Dissertations / Theses on the topic 'Drama study'
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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.
Full textThe 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.
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.
Full textID: 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
Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
Full textEducation, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
Moss, Lynette Kaye. "Insights into drama in the early childhood setting: A rationale for the use of drama." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1388.
Full textSammut, Elvira. "Notions of justice through drama." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1239.
Full textGalea, Marco. "A study of postcolonial drama in Malta." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411117.
Full textKhorll, Angela E. "Creating Dramatic Scene Work for Literature in a Secondary Language Arts Classroom." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/KhorllAE2008.pdf.
Full textJohnson, Valerie. "Drama teaching: Understanding what we do." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/732.
Full textSaxon, 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.
Full textLang, Linda L. "Teaching with drama, a collaborative study in innovation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34870.pdf.
Full textLeung, Tze-tuen Stella, and 梁子端. "Promoting learner autonomy through a drama project: an ethnographic study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29664548.
Full textStear, Ezekiel Glenn. "Dual-language drama as a door to classic literature." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3270.
Full textEbong, Inih Akpan. "Drama and theatre among the Ibibio of southeastern Nigeria : a case study of Utuekpe or Ekoon drama." Thesis, University of Birmingham, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365341.
Full textEckersley, Mark. "Signposts and messagesticks: An ethnographic study of non-indigenous drama teachers’ engagement with an indigenous drama text." Thesis, Australian Catholic University, 2019. https://acuresearchbank.acu.edu.au/download/c794a0bbc920b0dccbd1d1d653692286e42558ad76312d10462327ff49fa9c66/3588331/Eckersley_2019_Signposts_and_messagesticks_an_ethnographic_study.pdf.
Full textVik, Frida. "Breaking maxims in a crime drama : A study on non-observances of maxims in crime drama Blindspot." Thesis, Umeå universitet, Institutionen för språkstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184990.
Full textAllan, William. "A study of Euripides' Andromache." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363480.
Full textMoyo, Awelani Lena. "Between self and author : an autoethnographic approach towards the crafting of reflexive compositions in post graduate drama studies." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002375.
Full text曾慶慈 and Hing-chi Tsang. "A critical study of supernatural elements in Yuan drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31210028.
Full text文秉懿 and Bing-yee Man. "A study of minor comic characters in Yuan drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B3121177X.
Full textBaughan, Lynn. "Drama in further education : a study in cultural marginality." Thesis, University of Warwick, 1990. http://wrap.warwick.ac.uk/106900/.
Full textJordaan, Phoebe-Marie. "Finding creativity : integrating drama teaching techniques in creative writing lessons." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97125.
Full textENGLISH ABSTRACT: Creative writing forms an essential part of the English language learning area in any curriculum. The expression of knowledge and ideas through writing is an integral part of the communication process; however, some learners struggle to express their thoughts and ideas in creative writing tasks. As such, this thesis strives to discover how creativity can be stimulated in order to assist learners in their written expression. Drama techniques, stimulation activities and other multi-literacy resources have been employed to try and understand the discovering and ‘finding creativity’ process through creative writing, journaling and performance in the drama classroom. The research utilises the action research methodology, employing participant observations, semi-structured interviews and reflective classroom discussions. It also uses the creative writing journals of the learners in an attempt to investigate how drama techniques can stimulate creativity for the creative writing process. The units of analysis in this case study are 13 grade 9 learners at a private school in the Western Cape, South Africa. The analysis of the data collected reveals that by utilising drama techniques, along with other stimuli and resources, in the classroom the process of creative writing become less troublesome and more enjoyable for both learners and teacher-researcher alike. Another finding is that the open, free and flexible atmosphere, which is created in the classroom assists learners not only with the development of their written expression, but also with verbal expression. The learners learn how to express their creative thoughts and ideas, about the world they live in, in a respectful, sensitive and empathetic manner. The creative writing programs have proved to be more than just tools to improve writing competence, but also have equipped learners with the tools to become creative, thinking citizens.
AFRIKAANSE OPSOMMING: Kreatiewe skryfwerk vorm ‘n essensiële deel van die Engelse leerarea in enige kurrikulum. Die uitdrukking van kennis en idees deur die skryfproses vorm ‘n integrale deel van die kommunikasieproses, maar sommige leerders vind dit uitdagend om aan hulle gedagtes en idees in kreatiewe skryftake uiting te gee. Met hierdie tesis beoog ek om dus om te ontdek hoe kreatiwiteit gestimuleer kan word om leerders met hulle geskrewe uitdrukkings vermoë te ondersteun. Dramategnieke, stimulerende aktiwiteite en ander meerdoelige geletterdheidshulpbronne is gebruik om te probeer verstaan hoe die ontdekking van die kreatiwiteitsproses deur kreatiewe skryf, joernaalinskrywings en opvoerings in die dramaklas, kan plaasvind. Hierdie studie het die aksienavorsingsmetodologie gevolg, waar deelnemende waarneming, semi-gestruktureerde onderhoude en reflektiewe klaskamergesprekke, asook die kreatiewe skryfjoernale van die leerders, gebruik is om te ondersoek in hoe ‘n mate dramategnieke kreatiwiteit vir die kreatiewe skryfproses kan stimuleer. Die studie is op 13 graad 9-leerders wat by ‘n privaatskool in die Wes-Kaap, onderrig word. Die analise van die versamelde data openbaar dat, wanneer dramategnieke in samewerking met ander stimulus en hulpbronne gebruik word, dit die kreatiewe skryfproses vergemaklik en dit meer genotvol vir beide die leerders en die onderwyser-navorser word. Nog ‘n bevinding toon dat die oop, vry en inskiklike atmosfeer, wat in die klaskamer geskep word, nie net die leerders in die ontwikkeling van hul geskrewe uitdrukking bygestaan het nie, maar ook met hul verbale uitdrukkingsvermoë. Die leerders het geleer hoe om hul kreatiewe gedagtes en idees oor hul individuele wêrelde in ‘n respekvolle, sensitiewe en empatiese manier uit te druk. Die kreatiewe skryfprogram blyk veel meer as bloot ‘n hulpbron te wees om die skryfvermoëns van die leerders te verbeter. Dit het hulle ook toegerus om kreatiewe, denkende landburgers te word.
Wachsman, Frances 1942. "Music, movement and drama in the center of the elementary curriculum." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277227.
Full textRowe, Julisa. "A guide to ethnodramatology developing culturally appropriate drama in cross-cultural Christian communication : a comparative study of the dramas of Kenya, India and the United States /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
Full textSchultz, Waldemar. "Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actor." Thesis, Stellenbosch : Stellenbosch University, 1997. http://hdl.handle.net/10019.1/55769.
Full textENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department.
AFRIKAANSE OPSOMMING: 'n Tesis waarin die outeur maniere ondersoek waardeur 'n regisseur binne 'n akteurs-opleidingsinstansie die volskaalse teaterproduksie kan gebruik as 'n metode vir intense opleiding vir die betrokke studente. Die outeur meen dat 'n groot gedeelte van die teorie en praktiese opleiding wat in die klaskamer weergegee word, nie ten voile verstaan of benut word, tensy die student dit beproef en beleef in so 'n realisties (wat professionele teater betref) moontlike scenario, in die vorm van 'n studenteproduksie. Vir die doeleindes van hierdie tesis word 'n tipiese produksieproses as model gebruik, en verskeie areas waarin die regisseur as onderwyser of katalisator tot selfontdekking kan optree, word grotendeels bespreek in die volgorde waarin dit in die praktyk mag voorkom. Die gevolgtrekking is dat intensiewe opleiding in die produksieproses 'n uiters tydsame en duur oefening sou wees, dog baie lonend indien prakties uitvoerbaar. Daarby sou dit 'n hoogs gekwalifiseerde regisseur-opleier verg, met 'n holistiese kennis van die teaterkuns, wat bereid is om baie tyd en moeite op s6 'n produksie te bestee. Navorsing vir hierdie tesis sluit in leeswerk, praktiese regie- en toneelspelprojekte sowel as klasgee in toneelspel as deeltydse lektor aan die Universiteit van Stellenbosch se Departement Drama.
Bodden, Lisa. "Developing a Creative Classroom through Drama Work: One Teacher's Reflective Journey." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193264.
Full textGibson, Susan E. "Drama praxis : Rural arts workers and lifelong learning : a phenomenological study." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1359.
Full textPiazzoli, Erika Caterina. "Navigating the Labyrinth: A Study of Engagement and Artistry in Process Drama for Additional Language Teaching and Learning." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365439.
Full textThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
Full Text
Minier, Márta Magdolna. "Translating Hamlet into Hungarian culture : a case study in rewriting and translocation." Thesis, University of Hull, 2005. http://hydra.hull.ac.uk/resources/hull:5668.
Full textMalick, Neeraj. "The politics of laughter : a study of Sean O'Casey's drama." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39493.
Full text魏城璧 and Sing-bik Cindy Ngai. "A study of court drama in the early Ming Dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221531.
Full textSi, Tou Sau-ieng, and 司徒秀英. "A study of zhuanqi drama of the mid-Ming period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31239262.
Full textPeirce, L. Meghan. "Botswana's Makgabaneng: An Audience Reception Study of an Edutainment Drama." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1304698745.
Full textRequejo, Ansó Alberto Ángel. "A study of Jesus Guridi's lyric drama Amaya (1910-1920) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40036327d.
Full textKeller, Michelle Margo 1954. "A study of pathological narcissism in Renaissance English tragic drama." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289178.
Full textSuliman, Menal, and Jenny Uneby. "DEALING WITH DRAMA : A Qualitative Study on Workplace Friendship Deterioration." Thesis, Umeå universitet, Företagsekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-161283.
Full textMcNamara, Catherine. "The constitution of transgender masculinities through performance : a study of theatre and the everyday." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1544.
Full textMorris, Gay. "Own-made in the (post-)new South Africa : a study of theatre originating from selected townships in the vicinity of Cape Town." Doctoral thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/11720.
Full textThis thesis sets out to develop a framework for the analysis and description of theatre practices evident in selected Cape Town townships during the past six years. Building an account which is both aesthetic and sociological and informed by political intentions; which considers the whole - the gestalt - and which adopts a located orientation; the study sets out to elucidate the theatre's connections to its locality and local culture, its particular organizational and aesthetic character, its idiosyncrasies and performance strengths, its concerns, and its struggle for distinction within the field of theatre in Cape Town.
Neethling, Miemie. "Cape curtains : a study of selected Cape Town theatres, 1843-1916." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52726.
Full textENGLISH ABSTRACT: This study aims to reconstruct the history of the Capetonian theatrical venue of the second half of the 19th century. It explores the many different venues used for theatrical activities. Venues discussed include amateur theatres such as the Hope Street Theatre, Roeland Street Theatre, Haupt's Theatre and the Drury Lane Theatre. Due to the extensive research already done on the African Theatre on Riebeeck Square and the Garrison Theatre they are only briefly mentioned as part of the background to the social dynamics of Victorian Cape Town. Quite often venues such as banqueting halls, drawing-rooms and wine stores doubled as theatrical venues. Halls discussed include the Oddfellows Hall, the Mutual Hall and the Drill Hall. Although the main objective of the study was the theatrical venue, it is impossible not to mention the different drama companies that occupied these venues. Therefore, the activities of the drama companies were also discussed to a certain extent, because of the strong interrelationship between company and theatre house. These include, among others, the companies of Sefton Parry and Disney Roebuck. For the purpose of this study the theatrical venue has been defined as an indoors space, which is divided into two clearly demarcated areas, namely the stage and the auditorium. Because of this definition the early African theatrical activities are not included in this study and it deals rather with the Western theatre tradition, namely that of the early Dutch and English artists. The study deals primarily with the dominant English theatre post-1850 and the shift from amateur to professional theatricals. Professional theatres include the Theatre Royals of Harrington Street and Burg Street, the Exhibition Theatre and the Good Hope Theatre. At the end of the thesis parallels are drawn between the 19th and 20th century theatre houses such as the Opera House and the Tivoli Theatre. Another issue addressed by the study is the quest for a permanent theatrical venue or building in the early Cape theatre tradition.
AFRIKAANSE OPSOMMING: Die studie poog om die geskiedenis van die Kaapse teaters te herstruktureer. Dit ondersoek die verskillende plekke en geboue wat vir teater aktiwiteite gebruik is gedurende die tweede helfte van die 19de eeu. Amateur teaters wat bespreek word is onder andere, die Hoopstraat Teater, die Roelandstraat Teater, Haupt se Teater en die Drury Lane Teater. Die Afrika Teater op Riebeeck Plein en die Garnisoen Teater vorm nie deel van hierdie studie nie, aangesien daar alreeds heelwat oor hierdie twee teaters geskryf is. Daar word slegs kortliks in die Inleiding na hulle verwys in die agtergrond tot Kaapstad gedurende die Victoriaanse tydperk. Dramas is nie net in formele teaters aangebied nie, maar ook in verskeie informele plekke soos banketsale en dies meer. Sale wat gebruik is vir sulke doeleindes was onder meer die Oddfellows Saal en die Mutual Saal. Alhoewel die hoof oogmerk van die studie die vermaaklikheidsplek (theatrical venue) is, sou dit onvoldoende wees om nie die verskillende drama geselskappe te noem wat in hierdie plekke opgetree het nie. Daarom is die aktiwiteite van die geselskappe ook bespreek na gelang van hul betrokkenheid by spesifieke teaters, onder andere die van Sefton Parry, James Lycett en Disney Roebuck. Die vermaaklikheidsplek word vir die doeleindes van hierdie studie gedefinieer as 'n binnehuise spasie wat verdeel word in twee duidelik afgebakende areas, naamlik die speelarea en die ouditorium. Die definisie hou egter sekere beperkinge in: Dit sluit die vroee inheemse Afrika teater aktiwiteite uit. Gevolglik word die vroee Westerse teater tradisie van die Hollanders en die Engelse bespreek. Die studie fokus hoofsaaklik op die meer dominante Engelse teater gedurende die tweede helfte van die 19de eeu, en die oorskakeling van amateur na professionele drama. Professionele teaters wat bespreek word is die Theatre Royals (Harrington Straat en Burg Straat), die Exhibition Teater en die Goeie Hoop Teater. Aan die einde van die tesis word daar 'n vergelyking getref tussen die 19de en 20ste eeuse teaters, soos byvoorbeeld die Operahuis (1893) en die Tivoli Teater (1903). Nog 'n aspek wat aangespreek word is die soeke na 'n permanente teatergebou binne die vroee Kaapse teater tradisie.
McBain, James. "Early Tudor drama and legal culture, c. 1485-1558." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.
Full textBång, Olivia. "Drama as a pedagogical tool in technology education : A study of teachers’ perceptions of drama exercises when teaching ethics in technology." Thesis, KTH, Skolan för teknikvetenskaplig kommunikation och lärande (ECE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-207940.
Full textI läroplanen för grundskolan ska tekniketik vara en del av teknikundervisningen (Skolverket, 2011). Dock har forskning visat att lärare i Sverige har svårt att inkorporera detta i sin teknikundervisning (Kåreklint, 2007). I läroplanen för den svenska grundskolan så är drama inget eget ämne, men uppmanas av Skolverket (2016) att integreras i andra ämnen. Syftet med denna studie var att undersöka hur drama kan bidra till undervisningen av tekniketik genom att besvara frågeställningen "Hur ser lärare på användningen av drama som ett didaktiskt verktyg i teknikundervisningen kring etik?" Frågeställningen besvarades genom att intervjua tre tekniklärare från tre olika svenska grundskolor. Innan den semi-strukturerade intervjun hölls hade lärarna mottagit och utfört en för denna studie designad lektionsplanering där tekniketik lärdes ut genom en dramaövning. Intervjuerna vilade till största del på den uppfattning lärarna fått kring lektionen i fråga. Resultatet av studien visade att alla medverkande lärare såg positivt på att använda drama som ett didaktiskt verktyg för att lära ut tekniketik. Samtliga lärare uttryckte att lektionen hade fungerat bra och att de planerade att fortsätta använda dramaövningar i framtiden. Slutsatsen var att dramaövningar kan vara ett alternativ för undervisning av tekniketik.
Pretorius, Mareli Hattingh. "Drama-opleiding : ’n ondersoek na die aard, implementering en uitkomste van kurrikula in Suid-Afrikaanse skole." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/19995.
Full textENGLISH ABSTRACT: In the past drama education was an uncommon occurrence in South African schools, limited to the elective subject Speech and Drama at secondary level, which was only offered in a few schools in some of the provinces. The assumption is made that the introduction of Arts and Culture as one of the eight learning areas in Curriculum 2005 has greatly impacted on drama education at school level. This study aims to determine the state of affairs with regards to drama education within the current (2011) education system by investigating the nature, implementation and outcomes of drama curricula in South African schools. In the context of the far-reaching changes that has occurred in South African education since 1994, a historical overview of education before 1994 is given to act as a backdrop for a discussion of the process of education reform. The shift to an outcomes-based education approach is investigated by defining and discussing it in relation to the chosen South-African approach; identifying and discussing the theories and philosophies underpinning an outcomes-based approach to education; and looking at the national curriculum from its introduction as Curriculum 2005 until the recent revision of the National Curriculum Statement (Grades R-9), which will be phased into schools from 2012 as the Curriculum and Assessment Policy Statement. A comparative evaluation of the drama curricula in the current (2011) National Curriculum Statement (Grade R-12) and the drama curricula in the revised Curriculum and Assessment Policy Statement serves as the means to determine the nature, content and outcomes of the drama curricula. The Africanisation of the drama curricula is investigated and it becomes apparent that indigenous knowledge, traditions, customs and cultural practices are successfully included in the drama curricula. The comparative evaluation also leads to the conclusion that the revised national curriculum is a definite improvement on the status quo. Through the investigation of the nature and outcomes of the different drama curricula, it is possible to identify specific requirements for the successful implementation of drama curricula. With these requirements in mind possible challenges and/or problem areas with regards to the implementation of drama curricula are determined and discussed. These challenges and/or problem areas are the following: the curriculum itself, the socio-economic circumstances of schools and learners, language issues, the status of drama education at school level, time allocation and management, funding and infrastructure, and teacher training.
AFRIKAANSE OPSOMMING: Drama-opleiding op skoolvlak was in die verlede ’n nie-algemene verskynsel en is hoofsaaklik beperk tot die keusevak Spraak en Drama wat slegs in sekere provinsies by ’n beperkte aantal skole op sekondêre vlak aangebied is. Die veronderstelling word gemaak dat die bekendstelling van Kuns en Kultuur as een van die agt verpligte leerareas binne Kurrikulum 2005 ’n geweldige impak op drama-opleiding op skoolvlak gehad het en steeds het. Hierdie studie stel dit gevolglik ten doel om die stand van drama-opleiding binne die huidige (2011) onderwysstelsel te bepaal deur ’n ondersoek te loods na die aard, implementering en uitkomste van dramakurrikula in Suid-Afrikaanse skole. In die lig van die ingrypende veranderinge wat sedert 1994 binne Suid-Afrikaanse onderwys plaasgevind het, bied die studie eerstens ’n historiese oorsig van onderwys voor 1994 wat as agtergrond dien vir ’n bespreking van die onderwyshervormingsproses. Die oorskakeling na ’n uitkomsgebaseerde benadering tot onderwys word in oënskou geneem deur die gekose Suid-Afrikaanse onderwysbenadering te omskryf en te bespreek; die filosofieë en teorieë onderliggend tot ’n uitkomsgebaseerde onderwysbenadering binne die Suid-Afrikaanse konteks te identifiseer en te bespreek; en die nasionale skoolkurrikulum in oënskou te neem vanaf die bekendstelling van Kurrikulum 2005 tot en met die voorgestelde hersienings van die Nasionale Kurrikulumverklaring (Grade R-12) wat vanaf 2012 in skole infaseer word en bekend staan as die Kurrikulum- en Assesseringsbeleidverklaring. Deur middel van ’n vergelykende evaluering van die dramakurrikula in die huidige (2011) Nasionale Kurrikulumverklaring (Grade R-12) en die dramakurrikula in die hersiene Kurrikulum- en Assesseringsbeleidverklaring, word die omvang, inhoud en uitkomste van die dramakurrikula bepaal. Daar word ondersoek ingestel na die Afrikanisering van die dramakurrikula en dit word duidelik dat inheemse kennis, tradisies, gebruike en kultuurpraktyke op suksesvolle wyse binne die onderskeie dramakurrikula ingesluit word. Na afloop van die vergelykende evaluering word die afleiding gemaak dat die mees onlangse hersiening van die nasionale kurrikulum ’n definitiewe verbetering op die status quo is. Dit is moontlik om na aanleiding van die aard en uitkomste van die onderskeie dramakurrikula spesifieke vereistes vir die suksesvolle implementering van die dramakurrikula te identifiseer. In die lig van hierdie vereistes word moontlike uitdagings en/of probleemareas ten opsigte van die implementering van die dramakurrikula vasgestel en bespreek. Hierdie uitdagings en/of probleemareas is die volgende: die kurrikulum self, sosioekonomiese omstandighede van skole en leerders, taalkwessies, die status van dramaopleiding op skoolvlak, tydstoedeling en -bestuur, befondsing en infrastruktuur, en onderwyseropleiding.
賴崇仁. "Taiwanese Laughing-Drama Record Study." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/21622168729044377819.
Full text林豐藝. "A study on the drama and drama views of Liang Chi-Chao." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/76836682652936792710.
Full textlee, sang chul, and 李相哲. "Study Of Mingdynasty’s drama creation theory." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/93869497518821433770.
Full textYang, Chi-chu, and 楊淇竹. "Study of "Wintry Night" TV drama." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/79439903598464979262.
Full textWang, Shu-Hui, and 王淑惠. "Comparative Study of Female Characters Modelling in Taiwan Hand Puppet Drama-Case Study: Conventional Hand Puppet Drama and Epili Hand Puppet Drama Female Characters." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91881397608640172230.
Full text東方技術學院
文化創意設計研究所
98
“Hand Puppet Drama” in Taiwan is considered a type of typical folk-style cultural drama. Via different eras of revolution, instead of being terminated hand puppet drama transforms into the type of performance that can most represent Taiwan’s cultural style. With such significance in arts its context must be worth discussing. This study mainly investigates differences in conventional hand puppet drama and modern Epili hand puppet drama female characters’ modeling. With further analysis, it compares different perspectives in performing factors in various times. This study also focuses on discussing hand puppet drama’s female characters. It observes Taiwan hand puppet drama female characters’ development and evolution as far as its styling from inside structure and texture to outside appearances such as hair modeling, face portraying, clothes design, and accessory materials analysis. By comparing result for Taiwan hand puppet drama female characters’ development and evolution, it understands variations in Taiwan hand puppet drama female character modeling for fifty years as well as its meanings for transformation in different time periods. To achieve above purposes, firstly this article adopts “Literature Review” to analyze and compare which includes exploring entire façade of hand puppet drama and “Female Characters” in hand puppet drama. In addition, due to female character puppets for conventional hand puppet drama is limited in quantity and are classified as national treasure, they are mostly kept in hand puppet drama museums all over Taiwan. Therefore, by using “Field Research”, it gathers observation records in each location, as well as it engages main-stream hand puppet drama performances professionals for in-depth interview and directly records their opinions towards hand puppet drama female characters. At last, it picks “Comparative Analysis Approach” to collect and study information including words and pictures for analysis and compiling; furthermore it compares step by step relevant data for conventional and modern Epili hand puppet drama. It discusses Taiwan hand puppet drama from conventional and modern as well as from classical and contemporary revolution regarding female characters’ evolution in Taiwan hand puppet drama. This study has concluded that: 1. These three factors including “Creator’s ideals”, “Manufacturing techniques and skills”, and “Materials’ Usage” have brought different impacts to hand puppet completion, style, dedicate level , and durability which include hand puppet appearances and flexibility; 2. From its reality outlooks, two parts which contains “hand head” and “hand body” details and proportions is the biggest factor that causes visual differences in conventional and modern female hand puppets. Hand puppet displays multiple folk living styles’ self-portraits, a living style. All style revolution and manufacturing time, as well as its social atmosphere during performing also relate to Taiwan hand puppet drama changes; it also demonstrates changes for Taiwan society. Besides, via this study, its implications and results for Taiwan hand puppet drama changes can provide to Taiwan hand puppet drama performers or researchers in relevant fields some suggestions and references.
Jhang, Miao-Ping, and 張渺苹. "The Study of Deconstructing Drama Imitation in Li-Yu’s “Silent Opera” by Drama Script." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/35105204665076655386.
Full text國立雲林科技大學
漢學資料整理研究所碩士班
101
Novels and drama are two types of literature. They affect each other during the process of literature development. Therefore, they have common ground and close relations. Li-Yu is good at composing novels and drama. He named his first short novel collection “Silent Opera” which showed the concept of silence. The study intends to reveal the practice of Li-Yu’s silent opera, how novels break the boundary to imitate from drama and present its specialty. Studies on Li-Yu’s have been emphasized too much on individual style drama analysis and novels for ages. The study will focus more on the relations of between and discuss drama imitation of “Silent Drama” from character forming and scenes and plots’ developing. The conclusions will be how Li-Yu uses and imitates the concepts and techniques to achieve his expected result—a unique feature.
Chou, Shu-Fen, and 周淑芬. "The Study of Creative Drama Teachingin Kindergarten." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91046953327665523710.
Full text國立臺北教育大學
幼兒與家庭教育學系碩士班
99
The purpose of this study was to explore the implementation of applying creative drama teaching in kindergarten.The researcher also investigated the young children's creative language expression and body movements.The subjects of this study included the researcher and 29 children.During ten weeks study, video recording, observation, interview and field journals were used to collect data.The results of this study were as following: (1) Imitation is the beginning step for yong children to participate creative drama activities. (2) Young children's experiences were the foundation of demonstration of creative language and body performance. (3) The coaching skills of teacher would affect on young children's creative performance. (4) The teaching strategies must be flexibly adjusted according to young children's performance.
Naidu, Ramola L. "Speech and drama curriculum development : the perspectives of a selection of drama teachers in KwaZulu Natal." Thesis, 1998. http://hdl.handle.net/10413/4494.
Full textThesis (M.Ed.)-University of Natal, Pietermaritzburg, 1998.
Lee, Chiu-kuei, and 李秋瑰. "A Buddhist Drama: The Study of "Guanyin’s Ascetic Days in Xiangshan" in Ming Legend Drama." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/04109109556561507800.
Full text華梵大學
東方人文思想研究所
95
Abstract The play Guanyin’s Ascetic Days in Xiangshan in Ming legend-drama is a Buddhist drama about Princess MiaoShan, a legendary figure in Buddhism. The play is based on Jiang ZhiQi’s The Legend of Guanyin’s Enlightenment, later written down by Cai Jing and scripted on a stone monument that nowadays still stands in Guanyin Stupa, Xiangshan Temple, Baofeng County, Henan Province, China. The work covers the evolution of Guanyin’s legend: from the Dharmakaya of Bodhisattva of Compassion, to the reincarnated princess, MiaoShan, and later, to the formation of the thousand-handed & thousand-eyed Bodhisattva in Esoteric Buddhism. In the script of Guanyin’s Ascetic Days in Xiangshan, the main themes of Guanyin’s ascetic practice are mainly Mahayana teachings. Yet, a complete version of the “Universal Gateway Section”, Saddharmapundarika Sutra (the Dharma-flower sutra), was kept in this Ming legend-drama for ritual reference. It implies that the vertical practice of Esoteric Buddhism is still based on the theories of Exoteric Buddhism. With both schools complement each other, a complete system of vertical practice, “Root, Path, Fruit” is thus formed. As a result, the present research starts with the background when the “Universal Gateway Section”, Saddharmapundarika Sutra (the Dharma-flower sutra) was translated into Chinese. Thus, Sutras about Guanyin and about the thousand-handed & thousand-eyed Bodhisattva that are translated in Tang Dynasty are analyzed in this study. The most important research material in this thesis is The Legend of Guanyin’s Enlightenment: The Legend of Princess MiaoShan, written by Jiang ZhiQi in Song Dynasty. The teachings of both Exoteric and Esoteric Buddhism are also under careful examination to conduct a more thorough study.