Dissertations / Theses: 'Theatre in education'

1

Pigkou-Repousi, Myrto. "Ensemble theatre and citizenship education : how ensemble theatre contributes to citizenship education." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/56233/.

Full text

Abstract:

This study examines the ways in which ensemble theatre making can contribute to citizenship education. A range of political theories construct the framework for democratic politics and active citizenship which, in turn, become the pedagogical basis for the ensemble model of theatre learning. Outstanding political theories, such as Castoriadis’ theory of the imaginary institution of society and Habermas’ model for communicative action, structure a theoretical basis which constitutes an ideal definition for democratic politics and active citizenship. This framework becomes the pedagogic ground of ensemble theatre that constitutes a collective process of theatre making and, therefore, aims to function as a democratic learning experience in the art of theatre. In this context, a research praxis that combines methodological elements from action research and case study is conducted in two high-schools of Athens and examines students’ perceptions of politics, while at the same time explores their responses to an artistic, learning experience that interacts with their own initiatives, group decisions, and socio-artistic actions. Following this methodological route that integrates both an interventionist and an interpretive interest, the fieldwork is developed as a dialogic action between the ideal conception of ensemble theatre making and the real conditions that are encountered in the educational contexts. In this context, the analysis and the interpretation of the data provides information about the ways in young people perceive arts and politics, the ways in which they experience and develop collectiveness and active participation as well as the ways in which these perceptions determine their citizenship skills. Finally, the impact of ensemble theatre process is examined in relation to the above mentioned perceptions and conditions of political socialisation.

APA, Harvard, Vancouver, ISO, and other styles

2

Iadevaia, Jennifer Sarah. "Exploratory Theatre Activism| Implementing Theatre Pedagogy in Educational Landscapes." Thesis, Prescott College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10102199.

Full text

Abstract:

For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use.

Keywords: praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change

APA, Harvard, Vancouver, ISO, and other styles

3

Cloutier, Joseph Leonard. "Popular theatre, education, and inner city youth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21558.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Marchant, James Charles. "Plato Would Hate This: Two Theatres with Successful Controversial Work." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1288706705.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Coaker, Jaime Morgan. "From Commodity to Conversation: Applied Theatre, Public Higher Education, and the Miami University Theatre Department." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1448290982.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Mohamed, Noorlinah. "At the nexus between theatre and education : a study of theatre artists' teaching practices." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57690/.

Full text

Abstract:

In Singapore, there is an increasing presence of theatre artists as educators across varied sectors of the educational institutions. However despite their active engagement with education, research on what and how they do their teaching is limited. This thesis sets out to investigate the theatre artists’ teaching practices in education settings. The literature reviewed as part of this inquiry point to an identifiable system of pedagogy in the theatre artists’ teaching practices. As such, one of the key strands of this research is to identify and name what is distinctive about theatre artists’ teaching practices. But more than just identifying characteristics, I am interested in understanding if there is an overarching philosophy that guides these practices. To that end, I conceptualised a framework, which examines the theatre artists’ teaching practices as inhabiting a nested nexus of two distinguishably separate fields: Theatre and Education. Each with its own variegated influences and systems of knowledge and values that govern practices. Working with an overarching Bourdieusean theoretical framework, in particular habitus and field, as well as invoking Lyotard’s notion of differend, the study relies on interdisciplinary theories to aid explication of key concepts related to the study. The study also employs a melding of ethnographic case study and reflective practitioner as its methodology. Additionally, it works with “critiquing across difference” (Lather 2008) as a means to challenge and destabilise the reflective practitioner lens. This is achieved by structuring the research into two phases. Phase I involves researching in England. Working with four theatre artists, I examine how each assumes their position as educators in various education settings both within and beyond the school environment. The opportunity gained from this experience informed Phase II research in Singapore, the main focus of this inquiry. The findings suggest that to understand theatre artists’ teaching practices require an examination of contexts influencing their teaching acts. This includes their layered histories of both artistic and teaching experiences as well as the relationship they have with the school culture and the objectives and needs of their teaching projects. Additionally, in examining their teaching moments, the study discovers a pattern of doing the same approaches or strategies, differently. Working from the data, an overarching world view guiding the construction of their teaching practices is eventually proposed.

APA, Harvard, Vancouver, ISO, and other styles

7

Medina, Carmen Liliana. "Theatre of the oppressed and theatre in education : a reflection on Paulo Freire's theories." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1240234778.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

O'Neill, Clare Cecilia. "Structure and spontaneity: : improvisation in theatre and education." Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293645.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Hennessy, James. "Actors, Praxis in a theatre in education setting." Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400897.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.

Full text

Abstract:

The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.

APA, Harvard, Vancouver, ISO, and other styles

11

Al, Hinai Kamla Alwaleed. "Children’s theatre in Oman 1970- 2007: towards a developed theatre." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41016/1/Kamla_Al_Hinai_Thesis.pdf.

Full text

Abstract:

Children’s theatre exists along with other theatrical forms in the cultural life of the Sultanate of Oman. Despite the fact that Omani Children’s Theatre started its life at the beginning of the 1970s, many challenges and obstacles continue to face its ongoing development. A significant landmark in this development was the first Omani Children's Theatre Festival which took place in 2007, thirty-five years after the first Omani children’s play was produced in 1972. This festival represents a new era in the history of Omani theatre in general and the history of children’s theatre in particular. This study investigates how Children’s Theatre in the Sultanate of Oman can become a viable and valued form of art for the future. It outlines the historical background and the present situation of Omani children’s theatre and, through discussions with interviewees, defines the obstacles it presently faces and suggests ways to overcome them. The study provides a clear vision for a strong children’s theatre culture in Oman and outlines recommendations for achieving this vision. Presently, there is little written documentation about children’s theatre in Oman. This study provides the first comprehensive historical overview.

APA, Harvard, Vancouver, ISO, and other styles

12

Chambers, Cynthia R., and A. Campbell. "Using Applied Theatre to Teach the Hidden Curriculum." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3862.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Robinson, Dashanyua Sharonda. "CREATING NEW REPRESENTATIONS OF DISABILITIES IN THEATRE." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438622848.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Perry, Mia. "Theatre as a place of learning : the forces and affects of devised theatre processes in education." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/28060.

Full text

Abstract:

This study investigates the forces and affects of contemporary devised theatre practices in education. Inquiries at two sites form the basis of research: an analysis of professional contemporary devising practice with regard to educational applications and implications within it; and an analysis of a devising process in a secondary school program to consider the benefits and limitations of this approach in the context of education. This work is situated within a poststructural perspective on embodied pedagogy (Davies, 2000; Ellsworth, 2005; St. Pierre & Pillow, 2000), and within the theory of nomadic thought, as developed by Giles Deleuze (1990; 1994) and his collaborations with Felix Guattari (1983; 1987). Taking up pedagogy in this light, I consider the student as a body/mind/self in motion (Ellsworth, 2005) and focus on a non-representational perspective of analysis, understanding pedagogy to be lived and experienced by means of forces of affect, sensation and interrelation. Accordingly, this study challenges the dominant perspective on pedagogy, as occurring and evaluated according to representational logic, reliant on semiotic systems. This study asks: What can be gained from a new lens through which to understand the construction of theatre and drama in education? And, what are the connections and crevices between theatre practices today and theatre and drama in education?

APA, Harvard, Vancouver, ISO, and other styles

15

Kintigh, Monica R. "Peer Education: Building Community Through Playback Theatre Action Methods." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2230/.

Full text

Abstract:

The primary purpose of this study was to use some of the action methods of playback theatre to facilitate the acquisition of knowledge through the experience of building community. The impact of action methods on group dynamics and the relationship among methods, individual perceptions, and the acquisition of knowledge were analyzed. The researcher suggested that playback theatre action methods provided a climate in which groups can improve the quality of their interactions. The Hill Interaction Matrix (HIM) formed the basis for the study's analysis of interactions. Since the researcher concluded there were significantly more interactions coded in the "power quadrant" after training, the researcher assumed that playback theatre action methods are a catalyst for keeping the focus on persons in the group, encouraging risk-taking behaviors, and producing constructive feedback between members. Based on session summaries, individual interviews, and an analysis of the Group Environment Scale (GES), the training group became more cohesive, became more expressive, promoted independence, encouraged self-discovery, and adapted in innovative ways. The experience of an interconnected community created a space where positive growth could occur. The researcher concluded that the process of community building is intricately connected with a person's ability to make meaning out of experiences. Participants in the study noted several processes by which they acquired new knowledge: (a) knowledge through internal processes, (b) knowledge through modeling, (c) knowledge through experiences, (d) knowledge through acknowledgment and application. Acknowledging and applying knowledge were behaviors identified as risk-taking, communication and active listening, acceptance of diverse cultures and opinions, and building community relations. The study suggested further research in the effects of these methods compared to other learning methods, the effects of these methods on other types of groups, the effects of the leader's relationship to the group, and the long-term effects on group dynamics.

APA, Harvard, Vancouver, ISO, and other styles

16

Wood, Margot. "Children's theatre : in search of an approach to theatre by children, for children." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50296.

Full text

Abstract:

Thesis (MA)--Stellenbosch University, 2005.
ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once.
AFRIKAASNE OPSOMMING: Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer, selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm en 'n stortingsterrein vir hulpbronne van volwasse teater. Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is gebaseer op die idee dat spel 'n belangrike en voordelige aspek van kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander area, wat die fokusarea van hierdie studie is, is gemoeid met verhoogaanbiedings vir kinders, dus Kinderteater. Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore as gevolg van swak metodologie. Histories het die waardes en oogmerke rondom Kinderteater onwikkeling ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die kwaliteit van beide die finale produk en die proses waardeur die eindproduk bereik is. 'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en probleme wat spesifiek handeloor die proses van regie vir kinders as spelers. Moontlike oplossing vir hierdie probleme salondersoek word. 'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese projekte sal gebruik word om die menings van praktisyns op die gebied te ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in Kinderteater is altyd beide onderwyser en regisseur.

APA, Harvard, Vancouver, ISO, and other styles

17

Hong, Huili, A. Gray, Karin Keith, and Edward J. Dwyer. "Enhancing Reader’s Theatre Through Puppetry." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/987.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Fitzgerald, Keith G. "Theatre Triad: An Approach to Devising Collaborative Ensemble Theatre." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2971.

Full text

Abstract:

Theatre Triad is a new approach to devising collaborative ensemble theatre starting with the three main components of Performance: Voice, Movement, and Text. These components were deconstructed and reconstructed in pairs as the basis for the devising process. The performance process begins with creating an ensemble followed by four steps: exploring the theatrical genres affiliated with the pairings of Voice and Movement, Movement and Text, Voice and Text, and completed with reintegrating all three components. Through this process many things occur, a new play is created, ensemble members focus on exploring the elements of acting and performance, and a strong foundation of acting skills is laid for young actors. Theatre Triad can also be used as a method for teaching a number of courses in Devising Theatre or Acting classes. In this paper you will learn how Theatre Triad works as both a production approach and method in actor training.

APA, Harvard, Vancouver, ISO, and other styles

19

Jung, Shu-hwa. "The journey to transform : theatre in education and paradigm shifting." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/70043.

Full text

Abstract:

The critical understanding of Theatre in Education (TIE) presented in this thesis focuses on ‘TIE into Schools’ and its effect. The author takes the view that students’ subjectivity was influenced by the dominant mores of elements of society, such as family and school, and less often, by individual, autonomous decision. Case studies of practices that are identified with the tenets of TIE were carried out using approaches based on the principles and methods of a critical pedagogy approach. How could the TIE approach be seen as a critical pedagogy? This question is examined predominantly through the lens of Paulo Freire and Henry A. Giroux’s thoughts on education and teachers. In addition to an understanding of the tenets of TIE and the tenets of critical pedagogy, this thesis presents a criticism of its discursive approach and also a criticism from the researcher as a participant observer. This narrative approach helps explore the human side of the experience thus keeping real life issues to the fore. Fieldwork episodes of TIE practice in three different levels of schools, the Taipei He-te Primary School, 10 different senior high schools and the National Taiwan University are presented in the context of the students’ differing ages in an attempt to understand more about the methods and tenets of TIE. ‘Partnership’ is a key concept and driving force, creating mutual cooperation between the community of the school, the parents and the theatre groups. The expected outcomes of this thesis include the clarification notions of TIE, and the adoption of a subjective approach by the students in relation to the process of interactivity, leading from affection to cognition, then action. This thesis concludes that TIE is a critical pedagogy and praxis, which develops skills and attitudes in which action can be taken by the individual in fitting in the world. It improves the individual’s ability to rethink his/her beliefs and attitudes, to empathise with groups of people and individuals with whom she/he previously may not have come into social contact with and allows previously taboo subjects to be discussed openly.

APA, Harvard, Vancouver, ISO, and other styles

20

Charalambous, Chryso. "Drama/theatre education for democracy : the role of aesthetic communities." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57066/.

Full text

Abstract:

This research project focuses on the body and examines drama/theatre education as a site where politics and aesthetics can be brought together to promote democracy. Specifically, I explore the possibility of forming a way of doing within drama/theatre educational contexts that might influence a way of coming to understand - and potentially in its turn - a way of being. I am especially concerned with democracy as a living practice and I investigate whether students, through an aesthetic communicative nexus that they are encouraged to form within the drama class, and through their artistic actions within that nexus, can explore the possibilities of being ‘political bodies’, meaning the extent to which this allows democratic possibilities to flourish. I see democracy as conditioned by aesthetics and I focus on the power of the aesthetic to distance us from our ordinariness and everydayness and qualify us with a sensibility with which to reflect and think on our ideas and actions. I seek to promote the idea of a democratic culture and the formation of the democratic self that can create and sustain a culture of democracy. In terms of methodology, this project follows action research and an artsinfused methodology. Four groups participated in this research project. The analysis of the data collected from the fieldwork provides information to illustrate the beginnings of a pedagogy that aims to put these ideas into practice.

APA, Harvard, Vancouver, ISO, and other styles

21

Tsai, Chi-chang. "The transplantation of theatre-in-education from Britain to Taiwan." Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539877.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Heald, Lorie Elizabeth. "Bridging the gap between dance and theatre: A physical approach to teaching theatre at a secondary level." Thesis, The University of Arizona, 1999. http://hdl.handle.net/10150/278689.

Full text

Abstract:

The body has within it an intelligent force, a cognitive power, which deserves recognition. This cognitive power is defined in this thesis as physical cognition, a way of knowing, learning, and responding that occurs within the body and comes from the body. There is currently an imbalance in the relationship between mental and physical cognition in secondary education. This imbalance has permeated Western thought since Descartes claimed that the thinking being is separate from the bodily being. With requirements for physical education and fine arts at the bare minimum, there is a need for physical engagement in learning in secondary education. Offering a teaching model that includes movement, acting, and Anne Bogart's Viewpoints, this model provides a step by step plan for both teaching theatre from a physical perspective and developing physical cognition. It is through this integration of mind and body that education of the whole person begins.

APA, Harvard, Vancouver, ISO, and other styles

23

Razzaque, Khan Ahmed Abidur Hayes Mike. "Community theatre media as a means of human rights education : a case study of Makhampom theatre group in Thailand /." Abstract Full Text (Mahidol member only), 2005. http://10.24.101.3/e-thesis/2548/cd377/4537442.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Epps, Susan Bramlett. "Advising as Theatre and You're the Set Deisgner!" Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/2575.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Ball, Steven Derrick. "Drama and the theatre in education with specific reference to personal, social and health education." Thesis, University of Manchester, 1993. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664608.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Haagensen, Cecilie. "Lived experience and devised theatre practice : a study of Australian and Norwegian theatre students' devised theatrical practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76152/1/Cecilie_Haagensen_Thesis.pdf.

Full text

Abstract:

This study explores the incorporation of young people's lived experience upon the creative dynamics in the development of devised performance practice. By employing Vygotsky's creativity theory to devising processes the role of lived experience is analyzed through three case studies located in two theatre education colleges in Norway and Australia. The study demonstrates how young peoples' life experience is a primary resource that is developed and reasoned upon in the creative performance practice. A key finding of the study is the identification of two distinct type of performance outcome in devised theatre practice, described as "livsbasert/life-based" and "egenskapt/self-made" that will enable devised theatre to have a more nuanced understanding of both process and product in the Nordic context.

APA, Harvard, Vancouver, ISO, and other styles

27

Horne, Courtney Ayana. "Developing Confidence in Late Adolescents: A New Theatre Curriculum." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1492437412092612.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Bingham, Katy. "Theatre arts [electronic resource] : a core content area in secondary education /." Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Bingham_KMIT2010.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Tanner, Judith. "Is problem-based learning an appropriate basis for theatre nurse education?" Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396623.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Lewicki, Tadeusz. "Theatre/drama in education in the United Kingdom, Italy and Poland." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/1430/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Malys, Andrea Marie. "Education, Theatre, and Federico Garcia Lorca: An analysis of La Barraca." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431013540.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Lapham-Pilgrim, Linda. "Readers theatre in the classroom." CSUSB ScholarWorks, 1987. https://scholarworks.lib.csusb.edu/etd-project/175.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Kirley, Rachel B. "The Education and Practical Experience of Theatrical Production Managers." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1117392085.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Polycarpou, Charis. "(RE) creating a theatre of myth : pedagogy and cultural heritage in a theatre for Cypriot youth." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3648/.

Full text

Abstract:

This thesis will argue that the contemporary educational system of Cyprus denies young people opportunities to participate in the creation of their culture, which can provide the nest for the exploration and understanding of their individual and collective lives. Culture, in schools, is treated not as a dynamic process in which the young people can play the main role but instead as a static field of knowledge that should be studied and learnt. This approach, however, contradicts the same principles that were the foundations of the ancient culture that the young Greeks have inherited from the past whose performative and participatory nature ascribed to it a proactive and democratic public life that guaranteed everyone the right to speak and act. This thesis argues that the Greek young people of contemporary Cyprus should be entitled to participation in recreating and reconstructing the meanings and values of those stories that have inherited from the past and that bind them together as one people in ways that help them make sense of their contemporary private and public roles. The thesis argues that the myths of the past should be reinterpreted and repositioned again in the present to respond to the immediate social context of the young people in a participatory and democratic way so as to enable a progress of this culture and a connection between the past, the present and the future. The thesis shows that culture is under continuous reconstruction taking on the example of fifth century BC Athens where theatre and public life fed one another and developed to respond to the current socio-historical context of the time. Throughout, the thesis shows in what ways theatre can provide the means for the investigation of the inherent meanings in the myths of the past and also its significance in playing the role of the social agent that can enable transformation and progress. The thesis consists of an introduction, eight chapters and a conclusion. In the Introduction I identify the problem that exists in the contemporary educational system of Cyprus concerning the way that the field of culture is approached and present the conceptual framework that provides the foundation for proposing a new Theatre of Myth. Chapter one provides a critical reflection on and analysis of the oral culture of Homer to the democratic fifth century BC Athens and the birth of tragedy. Chapter two studies, both from the ideal and the material aspect, the social role of the Athenian tragic theatre and its polis during the fifth century. Chapter three seeks to base the arguments made in the thesis of the educational and political role of the fifth century theatre through a critical analysis of its form and content. Chapter four identifies and supports the principles of the proposed Theatre of Myth, drawing from the twentieth century developments in Modem Drama whilst chapter five shows how the Drama-in-Education tradition attempts to bridge the practices in the Modem Drama paradigm to come closer to the proposed theatre model. Chapter six provides the methodology followed for a pilot case study that attempts to transfer the Theatre of Myth into practice, which is the preoccupation of chapter seven. Chapter eight discusses and analyses the findings of the case study to inform the theoretical lines of the model of the Theatre of Myth. Some conclusions are discussed concerning the potential and the limitations of the Theatre of Myth in the end of the thesis.

APA, Harvard, Vancouver, ISO, and other styles

35

Lawrence, Julie. "Theatre arts assessment in New Jersey high schools /." Full text available online, 2005. http://www.lib.rowan.edu/find/theses.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Andersson, Gustafsson Gunilla. "The inner theatre in learning." Doctoral thesis, KTH, Industrial Economics and Management, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3374.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Santanello, Patricia Jane Ed D. "The Experiences of Parents/ Caregivers of Children with Autism Spectrum Disorder at a Sensory Friendly Theatre Performance." University of Findlay / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1595544825926404.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Jones, David. "Aesthetic justice and communal theatre : a new conceptual approach to the community play as an aspect of theatre for empowerment." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/59535/.

Full text

Abstract:

This study re-conceptualises the community play as an aspect of contemporary British theatre. In the context of the idea of an arts entitlement which has two components, participation and enjoyment, it examines three antecedents to current practice. These are: theatre and empowerment, which looks at the work of Brecht and Boal on conceptions of the audience; outreach work, which examines the de-mystification of art by looking at the relationship between theatre and education and community arts, which focuses on harnessing the creative potential of ordinary people. The lines of development which link these three areas to the community play are investigated. The history and origins of the form are outlined and Ann Jellicoe's work with the Colway Theatre Trust is examined. The study offers a new conceptual vocabulary for the analysis of community playmaking which has three principal terms: aesthetic materialism - a development of Marxist principles as they relate to a consideration of the aesthetic circumstances of the people; aesthetic justice - an application of Beardsley's concept to contemporary society and current theatre practice; and communal theatre - a new term developed as a result of this study which clarifies the differences between participation and collaboration in the making of community theatre. These three concepts are united by their relationship to the rejection of bourgeois control of cultural capital which underpins the investigative stance of the study. Contemporary society is characterised by the study as aesthetically unjust and the main questions it asks relate the search for aesthetic justice to the developing form of the community play. The theoretical investigations of the study are contextualized by fieldwork which consisted of a participant observation case study of the community department of the Belgrade theatre, Coventry. This spanned two years and focused on the 1992 Coventry community play Diamonds in the Dust. The study concludes with a comparison of the main forms of participatory theatre in the 1990s which offers a means of identifying the heuristic value of the various models of community playmaking with respect to their potential for empowerment and contribution to aesthetic justice. The implications of the study are that the participatory element of the arts entitlement needs to be strengthened into true collaboration between the professionals and the non-professionals involved in order to ensure equality of access to, and popular control of, the cultural capital which is symbolised by the community play. Communal theatre projects of this sort are assessed as being able to promote the kind of shared experience which is necessary for the development of a more aesthetically just society.

APA, Harvard, Vancouver, ISO, and other styles

39

Hershey, Christian J. "Teaching Technical Theater: Learning, not just Doing." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3960.

Full text

Abstract:

I have seen a trend in the teaching of technical theatre towards a more practical and less theoretical education. This has brought about a change in viewpoint by professional technicians, as well as students, in regards to an academic degree. Due to this change and the rise of student debt, the impulse has been to encourage going directly into the field and learning the craft there instead of spending four years in an academic institution. There has also been increased pressure on theatre departments to produce larger and more involved shows; both to draw in new students and to justify budgets for productions, particularly musicals. This has led to a greater rate of burnout for graduating students who have spent less time in actual classes than in working on productions. In studying and working in the academic environment I have made insights into ways in which these problems may be alleviated and academic training can remain relevant to the demands of the professional world.

APA, Harvard, Vancouver, ISO, and other styles

40

Maresh, Karin Ann. "Struggles for recognition : the women artistic directors of Ireland's Abbey Theatre /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544588655.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Haskell, Amelia. "Creating meaning through theatre: a qualitative and phenomenological study exploring the positive power of theatre for adolescent girls in a single-sex private high school." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123102.

Full text

Abstract:

This study examines the link between theatre and positive development in adolescent girls. Using Portraiture and Performative Inquiry methodologies, I worked closely with eight girls at a private single-sex school in Montreal over the course of eight months, teaching a theatre curriculum that allows students to create their own dramatic works by looking at topics of concern to them and performing in front of their peers. The theatre class developed their communication, expression and imagination, among other skills. My research also shows how theatre allowed the participants to create deeper bonds of friendship, develop a sense of empathy and an understanding of others, and a greater ability to express their experiences, thoughts and feelings. These abilities enabled a shared experience with their peers and an understanding that they have anxieties, perceptions and fears in common with others. Therefore, this study shows how important it is for theatre to be an essential part of the high school curriculum, since it not only benefits adolescents in their present lives, but also develops individual capacities that will serve them in the future.
Cette étude examine le lien entre le théâtre et le développement positif chez les adolescentes. À travers l'utilisation de la méthodologie portraitiste et de la recherche-action sur la performance artistique, j'ai travaillé étroitement avec huit filles d'une école privée pour fille à Montréal pendant huit mois. J'ai enseigné un programme de théâtre qui permet aux élèves de créer leurs propres œuvres dramatiques en rapport avec des sujets qui les concernent et de les jouer devant leurs pairs. Les élèves de la classe de théâtre ont, entre autres, développé leurs compétences de communication, d'expression et d'imagination. Mon étude montre également comment le théâtre a permis aux participantes de créer des liens plus profonds d'amitié, de développer un sentiment d'empathie et une compréhension d'autrui ainsi qu'une plus grande capacité à exprimer leurs expériences, leurs pensées et leurs sentiments. Ces capacités leur ont permis de créer une expérience partagée avec leurs pairs de comprendre qu'elles ont des angoisses, des perceptions et des craintes en commun avec les autres. Par conséquent, cette étude montre à quel point il est important que le théâtre fasse partie intégrante du programme d'études secondaires, car il bénéficie aux adolescentes non seulement dans la période actuelle de leur vie, mais développe également des capacités individuelles qui leur seront utiles dans l'avenir.

APA, Harvard, Vancouver, ISO, and other styles

42

Dotson, Jessica N. "INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3725.

Full text

Abstract:

Abstract INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE Jessica Nicole Dotson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015. Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Associate Professor of Theatre In the 1990s, astronomer Peter Usher was searching for new ways to teach his introductory astronomy class at Pennsylvania State University. He began to engage his students by searching for astronomical connections from other disciplines. His focus was turned to the arts, especially the works of William Shakespeare. Usher found, while searching through the canon of Shakespeare's work, astronomical references that explored the “new astronomy” of the Elizabethan age (Falk 171). This thesis will explore the writings of Usher, in regard to the astronomy of Hamlet, along with the interdisciplinary connections between art and science in and outside the classroom and museum theatre. From interdisciplinary classroom methods, to arts and scientists collaborating together for the betterment of man-kind, the use of theatre is a way of rediscovering the humanity of human history. The collaboration between the disciplines serves as one of theatre's greatest purposes, to educate and represent a living history of man.

APA, Harvard, Vancouver, ISO, and other styles

43

Sharp, Timothy Keith Jr. "Examining the Interaction Between the University Interscholastic League One-Act Play Contest and Texas Theatre Curriculum." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404909300.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Fink, Lawrence E. "The American Playwright Theatre: creating a partnership between commercial and educational theatre as an alternative to Broadway in the 1960s and 1970s." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387446799.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Lopez, Sarah C. "Theatre as Education: Creating and Performing a Play with Elementary School Students." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/685.

Full text

Abstract:

This paper is an exploration of the concept of theatre as education and what I learned about teaching, transformation, and failure through my thesis project. In order to explore these ideas, I reflect on my experience creating and performing a short play with a group of eight 2nd and 3rd grade students over the span of nine weeks. I pinpoint the parts of the process that worked well and discuss how these techniques and activities could be used to enhance curriculum and learning in the classroom. I also discuss which parts of the process failed and what I learned from those experiences. I hope that the paper may serve as a guide for teaching artists undertaking similar work and a resource for teachers looking to incorporate theatre arts into their curriculums.

APA, Harvard, Vancouver, ISO, and other styles

46

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

47

Soderbery, Celeste Koren. "The use of children's theatre as a tool for teaching environmental education." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2476.

Full text

Abstract:

The play, Madagascar Mayhem, was devised as a means of developing ecological understanding about rain forest preservation and educating and expanding upon the use of drama as it relates to environmental education. By being involved in and learning about issues addressed in the play's content, students learned about how their actions may have a positive impact on rain forest preservation, the biodiversity of Madagascar, its agricultural loss and the movement to protect it.

APA, Harvard, Vancouver, ISO, and other styles

48

Dobson, Warwick. "Truth in dialogue : a knowledge-centred approach to drama in education." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321344.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

50

Hughes, Catherine Helen. "Performance for Learning: How emotions play a part." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211932278.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Theatre in education'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles