Dissertations / Theses on the topic 'Drama – Technique'
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Knoell, David. "THE RESURRECTION OF EVERYMAN." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3850.
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In March of 2005 I was a cast member in Mad Cow Theatre's production of the Morality drama Everyman. This classic tale on the condition of human dying is regarding as one of the greatest dramas of the Medieval period and is one of the first plays in the English language to be put into print. This thesis is an actor's journey into the history of Medieval theatre, the challenges of producing Everyman for a contemporary audience, and the techniques of acting implemented in the creation of allegorical characters. Medieval drama, like Everyman, is still relevant in today's world because it addresses universal themes of friendship, material wealth, and reverence towards death. It is the story of the human being, the power of beliefs, and the fear of death. This thesis reflects a group of artists' desire to give an audience the gift of insight into their common selves.M.F.A.
Department of Theatre
Arts and Sciences
Theatre
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Swart, Rufus. "Towards an integrated theory of actor training : conjunctio oppositorum and the importance of dual consciousness." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95983.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: The proliferation of Western actor training methods in the past century had mainly been derived from the groundbreaking research undertaken by Vladimir Nemirovich-Danchenko and Constantin Stanislavski at the Moscow Art Theatre, as well as their students Michael Chekhov, Vsevolod Meyerhold and Evgeny Vakhtangov. Poor translations of their original Russian texts have however meant that many of the principles they discovered were compromised due to misinterpretations. Yet, the ‘system’ of Stanislavski, a veritable repository of these theories, served as a template for acting teachers ranging from former American Group Theatre members such as Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner and Lee Strasberg, and the Polish director Jerzy Grotowski, to formulate their own distinctive techniques. The result has been a challenge to traditional notions of actors as impersonators to a more holistic view of actor-performers; versatile, multi-skilled artists willing to reveal themselves through sincere disclosures to an audience, as the theatre poet Antonin Artaud advocated they should. Although this interrogation of the essential nature of the 2,600 year old art of Thespis was necessary, there is a danger that its core tenets may have been marginalised in the process, a setback which might further delay the formulation of its own science. This research was undertaken to identify the core principles of the actor’s art that distinguish it from the other performing arts, as well as to determine how these might best be conveyed to student actors in a contemporary context. Employing the ‘system’ as a guide, in particular its ‘work on oneself’ process, which refers to an actor’s personal training, as opposed to ‘work on a role’, which relates to characterisation and performance, the theories of the abovementioned practitioners were examined and compared to Stanislavski’s to ascertain if they contributed to the further evolution of the art. Once an integrated theory of training emerged it was then tested in praxis, working with different groups of students during a three year period. This thesis documents the findings of both the literary research, based on an analysis of texts related to actor training, and those derived from ‘real-world’ applications of these theories in an Higher Education environment. A key aim of the study was thus to determine whether a ‘work on oneself’ form of training could be offered in the formal education sector, despite its psychological implications, and how this might be approached in a ‘healthy’ manner. A selection of audio-video recordings done during the empirical investigation accompanies the thesis in order to substantiate its theory.
AFRIKAANSE OPSOMMING: Die verspreiding van opleidingsmetodes vir Westerste akteurs in die afgelope eeu het hoofsaaklik ontstaan uit die baanbrekers-navorsing van Vladimir Nemirovich-Danchenko en Constantin Stanislavski aan die Moskou Kunsteater, sowel as dié van hul studente Michael Tsjechov, Vsevolod Meyerhold en Evgeny Vakhtangov. Swak vertalings van die oorspronklike Russiese tekste beteken egter dat van die beginsels wat hulle ontdek het weens misverstande gekompromiteer is. Tog het die 'stelsel' van Stanislavski, as neerslag van hierdie teorieë, as 'n templaat vir toneelspelopleiders gedien wat wissel van voormalige lede van die Amerikaanse Groep Teater soos Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner en Lee Strasberg, sowel as die Poolse regisseur Jerzy Grotowski, om hul eie kenmerkende tegnieke te formuleer. Die gevolg was 'n uitdaging van tradisionele sienswyses van akteurs as nabootsers tot 'n meer holistiese sienswyse van akteurs as veelsydige, multi-bekwame kunstenaars wat gewillig is om hulself opreg te onthul voor 'n gehoor, soos die teater-digter Antonin Artaud voorgestel het hul moet. Alhoewel hierdie bevraagtekening van die essensiele aard van die 2,600 jaar oue kuns van Thespis nodig was, is daar 'n gevaar dat sy kern-beginsels in die proses gemarginaliseer is, 'n terugslag wat die formulering van die kunsvorm se eie wetenskap verder mag vertraag. Hierdie navorsing is onderneem om hierdie kernbeginsels van die akteur se kuns te identifiseer wat dit van die ander uitvoerende kunste onderskei, asook om te bepaal hoe hulle die beste oorgedra kan word aan student-akteurs in 'n kontemporêre konteks. Deur die 'stelsel' as 'n gids aan te wend, in besonder die ‘werk aan jouself’ proses wat verwys na 'n akteur se persoonlike opleiding in teenstelling met ‘werk aan 'n rol’ wat verwys na karakterisering en performance, is die teorieë van die bogenoemde praktisyns ondersoek en vergelyk met Stanislavski s’n om te bepaal of hul bygedra het tot die kunsvorm se verdere ontwikkeling. Toe 'n geïntegreerde teorie van opleiding te voorskyn gekom het, is dit prakties getoets met verskeie groepe studente oor 'n tydperk van drie jaar. Hierdie tesis dokumenteer die bevindinge van beide die literêre navorsing, gebaseer op 'n ontleding van tekste wat verband hou met akteuropleiding, en die bevindinge wat uit die toepassing van die teorieë in 'n Hoër Onderwys omgewing gegroei het. 'n Belangrike doel van die studie was dus om te bepaal of 'werk aan jouself’ as opleiding in die formele onderwys sektor aangebied kan word, ten spyte van die sielkundige implikasies, en hoe dit dalk op 'n ‘gesonde’ wyse benader kan word. 'n Seleksie van klank-en-video opnames wat tydens die empiriese ondersoek gedoen is, word dus by die tesis ingesluit om sekere teorieë te ondersteun.
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Nebe, Warren. "A critical analysis of the teaching technique role play, with particular reference to educational drama." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/12745.
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Bibliography: leaves 192-196.This study analyses Role Play teaching techniques employed in Educational Drama and examines the possibility that the current practice of Role Play may actually obstruct the personal and collective empowerment of students, thereby limiting the educative potential of drama.
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Powell, Ruth M., and n/a. "Drama, as a technique that can be used in environmental interpretation and education." University of Canberra. Resource, Environmental & Heritage Sciences, 1995. http://erl.canberra.edu.au./public/adt-AUC20061106.132559.
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This work endorses the need for environmental interpretation and education because
of the threat to the natural environment as a result of the lack of understanding and
knowledge of environmental issues. The writer's personal perspective on the
environment is described. There is a strong advocacy for the use of the fine arts in
interpretative programmes as a way of reaching audiences, and particularly those
individuals who learn through an abstract/symbolic modality. The use of drama is
explored as one of the fine arts media through which all visitors to natural sites can
gain information , experience personal growth, and develop an understanding of
their relationship to the natural world. A study was conducted in which a
questionnaire, which posed 36 questions related to common practices and
experiences, and the use of drama as a medium in environmental interpretation and
education, was used in interviewing representatives of 18 organisations, 9 in Canada
and 9 in Australia, involved in environmental education. The responses to the
questionnaire are summarised and discussed. Of those interviewed, most of the
Australian and Canadian respondents were aware of the need to use a variety of
techniques when developing programmes, had used drama in their programmes, had
all attended programmes where drama was used as the interpretative medium, and
were positive about their experiences. More than two thirds of the respondents
from Australia and Canada indicated that drama should be given a high priority in
environmental interpretation and education in the future. Information on two
children's eco-drama programmes and two workshops for adults on the use of
drama in environmental interpretation and education is also included.
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Rokison, Abigail. "Shakespearean verse speaking : modern theatre practice, text and the issue of 'authenticity'." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612739.
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Bundy, Penny J. "The playwright as scholar/artist." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/35836/1/35836_Bundy_1993.pdf.
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The purpose of this project was to explore the relationship of artistic production and scholarly enquiry in my own artistic practice. A feminist practice of oral history was used to generate data about personal adoption experiences. These stories were analysed and transformed into a playscript which is presented as the Findings chapter of this thesis. The thesis articulates an understanding of the playwright as artist and scholar. It identifies the playwrighting process as a particular research methodology which in this case draws on
contemporary feminist aesthetics and epistemology.
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Jordaan, Phoebe-Marie. "Finding creativity : integrating drama teaching techniques in creative writing lessons." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97125.
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Thesis (MEd)--Stellenbosch University 2015.ENGLISH 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.
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Milne, Christina Lucy, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment." THESIS_FPFAD_XXX_Milne_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/264.
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Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,Master of Arts (Hons) (Performance)
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Schultz, 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.
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Thesis (MDram)--Stellenbosch University, 1997.ENGLISH 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.
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Shum, Wai-chung Chris, and 岑偉宗. "A research on the composing process in playwriting in Chinese of professional playwrights in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223333.
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Duval, Laurent. "Les Cenci d'Antonin Artaud, un théậtre cruel? : suivi de Le Foyer - texte dramatique." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83178.
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The thesis is divided in two sections; the first section consists in a critical document while the second presents my own creative writing, a play intitled Le Foyer. My use of theatrical writing in Le Foyer sought to privilege certain litterary techniques and dramatic processes elaborated by Antonin Artaud (1896-1948) in his manifesto The Theatre and his Double (1938). The thesis' theoretical section explores various issues at stake in my creative writing exercise: the link between the play Les Cenci and Artaud's metaphysic is questionned. I aimed to demonstrate how Les Cenci is an improbable example of the concept of Theatre of Cruelty. I stressed the liberties the playwright has taken with his theory when putting it into practice in a first attempt to create total theatre.
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Malick, Shah Jaweedul. "The dramaturgy of John Arden : dialectical vision and popular tradition : a doctoral dissertation." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=71987.
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The subject of this dissertation is John Arden's dramaturgy. It covers the stage plays written by Arden (alone or with Margaretta D'Arcy) during their career in the "professional" theatre--that is, from The Waters of Babylon to and including The Island of the Mighty. It approaches them as one dramaturgically coherent opus and identifies and examines the basic artistic and cognitive emphases immanent to it.The study explores two fundamental and related constitutive features of Arden's dramaturgy: diachronically, its adherence to the forms, conventions, and techniques of popular or traditional theatres, and synchronically, its radical political emphasis as expressed in a categorically plebeian and collectivistic bias. It begins by situating Arden in his time and his tradition, and then discusses how other significant choices of his--the emphasis on story-telling (Part 2), the supra-individual approach to dramaturgic agents (Part 3), and his ludic theatricality (Part 4)--flow out of and contribute to the consistency of his dramaturgy. Part 5 focuses on a detailed analysis of The Island of the Mighty.
Arden's rejection of the established bourgeois theatre with its illusionist character and individualist ideology and his orientation towards a dialectical show distinguishes his work from that of his English contemporaries. It can be linked to that radical alternative tradition in modern dramaturgy which culminates in Bertolt Brecht.
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Shapiro, Bruce G. "Iconicity : the presence of imagery in the principles and practice of dramatic performance." Thesis, Queensland University of Technology, 1997.
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This thesis is devoted to an explanation of iconicity, a process for acting and staging dramatic performances. The premise of the thesis is that dramatic performance is generated out of the same innate neural architecture human beings use in their daily lives to execute events. At the core of this neural architecture is the human brain's capacity for internally generating, reduplicating, storing and triggering imagery. The process of iconicity uses this mental capacity to rehearse and perform dramas. The process of iconicity is based upon the actor's innate cycle of
performance, which the thesis explains. This process is also neopragmatic and hermeneutic, using rehearsal to cultivate strands of iconicity persisting and, therefore, conversing in the drama. In dramatic performance, contrived imagery is triggered in the actor, informing a performance consciousness that activates the actor's contrived cycle of
dramatic performance. The research was carried out in rehearsals for around twenty-five productions over a period of sixteen years, during which time the iconicity process was developed in practice. Therefore, this thesis is the record of a journey through artistic practice toward the iconicity process. In order to understand the discoveries made during rehearsals, a variety of critical theories came into play and these are discussed in this thesis. But the context for all theoretical discourse is the artistic practice of dramatic performance. With respect to the presentation of the thesis itself, my aim is to emulate the iconicity process by a linear discourse which, once read,
may be reread in its entirety or according to an individually ordered selection of the sub-headed sections.
The linear discourse itself is divided into two parts preceded by the Introduction. This introduction briefly establishes some foundational perspectives that are meant to orient the reader to the content of the thesis. Part One is devoted to the principles of iconicity. It begins with a Prologue presenting the theory of innate performance, from which I believe dramatic performance derives. Chapter One is devoted to ideology; Chapter Two answers the question, What is Acting?; and Chapter Three introduces the affect theory of the emotions. Although at times the initial presentation of perspectives and principles refers to practice, essentially, the Introduction and Part One
comprise a mosaic of ideas that make up a lateral foundation for the more linear practice of iconicity, which is presented in Part Two. Part Two is much more practically oriented than Part One. However, in order to fully understand this latter part of the thesis, the foundation of ideas set out in Part One must be kept in mind.
The four chapters of Part Two present the strands of iconicity. Chapters Four and Five deal with the strand of events and the rules of dramatic structure, respectively. Chapter Six details what I refer to as the intermediate strands of dialogue and interactions. Chapter Seven
discusses the strand of performance. An Epilogue addresses a few remaining issues about acting and iconicity.
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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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Wu, Hsin-Fei. "Effects of Process Drama-Assisted Intervention on Oral Communication Strategies." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367224.
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My aim in this study was to examine suggestions inherent in the literature on process drama that it has viability for enhancing ESL/EFL learners’ language proficiency .This intention was enacted by exploring effects of a process drama intervention in training English learners’ use of oral communication strategies (OCSs) in a comparison context with a more conventional drama technique, role-playing. Dependent variables used as measures of effect were the variety of OCSs that learners used and with what frequency. The respective approaches used a series of planned lessons incorporating techniques of process drama, and a similar set of lessons using scripted role-play with 53 EFL participants from a Junior College in southern Taiwan.
Quantitative and qualitative data were gathered from participants’ responses to questionnaires based on an adapted Oral Communication Strategy Inventory (OCSI), oral exams, after-task reflection surveys, semi-structured group interview, questionnaires of Foreign Language Classroom Anxiety Scale (FLACS), journals and video-recording. Excerpts of class activities of each group are used as supplemental reference.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
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Oxley, Natasha Emma Fortescue. "Talking taboos: the personal over the political? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.
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The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.
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Henrique, Marilia Gomes. "O realismo critico-encantatorio de João das Neves." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285044.
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Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T06:43:35Z (GMT). No. of bitstreams: 1 Henrique_MariliaGomes_M.pdf: 721441 bytes, checksum: 8ab25c43ab785a97a3d4e249183dba1d (MD5) Previous issue date: 2006
Resumo: Esta pesquisa analisa a produção dramatúrgica de João das Neves, compreendendo, assim, os seguintes textos: O último carro (1964), O quintal (1978), Mural mulher (1979), Café da manhã (1980) e A pandorga e a lei (1983-1984), que, na sua totalidade, foram produzidos durante a ditadura militar no Brasil. O engajamento político de João das Neves possibilitou o desenvolvimento de um teatro voltado para os problemas candentes da realidade social brasileira, levando-o a formular uma obra de estrutura épica com suas especificidades próprias. Seu teatro, nesse sentido, procura esclarecer ao público certos aspectos da engrenagem social, integrar o espectador no espaço cênico e apresentar as personagens a partir de uma ótica social - e não individualizada, como é o caso do drama burguês
Abstract: This research analyses the dramaturgic production of João das Neves, encompassing the following plays: O último carro (1964), O quintal (1978), Mural mulher (1979), Café da manhã (1980) e A pandorga e a lei (1983-1984). These works were produced during the military dictatorship in Brazil. The political engagement of João das Neves made possible the development of a theatre turned to the effervescent problems of the Brazilian social reality, and leading the author to formulate an epic-structured play with its particular specificities. In this sense his dramaturgy aims to enlighten the public about some aspects of the social machinery, integrating the viewer to the scenic space. He also presents the characters from a social perspective ¿ non-individualized, as it is the case of the bourgeois drama
Mestrado
Artes
Mestre em Artes
18
Milne, Christina Lucy. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/264.
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Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,
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Rose, Caroline. "Closure and the short story: with readings oftexts by Elizabeth Gaskell and Angela Carter." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213571.
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Bitterlich, Thomas. "Können Dramen und Theateraufführungen als Schrift begriffen werden?" Universitätsbibliothek Leipzig, 2012. http://www.kulturtechnik-schreiben.imz.uni-erlangen.de/veranstaltungen-texte/schreiben-im-theater.shtml.
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Der Artikel beschäftigt sich mit der Frage, inwiefern Theater und Drama als Schrift begriffen werden können. Dabei wird auf den Schriftbegriff Bezug genommen, der in der Diskussion um die "Kulturtechnik Schrift/Schreiben" propagiert wurde.
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Low, Polly. "They reckon I need a dramaturg : examining the value of a dramaturg to both the playwright and the professional theatre company in Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/507.
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This thesis examines aspects of dramaturgy delivered by a dramaturg, and the practical contributions of dramaturgs to both the writer and the theatre industry in Australia. It investigates elements of the working relationship between dramaturgs and playwrights, looks at the chameleon-like nature of the theatre dramaturg and examines how Australian writers, directors and dramaturgs perceive the role/s of the dramaturg. The thesis is partly a reflective investigation of personal practice, partly an historical investigation of the emergence of Australian ideas about dramaturgy, and partly an active investigation into what can help to make a constructive playwright/dramaturg relationship. A major aim of this investigation is to examine the practical aspects of the dramaturg’s work, and the effect of dramaturgy on playwrights and their scripts. What outcomes of a writer/dramaturg relationship can be observed? Can the effect of discussion and oral examination of a script be measured accurately? Outlining the areas considered by a dramaturg when discussing a script gives an indication of how a playwright is urged to think more deeply about the world of his or her play. Additionally, placing myself in the position of receiving dramaturgical input has expanded my understanding of the doors dramaturgy opens and the dead-end alleys it can warn against. Through my research I have discovered that there are important questions to consider regarding the parameters of the playwright/dramaturg relationship. These considerations need to be addressed at the beginning of any collaboration between a dramaturg and playwright. However the two individuals are also subject to the ambiguous nature of dramaturgy in the Australian setting, which brings external pressures to bear on the relationship by companies and other stakeholders.
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Rouse, Rebecca. "A new dramaturgy for digital technology in narrative theater." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/48960.
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Many contemporary theater practitioners and scholars agree that the investigation of the relationship between digital technologies and theater is an important yet relatively unexplored topic, both in theory and practice. A debate regarding the fundamental nature of performance and more specifically the quality of liveness in the face of media has been the dominant conversation on this topic. While the liveness debate is important, it is not the only angle from which to approach questions of specific types of technology and performance. This dissertation takes a different approach, while taking the liveness debate into account. This dissertation examines relevant historical and contemporary theory and practice in the area of digital technology in theater, and then describes a new method of practice and analysis in the form of a new dramaturgy. This new dramaturgy is then applied to examples of selected work and also used hands-on to create a two-part case study to try out its usefulness in practice. The first part of the case study is a production design created with the new dramaturgy in collaboration with undergraduate students within the context of a special topics course. The second part of the case study is a full-scale production by a professional director, incorporating elements of the production design created in the first part of the case study.
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Monteiro, Letícia 1984. "A fundamentação de expedientes épico-dialéticos nos seminários de dramaturgia do teatro de arena de São Paulo nos anos de 1958 a 1961 /." São Paulo, 2016. http://hdl.handle.net/11449/144380.
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Orientador: Alexandre Luiz MateBanca: Rosangela Patriota
Banca: Maria Sílvia Betti
Resumo: Os Seminários de Dramaturgia do Teatro de Arena de São Paulo significam um momento de fundamentais transformações no pensamento e na prática teatral paulistana e nacional. A partir de uma concepção do nacional e do popular que busca a formação de novos autores brasileiros através da prática sistemática da discussão de teoria estética, de textos teatrais e da apresentação de obras autorais abertas e sujeitas ao debate em trabalho colaborativo. Sua eclosão, em 1958 e seu desenvolvimento até o ano de 1961 deu origem a peças que pela primeira vez no País se valerão da utilização de expedientes épico-dialéticos. Entre as obras oriundas desse processo, duas serão analisadas: Chapetuba Futebol Clube de Oduvaldo Vianna Filho e Revolução na América do Sul de Augusto Boal
Abstract: The dramaturgy seminars of Teatro de Arena from São Paulo means a moment of fundamental transformations in the thought and theater practice in the city of São Paulo and nationally. Starting from a conception of national and popular which aims the formation of new Brazilian writers through de systematic practice of discussion on aesthetic theory, theatral writings and presentation of open authoral works, subjected to debates and collaborative production. It's outbreak, in 1958 and it's development until 1961, gave origin to plays which, for the first time in Brasil, will resort epic-dialectic expedients. Between the theater plays that arose from this process, two will be analyzed: Chapetuba Futebol Clube written by Oduvaldo Vianna Filho and Revolução na América do Sul written by Augusto Boal
Mestre
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Gomes, Marcos Nogueira 1980. "Materialidades na dramaturgia contemporânea : o Prêmio Shell em São Paulo (2005 - 2015) /." São Paulo, 2017. http://hdl.handle.net/11449/151147.
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Orientador: José Manuel Lázaro de Ortecho RamírezBanca: Luiz Fernando Ramos
Banca: Vinicius Torres Machado
Resumo: A proposta desta dissertação é analisar textos de dramaturgos contemporâneos paulistanos, entre os anos de 2005 e 2015, tendo em vista a relação entre texto e cena no interior dessas dramaturgias, identificando e refletindo sobre a presença de elementos incorporados de uma gramática cênica que evocam materialidades em suas estruturas textuais. A análise parte do debate sobre a mudança de status do texto ao longo do século XX, considerando o duplo movimento de emancipação do texto e da cena em relação à tutela do gênero dramático, o que configura novas possibilidades de escrita e encenação mais permissíveis entre si. Com base nas referências teóricas cotejadas no primeiro capítulo, cria-se uma grade de análise para o exame das dramaturgias selecionadas, com o objetivo de posicioná-las, no terceiro capítulo, entre dois polos: mythos e opsis - e posteriormente serem consideradas polaridades recorrentes entre dispositivos dramatúrgicos encontrados nos textos. O corpus desta dissertação, analisado no segundo capítulo, é composto por textos de autores vencedores do Prêmio Shell de Teatro em São Paulo na categoria de Melhor Autor no período de onze anos - até o início desta pesquisa. Este recorte é retomado no final do terceiro capítulo com o objetivo de estabelecer conexões entre o processo de legitimação de bens culturais por instâncias de consagração, segundo a conceituação do sociólogo Pierre Bourdieu, e as estruturas dramatúrgicas analisadas, pensando sobre os desdobramentos en... (Resumo completo, clicar acesso eletrônico abaixo)
The purpose of this dissertation is to analyze texts written by contemporary playwrights from the city of São Paulo, between the years of 2005 to 2015, considering a relationship between text and the scene within the dramaturgies, identifying and reflecting on a presence of incorporated elements of a scenic grammar that evoke materialities in its textual structures. The analysis starts from the debate about the change in the state of the text throughout the twentieth century, considering the double movement of emancipation of the text and the scene in relation to the tutelage of the dramatic genre, which sets up new possibilities of writing and staging more permissible among themselves. Based on theoretical references in the first chapter, an analysis evaluation is created for the examination of selected dramaturgies, with the aim of positioning, in the third chapter, between two poles: mythos and opsis - and later considered recurrent polarities between devices found in the texts. The corpus of this dissertation, analyzed in the second chapter, is composed of texts by authors who won the Shell Prize of Theater in São Paulo in the category of Best Author in the period of eleven years - until the beginning of the research. This methodological cut is resumed at the end of the third chapter with the aim of establishing connections between the process of legitimation of cultural goods by instances of consecration, according to a conception of the sociologist Pierre Bourdieu, and the dramaturgical structures analyzed, on the unfolding between theory and practice in contemporaneity, as well as on the function of the author and the notion of authorship, in the context of the new state of the theatrical text - and in the place of the playwright - in the process... (Resumo completo, clicar acesso eletrônico abaixo)
Mestre
25
Gontijo, Rosa Carlos Junior 1983. "O criado e o semideus = o tragicômico em O Precipício de Faetonte, de Antônio José da Silva." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269884.
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Orientador: Alexandre Soares CarneiroDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação tem o objetivo de analisar a personagem de Chichisbéu na peça O Precipício de Faetonte, de Antônio José da Silva (1705-1739), representada em 1739 no Teatro do Bairro Alto, Lisboa, Portugal. Partindo de perspectivas teóricas diversas, mas convergentes no sentido de compreender a pouco explorada dramaturgia do período, buscase um entendimento dos textos joco-sérios do comediógrafo. Observando as diferentes leituras do mito de Faetonte, originalmente contado por Ovídio (43 a.C.~18 d.C.) em suas Metamorfoses (séc. I d.C.), em comparação com a peça El hijo del Sol, Faetón (1662), de Calderón de La Barca (1600-1681), percebe-se no Judeu um outro tom na exploração da narrativa, usada apenas como mote, sem relação direta com grande parte das cenas da ópera. Tendo em vista que se reconhece a peça de Antônio José enquanto pertencente ao gênero tragicômico, procede-se uma análise do cômico, uma vez que cômico e trágico, mesmo que unidos num mesmo gênero, ainda preservam características distintas. Como o forma tragicômica foi amplamente difundido na Espanha no século anterior, com grande influência em toda a Europa, em seguida buscamos demonstrar como esta influência se deu em Portugal, mais precisamente nesta peça do Judeu. Como principal representante do cômico neste gênero teatral, identificamos a figura do gracioso, que se torna tema de um capítulo no qual se estudam as diversas facetas que este personagem-tipo representa em O Precipício de Faetonte, enquanto fonte de riso, entretenimento e entendimento do público em relação à fábula e às relações estabelecidas na cena. Por fim, busca-se o entendimento deste mesmo personagem (Chichisbéu, no caso) em suas relações com o galán e a relação da obra do dramaturgo com as preceptivas e técnicas de escrita teatral vigentes no período
Abstract: This dissertation is intented to analyse the character Chichisbéu in the play O Precipício de Faetonte by Antonio José da Silva (1705-1739), represented in 1739 at Bairro Alto theater, Lisbon, Portugal. Starting from different theorical perspectives, yet converging towards the comprehension of the little-explored drama of the period, it aims to understand the joco-serious texts of the comedy writer. Observing the different readings of Phaeton myth, originally told by Ovid (43 B.C.~18 A.C.) in Metamorfoses (cent. I A.C.) compared to the play El hijo del Sol, Faetón (1662), by Calderón de La Barca (1600- 1681), it is noticed in the Jew a different tone in the exploration of narrative, only used as a motto, without a direct relation to great number of the scenes of the opera. Since the play of Antonio José is regarded as belonging to the tragicomic genre, the proceeding is an analysis of the 'comic', once comic and tragic, even though gathered in the same genre, yet retain distinct characteristics. Considering that the genre of tragicomedy was widely spread in Spain in the previous century, with great influence throughout Europe, subsequentely we aim to point out how its influence took place in Portugal, more precisely in this play of the Jew. As the main representative of the comic in this theatrical genre, we identify the figure of gracioso, who becomes theme of a chapter in which are studied the various facets that this kind of character represents in O Precipicio de Faetonte, while source of laughter, enterteinment and understanding of the public concerning the plot-structure and the relations established in the scene. Finally, we seek the understanding of the character (Chichisbéu, in the case) in his relations to the galán and the relation of the playwright's work to the preceptives and writing techniques which existed in the period
Mestrado
Mestre em Teoria e História Literária
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Medeiros, Elen de. "Nelson Rodrigues e as Tragedias Cariocas : um estudo das personagens." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269843.
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Orientador: Antonio Arnoni PradoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação é constituída de quatro capítulos que abordam a leitura primordialmente social da obra dramática de Nelson Rodrigues. Constituída de oito peças, a fase denominada Tragédias Cariocas é caracterizada por uma maior aproximação com o público, seja por um olhar voltado ao social (diferente das Peças psicológicas e Peças míticas), seja por aspectos melodramáticos. O primeiro capítulo inicia o estudo das peças por meio de suas personagens ao perceber como as protagonistas ou antagonistas liberam seus desejos a ponto de fazer a trama das peças mudar de rumo e levá-las a um fim trágico. A partir do fim tido por trágico, o segundo capítulo faz a aproximação desse conjunto de peças com o Expressionismo, que, embora já identificado em peças anteriores do dramaturgo, está agora menos presente. No terceiro capítulo verifico a concepção do gênero trágico em Nelson Rodrigues, em convergência com o sentido trágico. Assim, investigo como acontece a formulação do trágico moderno em um autor nacional. Por fim, volto-me para a constituição e consistência dramática das peças, visando a sua formação estética. Neste quarto capítulo, estudo a formação das personagens, dos diálogos e das rubricas, elementos fundamentais para a obra dramática
Abstract: This dissertation is divided in four chapters which approach the primarily social reading of Nelson Rodrigues¿s dramatic work. Formed of eight plays, the phase called Tragédias Cariocas is characterized by the fact that it gets closer to the audience, be it through a socially conscious outlook (different from the Peças pscicológicas and Peças míticas), be it due to melodramatic aspects. The first chapter begins the study of the plays through their characters by noticing how the protagonists or antagonists release their desires to the extent of changing the directions of the plays and taking them to a tragic ending. Just from the endings regarded as tragic, the second chapter brings this set of plays closer to the Expressionism which, although had already been identified in former plays by the playwright, is now present to a minor extent. In the third chapter I verify the conception of the tragic genre in Nelson Rodrigues, in convergence with the tragic sense. Thus, I investigate how the formulation of the modern tragic takes place in the work of a national author. At the end, I turn to the constitution and consistency of the plays, aiming its aesthetics formation. In this fourth chapter, I study the construction of characters, as well as the construction of the dialogues and of the rubrics, which are essential elements in drama
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Negrão, Liliane. "Nelson Rodrigues e o espetaculo trafico do castigo : a moralização cristã em Album de Familia, Anjo Negro, Doroteia e Senhora dos Afogados." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270176.
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Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Essa dissertação propõe uma leitura das peças Álbum de Família, Anjo Negro, Dorotéia e Senhora dos Afogados, de Nelson Rodrigues, com o propósito e analisar as obras enquanto textos, enquanto obras dramatúrgicas, e não enquanto espetáculos teatrais em que estas se concretizam. Restringe-se, pois, às obras nos termos dos diálogos, com seus silenciamentos, embates, exclamações; das indicações cênicas e rubricas, dos elementos constitutivos do gênero trágico, assim como da construção das personagens. Isso posto, essa dissertação propõe que, a despeito das obras dramatúrgicas em questão, seja possível demarcar um viés de leitura em que figuram conceitos e elementos oriundos da mitologia cristã. De todas as dezessete peças de Nelson Rodrigues,a leitura que propomos diz respeito a Álbum de Família, Anjo Negro, Dorotéia e Senhora dos Afogados por entendermos que elas se destacam das demais pela recorrência de referências e indícios de idéias de moralização oriundas do cristianismo. Além disso, entendemos que, nessas quatro peças, Nelson Rodrigues engendra um trabalho com os elementos do gênero trágico - que constitui parte importante da análise que fazemos - que não se acha tão marcadamente presente nas outras obras dramatúrgicas do autor. Através de gênero trágico peculiar, tipicamente rodriguiano, que se caracteriza, principalmente, pela ênfase no horror, entendemos que Nelson Rodrigues trabalha com elementos cristãos em um mecanismo de moralização, que pode ser percebido, nas quatro peças, por um engendramento de "não-ditos". Sendo assim, nossa leitura questiona a caracterização comumente aceita da obra rodriguiana como pornográfica, torpe, amoral e imoral. Essa dissertação aponta um caminho através do qual se pode identificar uma intenção moralizante de raízes cristãs na obra dramatúrgica rodriguiana em questão, em uma espécie de mecanismo de constatação à verificação, feita por George Bataille, de que "a literatura é, com efeito, o prolongamento das religiões".
Abstract: This dissertation proposes a reading of the plays Álbum de Família, Anjo Negro, Dorotéia and Senhora dos Afogados, by Nelson Rodrigues, with the puppose of analysing them as texts, dramaturgical works, not as the theatrical entertainment in which they come true. It is restricted, so, to the works in terms of dialogues, with silences, clashes, exclamations; in terms of stage indications and rubrics, of constitutive elements of tragic genre, as well as of the construction of the characters. Having all that in mind, this dissertation proposes that in spite of these dramaturgical works, it would be possible to mark out an approach of reading in which are present concepts and elements from christian mithology. Of all the seventeen Nelson Rodrigues' plays, the reading that we propose concerns Álbum de Família, Anjo Negro, Dorotéia and Senhora dos Afogados for the fact we conceive they stand out from the others due to the recurrence of references and evidences of ideas of moralization from christianism. Besides, we believe that in these four plays, Nelson Rodrigues comes up with a work with elements of tragic genre - what constitutes important part of the analysis carried out here - which is not so remarkably present in other dramaturgical works of the author. Through his peculiar tragic genre, typical of Nelson Rodrigues, which is mostly characterized by the emphasis in the horror, we see that Nelson Rodrigues works with christian elements in a mechanism of moralization, which can be realized, in the four plays, by an engendering of what is not said. Therefore, our reading questions the characterization normally accepted of Rodrigues' work as pornographic, vile, amoral and immoral. This dissertation points out a way through which it is possible to identify a moralizing intention with christian roots in the Nelson Rodrigues' work cited, in a sort of mechanism of observation to the checking, done by George Bataille, in what "literature is, with effect, the extension of religions".
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
28
Elias, Marina Fernanda. "Zona do improviso : uma proposta para o desenvolvimento tecnico poetico do ator-dançarino e para a criação cenica." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284646.
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Orientadores: Eusebio Lobo da Silva, Sara Pereira LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa apresenta um estudo sistemático sobre a improvisação enquanto ferramenta para o processo de criação coletiva nas artes cênicas, e a conseqüente sistematização de um jogo teatral ao qual chamamos Zona do Improviso. Utilizamos como norteadores da investigação dois sistemas com evidentes possibilidades de diálogo e entrelaçamento: o Sistema Effort-Shape, desenvolvido por Rudolf Von Laban, e o exercício do Campo de Visão, desenvolvido pelo Prof. Marcelo Ramos Lazzaratto. A partir do interjogo entre esses dois sistemas e, somando como suporte teórico e prático os estudos sobre jogo e improvisação de Viola Spolin, sistematizamos a Zona do Improviso que nos proporcionou juntamente com os dois citados sistemas, a montagem do espetáculo ¿Alma de Papel¿. Levantamos a hipótese de que a relação de cada intérprete com seu material criativo e espontâneo interfere no seu desenvolvimento técnico poético e na criação cênica em si. O desenvolvimento desta pesquisa se deu a partir da experimentação destes conceitos aplicados a dois tipos de propostas realizadas em laboratórios práticos: um processo pedagógico de sistematização destas idéias (Zona do Improviso) e uma experimentação de criação cênica (Alma de Papel). Participaram dos laboratórios vinte estudantes dos cursos de graduação em Artes Cênicas, Artes Corporais, Artes Plásticas e Música, da Unicam
Abstract: This research presents a systematical study about the use of improvisation as a tool for the collective creation in the performing arts, and the consequent systematization of an improvisation game called 'Improvisation Zone¿. As references of this research, we made use of two systems with clear possibility of dialogue and interlacement: the Effort-Shape System developed by Rudolf Von Laban, and the 'Vision Area¿ game, developed by Prof. Marcelo Ramos Lazzaratto. Starting from the 'intergame¿ between theses two systems and guided by the practical and theoretical studies of Viola Spolin, we systematized the 'Improvisation Zone¿, playing a key role in our creation of the play 'Alma de Papel¿. This research enquires the relationship of each interpreter with his own spontaneous and creative material, and how it interferes with his technique and poetic development and in the scenic construction. The development of this research was based on the experimentation of these concepts, applied on two propositions: the pedagogic process of systematization of these ideas ('Improvisation Zone¿) and the experimentation of the scenic construction
Mestrado
Mestre em Artes
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Jones, Gaybrielle Irene. "Using Drama Therapy Techniques in Secondary Education." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1334167898.
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Willems, Christiaan H. "Technological challenges : aesthetic solutions : the impact of technology upon the creative process in the context of the adaptation of non-verbal, solo stage performance to television." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35874/1/35874_Willems_1996.pdf.
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The research study is a self-reflexive analysis of the creative processes of the artist in a particular context - that of the adaptation of solo non-verbal performance
created for the stage, to the television screen, utilising advanced video production techniques. Utilising this work as a case study enables the detailed analysis of specific artistic aspects of the adaptation process, how this process was influenced by the different technological medium of television, and how this shaped the final television work. The purpose of the study is not to illustrate the technical aspects of the production, although these are briefly addressed to provide background and contextual information. The principal focus and intention of the study is to illuminate the creative and artistic processes which take place in the mind of the artist as a response to the particular artistic challenges which arise when the basic art work is placed within the foreign context of a highly technological environment.
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Becker, Theresa. "Evaluating Improvisation as a Technique for Training Pre-Service Teachers for Inclusive Classrooms." Doctoral diss., University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5129.
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Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific type of dramatic technique, was effective for training pre-service teachers in specific characteristics of teacher-child classroom interaction, communication and affective skills development. It measured the strength and direction of any potential changes such training might effect on pre-service teacher's self-efficacy for teaching and for implementing the communication skills common to improvisation and teaching while interacting with student in an inclusive classroom setting. A review of the literature on teacher self-efficacy and improvisation clarified and defined key terms, and illustrated relevant studies. This study utilized a mixed-method research design based on instructional design and development research. Matched pairs t-tests were used to analyze the self-efficacy and training skills survey data and pre-service teacher reflections and interview transcripts were used to triangulate the qualitative data. Results of the t-tests showed a significant difference in participants' self-efficacy for teaching measured before and after the improvisation training. A significant difference in means was also measured in participants' aptitude for improvisation strategies and for self-efficacy for their implementation pre-/post- training. Qualitative results from pre-service teacher class artifacts and interviews showed participants reported beneficial personal outcomes as well as confirmed using skills from the training while interacting with students. Many of the qualitative themes parallel individual question items on the teacher self-efficacy TSES scale as well as the improvisation self-efficacy scale CSAI. The self-reported changes in affective behavior such as increased self-confidence and ability to foster positive interaction with students are illustrative of changes in teacher agency. Self-reports of being able to better understand student perspectives demonstrate a change in participant ability to empathize with students. Participants who worked with both typically developing students as well as with students with disabilities reported utilizing improvisation strategies such as Yes, and…, mirroring emotions and body language, vocal prosody and establishing a narrative relationship to put the students at ease, establish a positive learning environment, encourage student contributions and foster teachable moments. The improvisation strategies showed specific benefit for participants working with nonverbal students or who had commutation difficulties, by providing the pre-service teachers with strategies for using body language, emotional mirroring, vocal prosody and acceptance to foster interaction and communication with the student. Results from this investigation appear to substantiate the benefit of using improvisation training as part of a pre-service teacher methods course for preparing teachers for inclusive elementary classrooms. Replication of the study is encouraged with teachers of differing populations to confirm and extend results.Ph.D.
Doctorate
Education and Human Performance
Education; Instructional Technology
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Ryan, Carey. "Empathy Is the Devil: Employing Conventions and Themes of Early Cinema in Contemporary Practice." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/368017.
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Over the last decade, the international screen has witnessed a revival of silent cinema techniques. Eighty or so years after the advent of the talkies, titles such as France's The Artist (Hazanavicius, 2011), Spain’s Blancanieves (Berger, 2012), Australia's Dr. Plonk (de Heer, 2007), Portugal’s Tabu (Gomes, 2012) and Argentina’s La Antena (Sapir, 2007) have drawn on a palette of almost forgotten techniques to great effect. While each might be read as an homage to this foundational period in cinema history, the filmmakers’ objective has not been to remake silent films or to reject modern digital modes of filmmaking, but to reinvigorate the rich and varied ways by which stories may be told on film.
Empathy Is the Devil is a 12.5-minute silent black-and-white film strongly featuring dance, the themes of which include addiction, mental health, and homelessness. The film’s protagonist, who is at odds with the modern world, suffers a curious addiction: a daily pressure to give to charity more than he can afford. He finds solace in a nostalgic past in which property is freely shared and wealth is not the ultimate goal.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Van, Schalkwyk Mareth. "Using theatre techniques as a tool to enable active learning : searching for a pedagogy to transform spectators into spect-actors." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2534.
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Thesis (MDram (Drama))--University of Stellenbosch, 2005.In Britain provision is made for students with a low Basic Skills level (literacy and numeracy) to continue with their post-GCSE education in a low level vocational course. These low level courses aim to teach students basic, life and vocational skills necessary to progress to the next level. This study aims to find a pedagogy which is suited to the needs of these marginalised students and transforms them from spectators into spect-actors. Two programmes were designed, implemented, managed and measured by this study in order to find the pedagogy best suited to the needs of these students. Programme 1 was based on ideas by the educationalists Kolb, Petty, Honey and Mumford; and aimed to empower students with the basic and life skills necessary for progression. Programme 1 failed as the mostly narrative pedagogy was associated with a similar pedagogy used in schools. Assessment methods were unsuitable and the course paid more attention to the needs of the group than the needs of the individual. Programme 2 aimed to actively involve students in the learning of skills essential to progression and was based on theatrical techniques. Augusto Boal’s Theatre of the Oppressed techniques, especially Forum Theatre, formed the basis of the student-centred programme. Boal’s interactive theatre techniques, together with ideas taken from Aristotle, Artaud, Brecht, Heathcote and Freire formed the pedagogy of an interactive course where the focus fell on the needs of the individual student. This study found that Programme 2 was successful. Students took to the taskbased interactive course where all solutions to problems were found by means of active investigation, no theorem was learned without application and no action took place without a purpose. Students changed from spectators into spectactors with a view that the world is not stagnant but transformable. Achievement and success rates back up the findings. The interactive pedagogy using theatre techniques to teach can be applied across the curriculum and it is suggested that such courses should run alongside main stream academic courses to accommodate the learning of all students.
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Van, Schalkwyk Marèth. "Using theatre techniques as a tool to enable active learning : searching for a pedagogy to transform spectators into spect-actors /." Link to the online version, 2005. http://hdl.handle.net/10019/1763.
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Burke, A. C. "Dramatic techniques in performing Aeschylus' Agamemnon : the Oresteia at the Royal National Theatre." Thesis, Queen Margaret University, 2005. https://eresearch.qmu.ac.uk/handle/20.500.12289/7332.
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This thesis explores the theoretical and dramaturgical challenges faced by modern productions of the Oresteia with particular reference to two modern Royal National Theatre productions: Sir Peter Hall's (1981) and Katie Mitchell's (1999). It argues that to appreciate these challenges requires a detailed knowledge of the theatricality of the original text. In support of this position, this thesis contains a detailed analysis of Aeschylus' Agamemnon exploring how the playwright creates the play's world in text and performance. The discussion's focus concentrates on how theatrical space (seen, implied, and diegetic) constructs the world of the play. Concomitant in this discussion is an analysis of how Aeschylus invites the audience to decode the play's theatricality through its knowledge of epic literature and its own non-theatrical spatial environments and practices. To facilitate this understanding, the text and performance are explored with reference to political, domestic and ritual space. In considering these productions, the assumption of theatre reviews that productions can be described as adhering to either modernising or archeologically inspired staging practices is challenged. It is argued that modern productions should be analysed with reference to directorial, translator, and actor intentions. Through a methodology based on interviewing theatre practitioners, the productions of Hall and Mitchell are seen to be irreducibly modern, yet still maintain a relationship with Aeschylus. Hall's use of ancient staging conventions is seen to be a modern interpretation of the theatrical past, which aimed at communicating the foreignness of Aeschylus. In contract, Mitchell's use of modern staging techniques made the Oresteia familiar to a modern audience, but, by suggesting political, domestic, and ritual equivalents, still articulated with the ancient performance.
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Kondlo, Ayanda. "Exploring ways to deepen undergraduate students understanding of financial literacy." University of the Western Cape, 2020. http://hdl.handle.net/11394/8155.
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Magister Commercii - MComThis thesis reports on my investigation into undergraduate students' knowledge of financial literacy (FL) and explores ways of improving their FL by using and experimenting with alternative Financial Literacy Education (FLE) methods and techniques. In attempting this, I report on the educational interventions that I attempted. These are critical literacy approaches that included drama teaching techniques that formed part of a praxis approach to FLE. Low levels of financial literacy are of great concern in South Africa because South Africans have high rates of debt which the researcher asserts are an indication of misconceptions, misunderstanding, and also a lack of financial literacy. South Africa needs to have undergraduate students that are financially literate who apply critical reasoning to make critical financial decisions.
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Irugalbandara, Ayomi Indika. "Investigation of the development of creative thinking and adaptability skills through process drama techniques in junior secondary school students in Sri Lanka." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/203805/2/Ayomi_Irugalbandara_Thesis.pdf.
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This thesis has shown the importance of developing creative thinking and adaptability skills through a drama-based teaching approach in junior secondary school students in Sri Lanka. Findings will help teachers enable and encourage the development of creative thinking and adaptability skills in junior secondary school students, teaching them how to be open to new ideas and think outside the square through process drama techniques, enhancing 21st-century skills.
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Pryor, Lindsi M. "A study of relationship management techniques used during a stadium construction's social drama." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355254.
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This study examined public relations in the context of sports to better understand the relationship management methods used during an issue to provide conclusions for how public relations can be applied to develop, improve, and maintain relationships between a team and its community, particularly during an issue.Using a content analysis, this study reviewed relationship management literature and applied strategies of relationship management to stages of Turner's (1974) social drama. The content analysis of 454 news articles revealed that although relationship management strategies were identifiable, they were not significantly utilized by franchises and supporters. The lack of relationship management techniques could be used to explain why the franchise-community relationship was unstable throughout the social drama and why the social dramas lasted longer than the sports franchises anticipated. It also supports public relations researchers who argue for the use of public relations management techniques during conflict in order to build and maintain relationships between an organization and their publics.Department of Journalism
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Bottomley, Zoe Alice. "The use of dramatherapy techniques including role, play, movement and touch in developing and extending a sense of self and identity in young autistic adults." Thesis, University of Hull, 2016. http://hydra.hull.ac.uk/resources/hull:13620.
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This research seeks to establish the ways in which dramatherapy can be an effective approach for the development of a sense of self, other and identity in autistic people. Through an understanding of the characteristics of autism and the part that an underdeveloped sense of self plays in autistic behaviours, and consideration of autistic expressions of self, fundamental connections are made between the autistic self and key elements of dramatherapy. Consideration of existing autistic self-expressions and the experiences and perspectives of autistic research participants, parents of autistic individuals, and dramatherapists who work with autistic clients, allows for further understanding of the way autistic people choose to express a sense of self, the characteristics of autism and the main features of dramatherapy. Dramatherapy as an oblique approach that offers the opportunity for creative modes of self-expression, and puts the autistic client in the centre of the therapeutic process, allows for exploration of key characteristics of autism, and the acknowledgment and extension of the existing sense of self in autistic individuals, in accordance with the social model of disability.
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Heslinga, Margaretha Elizabeth. "The significance of editing techniques in the adaptation of play texts into film." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86533.
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Thesis (MDram)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis sets out to provide comparative analyses of selected play texts and their film adaptations in order to demonstrate the significant role that editing techniques play in translating the play text’s dramatic elements into the visual language of film. The purpose of a film adaptation is to present a new interpretation of the play text that audiences will find engaging. In order to establish how the film medium is potentially able to enhance or alter the audience’s understanding of the original source text, the study turns to the field of semiotics to determine how the play text’s themes, plot and characters – embodied in a verbal sign system – are adapted into the audio-visual sign system of film. While cinematography, production design and music are critical elements in film making, editing can be regarded as the distinctive and fundamental signifying practice in the construction of meaning in a film. This will be the point of departure in analysing how meaning is “translated” from one sign system into another in the process of adaptation. By manipulating the key relations between shots, editing is able to guide the audience’s understanding of the film narrative, amplify character development, and generate intellectual and emotional responses. Different editing conventions have therefore been developed to amplify the dramatic effect of the narrative and the filmmaker’s vision. The different effects that editing conventions create in the interpretation of a play text are demonstrated by comparing two cinematic versions of William Shakespeare’s Romeo and Juliet. The use of continuity editing techniques in Franco Zeffirelli’s 1968 film adaptation of Romeo and Juliet is compared to Baz Luhrmann’s use of modern MTV conventions in his William Shakespeare’s Romeo + Juliet (1996). Zeffirelli and Luhrmann both employ different editing conventions to amplify their “readings” of Shakespeare’s play text, thereby presenting an adaptation that their target audience will find engaging. The film adaptations of Shakespeare’s Romeo and Juliet therefore demonstrate the significance of different editing techniques in conveying meaning within a specific reception context. The series of reinterpretations of Christopher Isherwood’s Goodbye to Berlin (1939) illustrates how editing techniques are able to transfer Isherwood’s themes and political commentary on the rise of Nazism in Weimar Berlin across various texts and mediums, which include the film adaptation I am a Camera (1955) directed by Henry Cornelius, the Broadway musical Cabaret (1966) directed by Joe Masteroff, and finally Bob Fosse’s musical film Cabaret (1972). The comparative analyses of the above-mentioned source texts and their subsequent film adaptations demonstrate how different editing techniques are able to highlight new perspectives on the source material. Editing conventions are therefore highly significant in the creation of cinematic representations of the play text as they lead audiences to “read” the dramatic narrative within new contexts, using the visual language of film to create new insights that will complement the audience’s understanding and appreciation of the play.
AFRIKAANSE OPSOMMING: Vergelykende analises tussen gekose speeltekste en hul verwerkings vir film word in hierdie tesis uiteengesit om die betekenisvolle rol wat redigeertegnieke in die vertolking van die speelteks se dramatiese elemente in die visuele styl van die film speel, te demonstreer. Die doel met ’n filmverwerking is om ’n nuwe interpretasie van die speelteks aan te bied wat gehore vasgevang sal hou. Om te bepaal hoe die filmmedium die gehoor se begrip van die oorspronklike teks potensieel kan versterk of verander, gebruik hierdie studie die veld van semiotiek om vas te stel hoe die speeltekste se temas, intrige en karakters – beliggaam in ’n verbale simboolstelsel – aangepas word in die oudiovisuele simboolstelsel van die film. Terwyl filmfotografie, produksie-ontwerp en musiek kritiese elemente in die vervaardiging van films is, word redigering as die onderskeidende en fundamentele belangrike praktyk in die konstruksie van betekenis in ’n film geag. Hierdie is die vertrekpunt in die analisering van hoe betekenis “vertaal” word van een simboolstelsel na ’n ander tydens die verwerkingsproses. Redigering kan deur middel van manipulering van die sleutelverwantskappe tussen skote die gehoor lei om die narratief van die film te verstaan, karakterontwikkeling uit te brei en intellektuele en emosionele reaksies te skep. Onderskeie redigeerkonvensies is dus ontwikkel om die dramatiese effek van die narratief en die filmvervaardiger se visie te versterk. Die verskillende resultate wat deur middel van hierdie tegnieke in die interpretasie van ’n speelteks verkry word, word toegelig deur die twee filmweergawes van William Shakespeare se Romeo and Juliet te vergelyk. Die gebruik van kontinuïteit-redigeertegnieke in Franco Zeffirelli se 1968 filmverwerking van Romeo and Juliet word vergelyk met Baz Luhrmann se gebruik van moderne MTV-konvensies in sy William Shakespeare’s Romeo + Juliet (1996). Beide Zeffirelli en Luhrmann gebruik verskillende redigeerkonvensies om hulle “lees” van Shakespeare se speelteks toe te lig en daarmee ’n verwerking wat hulle teikengehoor vasgevang sal hou, te bied. Die filmverwerkings van Shakespeare se Romeo and Juliet demonstreer dus die belang van verskillende redigeertegnieke in die oordra van betekenis binne ’n spesifieke konteks waarin dit ontvang word. Die reeks herinterpretasies van Christopher Isherwood se Goodbye to Berlin (1939) illustreer hoe redigeertegnieke in staat is om Isherwood se temas en politieke kommentaar aangaande die opkoms van Nazisme in Weimar Berlyn oor verskeie tekste en mediums oor te dra. Insluitend hierby is die filmverwerking I am a Camera (1955) onder regie van Henry Cornelius, die Broadway musiekblyspel Cabaret (1966) onder regie van Joe Masteroff, en laastens Bob Fosse se musiekfilm Cabaret (1972). Die vergelykende analise van bogenoemde tekste en hul daaropvolgende filmverwerkings demonstreer hoe verskillende redigeertegnieke nuwe perspektiewe op die oorspronklike materiaal na vore kan bring. Redigeerkonvensies is uiters betekenisvol in die skep van filmiese voorstellings van die speelteks aangesien die gehoor daarmee gelei word om die dramatiese narratief binne nuwe konteks te “lees” deur gebruik te maak van die visuele styl van die film om nuwe insig te skep wat die gehoor se verstaan en waardering van die stuk aanvul.
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Olsson, Vera Maria. ""Allt går igen" : Upprepningens effekter i August Strindbergs drömspel, Till Damaskus I, Ett drömspel och Spöksonaten." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323902.
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August Strindbergs dramer Till Damaskus I, Ett drömspel och Spöksonaten har många likheter och brukar ofta refereras till som ”drömspel” på grund av deras drömlika stämning. Vad skapar denna stämning? Den här uppsatsen undersöker hur olika typer av upprepning utgör grepp med vilka Strindberg bygger sin speciella värld, som står mitt emellan drömmen och verkligheten. Det är en närläsning som både ser till makro- och mikroperspektiv; undersökningen gäller både retoriska språkfigurer i dialogen och större strukturella upprepningar i dramat. Upprepningens betydelse för skapandet av drömstämningen i Till Damaskus I, Ett drömspel och Spöksonaten kan i en bredare bemärkelse inte överdrivas. Trots dess mycket olika former i dramerna spelar den i alla tre pjäserna en stor roll. I Till Damaskus I är den strukturella och materiella upprepningen avgörande grepp i dramat. I Ett drömspel är återkommande scener och inte minst upprepningen i replikerna påtagligt och skapar effektivt en känsla hos läsaren av att befinna sig i en dröm. I Spöksonaten är det upprepningen av tidigare händelser innan dramats början i form av traumatiska minnen i olika konkretiserade former, som spelar störst roll och som man skulle kunna hävda utgör dramats mest bärande komponent. Trots dramernas många olikheter, förenas de av många likheter – så många och grundläggande att det inte skulle vara omöjligt att kalla dem för en drömspelstrilogi.
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Hillenbrand, Sarah. "Before Bergson and beyond : canonical German Lustspiele in light of his theories and techniques of the comic /." abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1455663.
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Thesis (M.A.)--University of Nevada, Reno, 2008."May, 2008." Includes bibliographical references (leaves 77-78). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.
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Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
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Thesis (MDram)--Stellenbosch University, 2003.ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
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English, C. L. "The implementation of action and drama techniques with learners with special educational needs in South Africa : a literature study." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53125.
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Assignment (MEd(Psyc))--University of Stellenbosch, 2002.ENGLISH ABSTRACT: This literature review highlights, with particular reference to the South African context, the emotional needs of learners with special educational needs (SEN) and stresses the importance of therapeutic intervention for these learners if educators wish to promote optimal academic, social and personal development. Due to South Africa's current economic climate a cost effective and time efficient intervention programme that is accessible to a large number of learners is essential. Action and drama techniques are proposed as possible therapeutic tools, which could potentially be implemented by educators, as therapeutic agents, within the education system. Educators would take on the central facilitation roles within these groups. The roles of director and co-director in this context have consequently been given particular cognizance. This literature review concludes that the use of action and drama techniques offers the following benefits: ~ The techniques appear to be effective treatment options for all learners with special educational needs. including those with limited verbal communication skills ~ The techniques appear to be most effective in a group setting and as such, possess the potential to reach a large number of learners. ~ Literature indicates that the techniques are adaptable and may be implemented at various levels and in diverse contexts. For example, it appears that the techniques may be implemented at a basic level in the classroom, or in more depth in a therapeutic group scenario. ~ The techniques may be implemented in a holistic manner, e.g. psychodrama model, in isolation, or be integrated with other approaches or theories. ~ Literature suggests that the techniques allow learners to gain more insight into their functioning, to work through unresolved emotions and to develop new and more functional behaviours. ~ The techniques appear to be time efficient in that literature indicates that they are conducive to brief therapy. ~ Training educators as directors and co-directors offers a potentially cost effective and accessible intervention option for South Africa.
AFRIKAANSE OPSOMMING: Hierdie literatuur bespreek sekere hoogte punte, met spesifieke verwysing na die Suid-Afrikaanse konteks, die emosionele behoeftes van leerders met spesiale onderwys behoeftes (SEN). Dit plaas klem op die belangrikheid van terapeutiese intervensie vir hierdie leerders indien opvoeders ten doel het om optimale akademiese, sosiale en persoonlike ontwikkeling te bevorder. Weens Suid-Afrika se huidige ekonomiese klimaat is 'n koste-effektiewe en tyds-doeltreffende effektiewe intervensie program wat toeganklik is vir 'n groot getal leerders, absoluut noodsaaklik. Aksie- en dramategnieke word voorgestel as moonlike terapeutiese middels, wat potensieel deur opvoeders geimplementeer kan word as terapeutiese middels, binne die onderwys stelsel. Opvoeders sou dan die sentrale fasaliterings rolle binne hierdie groepe inneem. Die rolle van 'n regisseur en mede regisseur in hierdie konteks het gevolglike spesifieke aandag gekry. Hierdie literatuuroorsig kom tot die gevolgtrekking dat die gebruik van aksie- en dramategnieke die volgende voordele bied: ~ Die tegnieke blyk om effektiewe behandelingsopsies te wees vir leerders met beperkte verbale kommunikasie vermoëns );> Die tegnieke blyk mees effektief te wees in 'n groepsverband en as sulks, beskik dit oor die potentiaal om 'n groot getalleerders te bereik. );> Die tegnieke is aanpasbaar en kan geïmplimenteer word op verskeie vlakke en in diverse kontekste. 'n Voorbeeld hiervan blyk te wees dat die tegnieke geimplimenteer kan word op 'n basiese vlak in die klaskamer, of meer in diepte in 'n terapeutiese groep scenario. );> Die tegnieke kan geïmplimenteer word op 'n holistiese wyse, byvoorbeeld 'n psigodramamodel, in isolasie, of kan geïntigreer word met ander benaderings of teorieë );> Die tegnieke laat leerders toe om meer insig te verkry in hul funksionering, om deur onopgeloste emosies te werk en nuwe en meer funksionele gedrag te ontwikkel );> Die tegnieke blyk meer tyds-effektief te wees deurdat die literatuur aandui dat dit kortstondige terapie aanhelp );> Die opleiding van opvoeders as direkteure en mede-direkteure bied 'n potensieel-koste effektiewe en toeganklike intervensie-opsie aan Suid-Afrika
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Roberts, David L. "Computational techniques for reasoning about and shaping player experiences in interactive narratives." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33910.
Full textAbstract:
Interactive narratives are marked by two characteristics: 1) a space of player interactions, some subset of which are specified as aesthetic goals for the system; and 2) the affordance for players to express self-agency and have meaningful interactions. As a result, players are (often unknowing) participants in the creation of the experience. They cannot be assumed to be cooperative, nor adversarial. Thus, we must provide paradigms to designers that enable them to work with players to co-create experiences without transferring the system's goals (specified by authors) to players and without systems having a model of players' behaviors. This dissertation formalizes compact representations and efficient algorithms that enable computer systems to represent, reason about, and shape player experiences in interactive narratives.
Early work on interactive narratives relied heavily on "script-and-trigger" systems, requiring sizable engineering efforts from designers to provide concrete instructions for when and how systems can modify an environment to provide a narrative experience for players. While there have been advances in techniques for representing and reasoning about narratives at an abstract level that automate the trigger side of script-and-trigger systems, few techniques have reduced the need for scripting system adaptations or reconfigurations---one of the contributions of this dissertation.
We first describe a decomposition of the design process for interactive narrative into three technical problems: goal selection, action/plan selection/generation, and action/plan refinement. This decomposition allows techniques to be developed for reasoning about the complete implementation of an interactive narrative. We then describe representational and algorithmic solutions to these problems: a Markov Decision Process-based formalism for goal selection, a schema-based planning architecture using theories of influence from social psychology for action/plan selection/generation, and a natural language-based template system for action/plan refinement. To evaluate these techniques, we conduct simulation experiments and human subjects experiments in an interactive story.
Using these techniques realizes the following three goals: 1) efficient algorithmic support for authoring interactive narratives; 2) design a paradigm for AI systems to reason and act to shape player experiences based on author-specified aesthetic goals; and 3) accomplish (1) and (2) with players feeling more engaged and without perceiving a decrease in self-agency.
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Dainty, Karen. "Empathy and sympathy in applied theatre : a qualitative study." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42513.
Full textAbstract:
As an academic working in the field of applied theatre with undergraduate students, I became increasingly interested in how their skills, techniques, knowledge and understanding are developed to work in applied theatre settings, particularly those that were unfamiliar to them. I was particularly interested in investigating how important, if at all, are the concepts of empathy and sympathy in the preparation of students to work in applied theatre settings and with different client groups. Research of relevant literature revealed pedagogical parallels with social work, particularly in relation to the client-facilitator relationship. There appeared to be synergy between the work undertaken in applied theatre settings and in social work. The interdisciplinary nature of this research contributes to new professional knowledge and practice. A qualitative case study was undertaken, adopting a constructivist and interpretative approach, to understand the way meanings of empathy and sympathy were constructed and interpreted by the students when working in applied theatre settings. The research took place as part of normal professional practice and consisted of a questionnaire (n=14), two semi-structured interviews (n=4) and a focus group (n=4) with third year students studying a BA(Hons) Drama in the Community degree at a small UK Higher Education Institute (HEI). The findings indicated that the participants found it difficult to define, or describe, the concepts of empathy and sympathy with any clarity. They also found it difficult to distinguish between the concepts. However, there was a consensus of opinion that the ability to distinguish between them was important because of the client-facilitator relationship when working in applied theatre settings. The data highlighted that the concepts had only been taught or considered on the programme of study in an implicit way. From this, I concluded that teaching the students the concepts in a more explicit way would help develop their knowledge and understanding of those concepts, thus enabling them to become more informed applied theatre graduates.
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Petropoulou, Ioanna. "A portfolio of academic, therapeutic practice and research work including an investigation of clients' experiences of drama techniques in therapy : A qualitative analysis." Thesis, University of Surrey, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529450.
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Fayner, Thibault. "Transmettre l'art d'écrire pour le théâtre : les apprentissages de l'écriture théâtrale en France (1984-2015) : histoire, méthodes et enjeux." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20103.
Full textAbstract:
Depuis le début des années 1980, les auteurs de théâtre sont sollicités pour conduire des dispositifs d’apprentissage de l’écriture théâtrale auprès de publics variés. Cette nouvelle prérogative pédagogique de l’auteur ne va pas sans poser un certain nombre de questions qui portent aussi bien sur l’organisation du dispositif pédagogique que sur les contenus de la transmission. À travers une approche historique et sectorielle, et en étayant l’enquête bibliographique de trente entretiens avec des écrivains-enseignants, nous analyserons la constitution cumulative de contenus d’enseignement ainsi que l’évolution des dispositifs pédagogiques sur la période 1984-2015Since the 1980s playwrights have been requested to devise learning techniques in the art of dramatic writing for a variety of audiences in France. This new educational opportunity given to a writer interrogates both adopted pedagogic strategies and the contents of the knowledge transferred. Through a historic and sectoral approach, by supporting the bibliographic research with thirty interviews of teacher-writers our analysis will evaluate the cumulative construction of the teaching material and the evolution of the pedagogic measures taken between 1984 and 2015
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Ghosh, Mrinmoy. "Microarchitectural techniques to reduce energy consumption in the memory hierarchy." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/28265.
Full textAbstract:
Thesis (M. S.)--Electrical and Computer Engineering, Georgia Institute of Technology, 2009.Committee Chair: Lee, Hsien-Hsin S.; Committee Member: Cahtterjee,Abhijit; Committee Member: Mukhopadhyay, Saibal; Committee Member: Pande, Santosh; Committee Member: Yalamanchili, Sudhakar.
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Khalid, Muhammad Umer. "Multilevel Gain Cell Arrays for Fault-Tolerant VLSI Systems." Thesis, Linköpings universitet, Elektroniksystem, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-71653.
Full textAbstract:
Embedded memories dominate area, power and cost of modern very large scale integrated circuits system on chips ( VLSI SoCs). Furthermore, due to process variations, it becomes challenging to design reliable energy efficient systems. Therefore, fault-tolerant designs will be area efficient, cost effective and have low power consumption. The idea of this project is to design embedded memories where reliability is intentionally compromised to increase storage density. Gain cell memories are smaller than SRAM and unlike DRAM they are logic compatible. In multilevel DRAM storage density is increased by storing two bits per cell without reducing feature size. This thesis targets multilevel read and write schemes that provide short access time, small area overhead and are highly reliable. First, timing analysis of reference design is performed for read and write operation. An analytical model of write bit line (WBL) is developed to have an estimate of write delay. Replica technique is designed to generate the delay and track variations of storage array. Design of replica technique is accomplished by designing replica column, read and write control circuits. A memory controller is designed to control the read and write operation in multilevel DRAM. A multilevel DRAM is with storage capacity of eight kilobits is designed in UMC 90 nm technology. Simulations are performed for testing and results are reported for energy and access time. Monte Carlo analysis is done for variation tolerance of replica technique. Finally, multilevel DRAM with replica technique is compared with reference design to check the improvement in access times.