre, its potential to foster performative and narrative competencies in students, and the role of the teacher in this performative and educational practice. Echo Theatre is a method devised during my storytelling practice and this research confirms that there is no identical research or teaching practice which involves students staging personal narratives in the classroom in this way. The study has been informed by crossdisciplinary theory studies from the fields of phenomenology, cognitive sciences, and theatre practice. To analyse and discuss Echo Theatre's potential contribution to the development of the child I have defined the concept of a performative competence as well as redefined the concept of a narrative competence. The situated, embodied and performative character of human cognition is emphasised as physical actions and thinking in movement is related to both gestural and conceptual understandings. Studies in philosophy and psychology confirm that narrative structure, related to identity construction and meaning-‐making, can be attained through the performing body. We tell stories to know who we are. Telling stories then in the Echo Theatre model develops multiple competencies related to the performative aspects of theatre practice as well as the narrative aspects of storytelling. The practice-‐led aspect of this research project includes two fieldwork projects involving a primary school class who created sixteen different Echo Theatre stories. Student participation reveals that Echo Theatre is most constructive when it moves through five phases; recalled experience, narrative, drama, performance, and evaluation. Ongoing reflection is a part of all five phases. The study also confirms that while there is potential for Echo Theatre to support the development of performative and narrative competencies in students, the effectiveness of this directly relates to the teacher's theatre knowledge and skills and his or her didactic attitude towards the students. This study confirms that the potential for learning through the moving and performing body of Echo Theatre is strengthened by working with personal narratives in the classroom and led by teachers displaying heightened skills and knowledge of the aesthetics and dynamics of theatrical form.

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Van, Zyl Yolandé. "Hoekom drama? : 'n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch /." Link to the Internet, 2008. http://hdl.handle.net/10019/798.

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Narasaki, Roxanne. "Drama." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/220.

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Schmidt, Wolf Gerhard. "Zwischen Antimoderne und Postmoderne : das deutsche Drama und Theater der Nachkriegszeit im internationalen Kontext /." Stuttgart : J.B. Metzler, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783476023094.

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Warnock, Jeanie E. "Kind tyranny: Brother-sister relationships in Renaissance drama." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9116.

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The study focuses on the social, literary, and psychological significance of the brother-sister relationship to a broad range of Renaissance tragedy and tragicomedy. After a brief historical analysis of siblings, the thesis considers the brother-sister relationship as an important means for dramatists to explore questions of identity, of gender conflict, and of differing understandings of family. It also examines the relationship as a developing literary tradition in the drama of the Stuart period, a tradition which culminates in the works of John Ford. The first half of the study surveys a large range of non-Shakespearean revenge tragedy and tragicomedy. In revenge tragedy, violent brother-sister strife serves as a symbol of the self in turmoil, as an image of a disordered family and society, and as a focal point for tension over the nature of women. Brothers also subvert traditional family roles in their relationships with their sisters. The avenging brother and sister, joined in shared loyalty to their house, mount a legitimate challenge to the authority of husband and king; pandar brothers become diabolical inversions of father and husband. Proceeding to tragicomedy, the thesis analyzes the brother as a figure of illegitimate authority and considers the privileged position gained by royal sisters, whose noble blood renders them the equal of their brothers. The latter half of the dissertation reinterprets the plays of John Webster and John Ford. In The Duchess of Malfi, the royal siblings' similarity, close blood tie, and high rank overturn gender difference and affirm the intimate connection between the sexes. The study considers the importance of blood family to the Duchess' self-conception and examines Ferdinand's attempts to create identity by usurping the place of his sister's husband. Ford's two plays 'Tis Pity She's A Whore and The Fancies Chaste and Noble stand as the culmination of dramatic treatments of idealized and antagonistic brother-sister relationships alike. Both works contrast the opposing nature of physical and familial love and elevate asexual love above sexual passion, presenting a sibling tie which undermines the bond between husband and wife.

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Kogut, Kate Berneking. "Connections and confluences the personal and artistic journeys in the writing of Survival dance /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4781.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 26, 2007) Vita. Includes bibliographical references.

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Taub, Lora E. "Enterprising drama : the rise of commercial theater in early modern London /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9835408.

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Zhu, Minqi 1953. "Literary motifs in traditional Chinese drama." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290589.

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The purpose of this dissertation is to examine some of the distinctive qualities of traditional Chinese drama in light of comparative studies in literature and drama, especially of Richard Wagner's theory of motifs. Opposed to realism, Wagner argued that music is necessary to the finest drama, for it should be "distanced" from actual life. Wagner intended to fuse all artistic arts into his "music drama." However such drama has existed in China for at least seven hundred years. Moreover, it still keeps vigorously springing up, and greatly manifesting its vitality. The hypothesis of this dissertation is that traditional Chinese theatre has been able to survive through the historical sediment primarily due to the influence of literary motifs that have sustained the vitality of the old dramatic form. This dissertation is based on the research of three theatrical aspects: drama-in-itself, dramatic creation, and dramatic appreciation. For the area that is called "dramatic-in-itself" it deals with the general function of dramatic presentation, either for the sake of art or for moral education; for dramatic creation, it emphasizes on playwrights and their worldview of dramatic creation; and for dramatic appreciation, it examines the viewpoint of the audience. Traditional Chinese drama is a high synthesis of arts. The chief factors that promoted the formation of this art are the literary motifs resulting from the Chinese cultural tradition. Literary motifs can be traced in almost every aspect of Chinese drama: in dramatic purpose, in language, in music, in acting, in dress-up, and in stage scenery. Every aspect of Chinese drama is marked with Chinese national traits. And all these dramatic elements constitute a complexity that incorporated both representational and presentational qualities. This complexity has turned Chinese drama into a uniquely mixed art, long-lasting and durable. This dissertation will explore how literary motifs work in traditional Chinese drama. It will primarily focus conventions of music composition, poetry tradition, dramatic structure, thematic construction and theatrical movements.

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Rucker, Robert M. "Producing and directing drama for the church." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Stephen, Scott. "The question that subverts : equitable drama on the early modern English stage, 1591-1621." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=159216.

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This thesis examines drama and ideas of equity, judgement, and legality in early modern England. Drama of this age is a product of a society of disputation – and the debate surrounding the marginalised female is investigated here. Taking the lead from Ina Habermann, I argue that ‘equitable drama’ offered playgoers spaces of re-interpretive potential. Focusing initially on Arden of Faversham (1592) and A Woman Killed with Kindness (1603) I argue that these domestic tragedies focus on problematic homes during an ‘age of anxiety’. The Arden playwright engages in a re-interpretation of the murder of Thomas Arden – highlighting flaws in the legal resolution to this scandal to show how drama can probe injustice. Heywood’s A Woman Killed with Kindness illustrates an alternative domestic site of dramatic debate. Focusing on Heywood’s interrogation of acts of ‘kindness’ towards females, I suggest that Heywood demonstrates the workings of equitable drama removed from necessary correspondence to a specific real-life case. I then consider how three Jacobean dramas subject female witchcraft to in-depth equitable analysis. Contextualising Macbeth, Sophonisba, and The Witch within contemporary witchcraft debates, I suggest that these plays use witchcraft to interrogate a patriarchal society that reviled witchcraft whilst also demonstrating uncertainties about its reality. I conclude with The Witch of Edmonton (1621) – which is part witchcraft drama and part domestic tragedy. Within the depiction of the real-life ‘witch’ Sawyer, the audience is asked to question the iniquities of communal mob justice and the common law. Tracing new links between these works provides a sense of how early modern drama represented contentious issues surrounding gender, deviancy, and judgement. Ultimately, I argue that equitable drama is rooted in an early modern theatre informed by legal and social debate, which utilised interpretive difference to invigorate performance.

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Scheurer, Pamela Kay. ""A thousand Joans" : a teacher case study drama in education a process of discovery /." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243354659.

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34

Irubetagoyena, Keti. "Peut-on enseigner la présence scénique? Delphine Eliet, une pédagogue à la croisée des théories de l'art du jeu qui ont marqué le XXème siècle théâtral." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2013. http://tel.archives-ouvertes.fr/tel-00942714.

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La présence scénique est une notion complexe du jeu de l'acteur. Pomme de discorde, elle fait s'affronter, schématiquement, les partisans du don et ceux de la technique, les défenseurs de l'énergie contre les stratèges de la réception spectatrice. Il est pourtant une évidence : il ne peut y avoir de présence scénique en soi. Constantin Stanislavski parle d'un " charme scénique " à l'origine d'un " enchantement ", d'une " emprise sur l'auditoire "1 . La présence de l'acteur est décrite comme un pouvoir que ce dernier a sur les sens des spectateurs - pouvoir voilé du mystère dont les mots " charme " et " enchantement " sont empreints. L'acteur n'est présent que dans la réception qu'a le spectateur de sa performance, un truisme, certes, mais qui n'est pas sans conséquences. Sans nier l'évidence d'un don chez les acteurs que l'on dit nés, peut-on considérer la possibilité d'une présence scénique qui, en tant que coprésence, puisse faire l'objet d'une construction ? Partant de l'analyse spectatrice et pratique de la pédagogie de Delphine Eliet à l'École du Jeu, hypothèse est faite qu'une présence scénique pourrait être construite par l'acteur au moyen d'un usage conscient et maîtrisé de cet ici et maintenant qui fait du théâtre un art vivant dont il est l'agent fondamental, usage touchant tous les niveaux du jeu, du muet être-là au projet artistique le plus complet. 1-Cf. STANISLAVSKI, Constantin, La Construction du personnage, traduit de l'anglais par Charles ANTONETTI, Éditions Pygmalion - Gérard Watelet, 1988, pp. 275-176.

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Regele, Thomas R. "Constructing the present by recasting the past : perceptions and expressions of las dos Españas in the refundición /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181123.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 191-197). Also available for download via the World Wide Web; free to University of Oregon users.

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Bormel, Sarah Debra. "Terror: the stage of reality a series of one-act plays." Thesis, Boston University, 2007. https://hdl.handle.net/2144/27600.

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Thesis (B.A.)--Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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Harris, John Rogers Sr. "The performance of black masculinity in contemporary black drama." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054742668.

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Chow, Po-fun Wendy. "Marketing of local drama production in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19876555.

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Diamond, Catherine Theresa Cleeves. "The role of cross-cultural adaptation in the "Little Theater" movement in Taiwan /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/6650.

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Taylor, Miles Edward. "Nation, history, and theater : representing the English past on the Tudor and Stuart stage /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9986765.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 255-265). Also available for download via the World Wide Web; free to University of Oregon users.

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Fricke, Thorsten. "Arno Holz und das Theater : Biografie - Werkgeschichte - Interpretation /." Bielefeld : Aisthesis, 2010. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018969302&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Fricke, Thorsten. "Arno Holz und das Theater Biografie - Werkgeschichte - Interpretation." Bielefeld Aisthesis-Verl, 2000. http://d-nb.info/998994316/04.

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Faasen, Cornelia. "Theatre as alternative historical narrative : a study of three plays : "Ubu and the Truth Commission", "Copenhagen" and "Ghetto"." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3006.

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Thesis (MDram (Drama))--University of Stellenbosch, 2009.
In this thesis I examine the way in which fictionalised and dramatised narratives in theatre have the potential to create significant alternative narratives that can potentially be regarded as a crucial part of history writing. This is done through a critical analysis of three historically orientated dramatic texts, Ubu and the Truth Commission by Jane Taylor (1998), Copenhagen by Michael Frayn (1998) and Ghetto by Joshua Sobol (1984). I investigate how these playwrights narrativised history by fictionalising and dramatising events and people of historical importance, and how each of these plays individually contributes to the debate on narrative in historiographical discourse. Drawing on Hayden White’s theory on the poetic and narrative nature of history writing, as represented by his definitive work, Metahistory, I explore different theories and works on the philosophy of history to determine the precise nature of narrative itself as well as the historical work. Chapter Two is therefore an exploration of White’s philosophy on the ‘historical imagination’ as he describes his theory on the narrative and poetic nature of the historical document. In addition, this chapter provides an introduction to narrative in a theatrical text. This is done in order to examine how we can apply White’s theory to investigate narrative in theatre that focuses on historical events for the purpose of possibly including the dramatic narrative in the broader discourse on narrative in history writing. In this I highlight the theatrical narrative as a specific practice of language beginning with an interlude on representation in theatre. This is applied as the basis for examining the three texts in subsequent chapters. There are both general and more specific advantages in pursuing these arguments. Firstly, it may generate an understanding of some of the broad claims and problems bearing on the impact that literary theory is said to have on a subject which is not normally considered to fall within its domain, namely history writing. The work of Hayden White has been singled out to represent these claims, as he challenges the traditional distinction between history and literature. As a result, we are made aware of those arguments which set out to show that there are aspects of historical writing which are often ignored or which we generally overlook. An example of such an aspect that serve as the focus of this study is the narrative in historical explanation, representing the “ineluctably poetic nature of the historical work” (White 1983:xi). As such theatre can be an important tool in the process of constructing memory and alternative narratives, arguing that these narrativised histories could provide a “countermemory to the dominant narrative of the official histories” (Hutchison 1999:3). The theatrical texts singled out demonstrate that these alternative narratives in the theatrical texts function as a discourse of multi-levelled stories that engage with the complexities of the society and the complexities present in the context of the plays, making a contribution to the practice of historiography itself.

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44

Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.

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45

Ross, Shannon M. "Honour, desire, discourse, the notion of authority in Aphra Behn's comic drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ38763.pdf.

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Hanson, Richard Russell. "Principal witness, Herbert Whittaker and Canadian drama, 1949-1975." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41549.pdf.

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Saxon, Belinda Sue. ""Borrowing from the east" a study of types of Western theater adaptations of Chinese opera, Japanese noh, and kabuki /." online access from Digital Dissertation Consortium access full-text, 1992. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1351076.

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Freeman, Roger Dee. "Televisual representation, schizophrenic experience, and apocalypticism in late twentieth-century drama and theatre /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204280466.

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Collins, Lisa A. "Teaching drama in the ESL classroom." [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/LCollins2007.pdf.

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Johnson, Valerie. "Drama teaching: Understanding what we do." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/732.

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Drama teaching in secondary schools in Western Australia has become an increasingly complex discipline in recent years. This study has considered the work of Drama teachers from the point of view of those practising the discipline, using a phenomenological methodology which allowed the voices of the participants to be heard directly. In the discussion, consideration is given to the way in which these teachers practice the dynamic which is drama, are influenced by the art form of theatre, and deliver the school subject, Drama.

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