Journal articles: 'Theatre in education'

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Robinson, Alice M. "Theatre Education." Performing Arts Journal 17, no. 2/3 (May 1995): 90. http://dx.doi.org/10.2307/3245780.

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Stănescu, Mirona, and Daniel Andronache. "The Importance of Theater Pedagogy from a Student's Perspective. An Empirical Study in a German-Speaking Elementary School in Romania." Educatia 21, no. 18 (May 21, 2020): 109–18. http://dx.doi.org/10.24193/ed21.2020.18.11.

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Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatre education from the perspective of the students. We interviewed 20 primary school students of the German-speaking school in Cluj-Napoca, who had theater pedagogy as optional courses for four years about their personal experience with theatre. Results demonstrate the development of personal, social and aesthetic skills. The data obtained show that students themselves recognize the significant and positive impact of the education through theatre regarding the emotional, social and aesthetic development (as components of personal development), and the relationship between them.

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Guner, Hafize, and Hasan Nami Guner. "Theatre for Education." Procedia - Social and Behavioral Sciences 51 (2012): 328–32. http://dx.doi.org/10.1016/j.sbspro.2012.08.168.

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Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.

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M. Dinu Imansyah. "Theatre By Request’ As Theatre Education Alternative." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 61–68. http://dx.doi.org/10.33153/iicacs.v2i1.16.

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“Theatre by Request “(TbR) is the name of one of the show's methods performed by the Studio Teater Yogyakarta initiated and led by Eko Santosa aka Eko Ompong. The basic principle of TbR is the strong interaction between viewers and performances based on the theatre game—that usually being used as basic acting training. The audience becomes part of the show with the opportunity to select and determine the number of actors' performances, themes, to control the performance of the show through certain rules set by Eko Ompong as the TbR Host. The purpose of TbR is to introduce the nature of theatre to the public, especially to school children in a simple but interesting way. The purpose of this research is to understand TbR as Theatre Education Alternative.”

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Chemi, Tatiana, and Peter Kastberg. "Education through theatre: Typologies of Science Theatre." Applied Theatre Research 3, no. 1 (January 1, 2015): 53–65. http://dx.doi.org/10.1386/atr.3.1.53_1.

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Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (May 1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.

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International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the environment. The study analyzes the performance of the two plays and addresses some contradictions arising from the involvement and influence of external organizations. Marion Frank is a graduate of Bayreuth University in Germany, whose extensive field research has resulted in the publication of AIDS Education through Theater (Bayreuth African Studies Series, Bayreuth, 1995). Dr. Frank is currently living in the US, where as a Visiting Scholar at Duke University she is now working on a research project aiming to establish a closer link between literary/cultural studies and medicine/medical anthropology.

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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (November 2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.

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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.

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Świątkowska, Wanda. "Theatre Education at Reduta." Pamiętnik Teatralny 69, no. 2 (August 13, 2020): 7–48. http://dx.doi.org/10.36744/pt.38.

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The article presents the history and principles of theatre education at Reduta in its successive forms: from Koło Adeptów [The Apprentice Circle], established in 1921, through the Reduta Institute, to Okop [The Trench], which was the last pre-war incarnation of the school. Based on documents and memoirs, the article discusses Reduta’s comprehensive and holistic model of education, in which regular theoretical classes were accompanied by practical and physical exercises. A crucial part of the education process was student participation in the theatre’s daily operations: rehearsals, preparation of stage productions, and tours. The aim of the school was to offer future artists comprehensive preparation for various theatre functions, as well as to produce ideologically engaged social activists, who consider serving the society through art as their primary task and mission. A comparison between Reduta’s schools and other educational initiatives confirms that in terms of scope, curriculum, work methods, practices, as well as atmosphere, the former were indeed pioneering and stood out from traditional pre-war drama teaching. Published as an appendix to the article is its source material: Juliusz Osterwa, Okop, edited and with an introduction by the author of the article. (Transl. Z. Ziemann)

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Úcar, Xavier. "Theatre: Communication and education." Educar 18 (February 1, 1991): 73. http://dx.doi.org/10.5565/rev/educar.502.

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Dawson, Kathryn M. "Theatre, education and performance." Research in Drama Education: The Journal of Applied Theatre and Performance 17, no. 1 (February 2012): 136–38. http://dx.doi.org/10.1080/13569783.2012.649019.

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Grammatas, Theodore. "Theatre Education in Greece." Research in Drama Education: The Journal of Applied Theatre and Performance 3, no. 2 (September 1998): 247–48. http://dx.doi.org/10.1080/1356978980030209.

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Magela, André Luiz Lopes. "OECD and Theatre Education." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 39 (December 23, 2020): 1–24. http://dx.doi.org/10.5965/14145731033920200502.

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Written interview in May 2020 with Andreas Schleicher, director of education at the OECD – Organization for Economic Cooperation and Development, focusing on educational issues that directly or indirectly concern theatre education. The interview was also addressed to Stéphan Vincent-Lancrin, Ellen Winner and Thalia Goldstein, authors of an OECD book dedicated to teaching arts in schools. The approached topics comprehended the importance of artistic education, connections of artistic education with competencies, public policies in education and the global economic agenda. The interview is preceded by a preamble authored by the interviewer.

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Bridges, Caroline. "Loudmouth: Theatre in education." British Journal of School Nursing 3, no. 6 (October 2008): 287–89. http://dx.doi.org/10.12968/bjsn.2008.3.6.31703.

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Salazar, Laura Gardner. "Assessment in Theatre Education." Design For Arts in Education 93, no. 5 (June 1992): 41–45. http://dx.doi.org/10.1080/07320973.1992.9936692.

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Levy, Jonathan. "Theatre and Moral Education." Journal of Aesthetic Education 31, no. 3 (1997): 65. http://dx.doi.org/10.2307/3333488.

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Teodorescu, Marius-Alexandru. "The Theatrical System’s Reform as the Aim of the Theatre Director’s Education in Romania." Studia Universitatis Babeş-Bolyai Dramatica 67, no. 2 (December 13, 2022): 81–94. http://dx.doi.org/10.24193/subbdrama.2022.2.05.

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"This article emphasizes the profound interdependence between the theatre directing educational system and the cultural system, taking into account the specifics of the situation in Romania. Identifying the theatre director as a pillar who defines the status quo in the cultural system and that oversees the implementation of a given global vision in theatres, the article argues that the director’s educational process naturally results in defining tomorrow’s theatre practices. In this context, the article identifies the key skills that the young director should have when entering the cultural system and argues in favour of their importance starting from practical situations in the institutional theatre system in Romania. These basic skills are: a deep understanding of all the compartments of a theatre and how each compartment functions, being able to further educate actors about the basic concepts of theatrical art, the ability to conduct a profound text analysis and, lastly, a commitment to use a directing notebook as starting point for their shows. The article concludes that the main reasons why the education system currently fails to develop these skills are the lack of time allocated to theatrical practice, but also the prevalence of the desire to train a small number of exceptional directors to the detriment of training al student directors to become capable of operating in the cultural market. Keywords: director, theatre, pedagogy, practice as research."

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Cresswell, Becky, Corrina Davies, Sue Langlois, and Dan Richter. "Growing our own theatre staff: Practice development and education." Journal of Perioperative Practice 28, no. 5 (May 2018): 128–32. http://dx.doi.org/10.1177/1750458918769199.

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Royal Bournemouth & Christchurch Hospitals NHS Foundation Trust engaged in a quality improvement project aimed at improving quality and safety in theatres. The improvements delivered were recruitment to full staffing template, reduction in agency staffing to zero, and creating a theatre coordinator role to ensure safe staffing. The Practice Education Team was increased fivefold with no extra investment as a result of these improvements. Student satisfaction results amongst ODPs and nurses have increased alongside staff morale and productivity.

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Heywood, Peter, and Mark Reilly. "Lecture theatre and street theatre?" Medical Education 38, no. 5 (May 2004): 554–55. http://dx.doi.org/10.1111/j.1365-2929.2004.01902.x.

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Gambles, Chandel. "Colonialist theatre education in Botswana." SURG Journal 3, no. 2 (February 6, 2010): 3–9. http://dx.doi.org/10.21083/surg.v3i2.1119.

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There is a distinct lack of theatre in Botswana due to its political and social history. The colonialists of the past and the artistic Theatre for Development educators have forced outside theatrical ideals on Botswana productions. When the majority of the country was illiterate, this was the most effective tool for establishing propaganda and communication. However, since the economic welfare and educational standards of Botswana have improved, educators should not be as dependant on theatre as a tool. Theatre for Development still dominates current productions and has caused a distinct hindrance of creative discovery within the country. Until the topics and creative stylizations of the indigenous people are accepted and promoted, the nation cannot hope to reflect their distinct culture through theatre.

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DUTT, BISHNUPRIYA. "Introduction." Theatre Research International 42, no. 3 (October 2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.

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These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy and vision of a national theatre; and college theatre, which comprises the field from which the National School of Drama sources its acting students, as well as new audiences for urban theatres.

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Ozieblo, Barbara. "Composing Ourselves: The Little Theatre Movement and the American Audience. By Dorothy Chansky. Carbondale: Southern Illinois University Press, 2004; pp. 256; 15 illus. $55 cloth; Summer Stock! An American Phenomenon. By Martha Schmoyer LoMonaco. New York: Palgrave Macmillan. 2004; pp. 320; 25 illus. $27.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 343–46. http://dx.doi.org/10.1017/s0040557405370207.

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The theatre has long been recognized as a site from which national and social values can be promoted, and this was particularly the case with the Little Theatre and summer stock phenomena. Even when performing non-American plays, these movements addressed the education of the audience, as Dorothy Chansky and Martha Schmoyer LoMonaco make apparent in two rigorously researched studies. Both have chosen to focus on the audience as an integral component of the theatrical event and, eschewing postmodern theories of the spectator's gaze, they bring a sociohistorical perspective to their findings, which are based on in-depth research of theatre documents, memoirs, and reviews. Chansky examines how the Little Theatres constructed and educated their audiences, whereas LoMonaco, in tracing the history of a number of summer-stock theatres, uncovers the hold that the audience has on artistic and financial policies. The two books cover areas and aspects of theatre history not frequently studied; they examine the complex artistic and economic issues involved in founding and running a theatre, while also certifying that American theatre has never been contained by a few streets in the vicinity of Times Square.

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Barker, Clive. "Games in Education and Theatre." New Theatre Quarterly 5, no. 19 (August 1989): 227–35. http://dx.doi.org/10.1017/s0266464x00003304.

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In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops’ for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games’ of his own childhood and adolescence. In this article (based on a paper presented in November 1988 at the conference on theatre and education in Mohammédia, Morocco), he considers our changing perception of the relationship between the two senses of ‘play’, and the way in which ‘games’ have been institutionalized to avoid their inherent threat to an organized, work-disciplined society-a trend still being reinforced, as the improvisatory element of drama in schools becomes subject to the rigours of evaluation and examination. Clive Barker, whose career in the professional theatre began with Joan Littlewood's Theatre Workshop company, is co-editor of New Theatre Quarterly, and now teaches in the Joint School of Theatre Studies at the University of Warwick.

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Winston, Joe. "Drug Education through Creating Theatre in Education." Research in Drama Education: The Journal of Applied Theatre and Performance 6, no. 1 (March 2001): 39–54. http://dx.doi.org/10.1080/13569780020031780.

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Kazragytė, Vida. "The Subject of Theatre in the Lithuanian School: Relationships within the General Educational Cultural Context." Pedagogika 111, no. 2 (September 10, 2013): 195–202. http://dx.doi.org/10.15823/p.2013.1805.

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The article investigates the rather new educational phenomenon – about twenty years ago under the impact of educational reform the theatre subject teaching was introduced. In many neighbor’s countries there is no such separate theatre subject still yet. The focus of the article is on the relationships between the curricula of theatre subject (2008, 2001) and the practice of long-lived non-formal education of children and youth of Lithuania. The curricula of theatre subject were prepared according to comprehensive discipline-arts education conception formed in United States of Amerika. Taking into account the notion of M. Lukšienė, that experience of other cultures, as well as the educational innovations must be adopted according to “own cultural model”, the attention is paid to analysis how curricula of theatre subject are grounded on traditions of Lithuanian non-formal education, especially its artistic trend. The self-expression paradigm or psychological trend of theatre education is less evident in our context. The roots of artistic trend are in Jesuit’s school theatre that existed in Lithuania 1570–1843. The artistic trend was recreated at the end of 20th century in non-formal theatre education in Lithuania by relaying on the professional theatre pedagogy (the training of professional theatre pedagogues started, the first books of methodology of theatre education appeared). Analysis showed that common concepts, as “theatre” and “education through theatre” are those which relate artistic trend of non-formal theatre education with curricula of theatre subject, accordingly, which are grounded on discipline-based art education conception. Especially that is clear from the revealing of content of “education through theatre” concept and explaining its formative and cognitive impacts on children and youth who are acting the roles created by dramaturge. The biggest challenge related with coming of theatre subject as separate, is the creating of theatre knowledge appropriated for school children. Now the theatre subject curricula describe the knowledge which are known in professional theatre pedagogy and in artistic trend of non-formal theatre education, but only in part. Thy must be expanded by new knowledge which will be get by way of externalization from direct practice. Also, there is a need of artistic orientation of theatre didactics – that can guarantee the succession of the best traditions of Lithuanian‘s theatre education and encourage their development.

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Inštitorisová, Dagmar. "EDUCATION BY THEATRE PROJECT (2010 – 2014)." CBU International Conference Proceedings 4 (September 22, 2016): 292–303. http://dx.doi.org/10.12955/cbup.v4.771.

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This article summarizes the almost four-year duration of the Vzdelávanie divadlom (Educating through the Theatre) project from 2010 to 2014, which was funded through European structural funds and based at the Faculty of Arts, Constantine the Philosopher University, in Nitra. This project was managed by the author. As part of the project, 27 workshops were held on historical and contemporary poetics in theatre and their application. There were 45 works published (28 monographs, 15 manuals, and 2 electronic publications) and 8 lectures, 1 colloquium, 1 international conference, and 3 school theatre productions. Eleven Slovak theatre companies were hosted and two theatre festivals supported. This article highlights the main aims of the project and its impact at a nationwide level.

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Fletcher-Watson, Ben. "Learning though theatre: the changing face of Theatre in Education; Theatre in Education in Britain: origin, development and influence." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 4 (September 5, 2016): 590–92. http://dx.doi.org/10.1080/13569783.2016.1228451.

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Kruger, Loren. "Introduction: Scarcity, Conspicuous Consumption, and Performance in South Africa." Theatre Research International 27, no. 3 (October 2002): 231–42. http://dx.doi.org/10.1017/s0307883302000317.

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While anti-apartheid theatre was known worldwide for dramatizing the struggle against apartheid, theatre in South Africa today is hampered by the loss of a focused movement for change and by inefficient and compromised institutions of patronage and development. Well-placed administrators and stakeholders channel limited subsidy to large institutions such as the Market and the State Theatre, whose repertoires are dominated by nostalgic revivals, while cutting-edge performance must rely on corporate or international support. Under these conditions, theatre that is innovative in seeking new audiences and functions, as well as forms, happens often outside theatres: in film and radio, in education, and as an informal legacy of the Truth and Reconciliation Commission's project of personal and national healing.

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Jakšić Balaž, Kristina, and Iva Gruić. "PARTICIPATORY THEATRE AND SEXUAL EDUCATION." Metodički obzori/Methodological Horizons 9, no. 1 (June 16, 2014): 77–91. http://dx.doi.org/10.32728/mo.09.1.2014.06.

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Kun, Attila. "The Hungarian Dance Theatre Education." Tánc és Nevelés 2, no. 2 (October 13, 2021): 101–13. http://dx.doi.org/10.46819/tn.2.2.101-113.

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The purpose of the paper is to give an overview of dance theatre education related to Hungarian contemporary dances and relying on the results of current and still ongoing research. The paper surveys the embeddedness of participational dance education programmes in the structure of prose/drama theatre education, as well as the historical antecedents of its diverse methodology, its forms of financing throughout times and its activities.

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Zazzali, Peter, and Jeanne Klein. "Toward Revising Undergraduate Theatre Education." Theatre Topics 25, no. 3 (2015): 261–76. http://dx.doi.org/10.1353/tt.2015.0034.

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Jackson, Anthony. "Diversity in Theatre-in-Education." New Theatre Quarterly 8, no. 29 (February 1992): 95–96. http://dx.doi.org/10.1017/s0266464x00006382.

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Whybrow, Nicholas. "Theatre in Education: What Remains?" New Theatre Quarterly 10, no. 38 (May 1994): 198–99. http://dx.doi.org/10.1017/s0266464x00008733.

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Exarhopoulou, Mina scorthou. "Synthetic theatre through museum education." International Journal of Early Childhood 28, no. 2 (September 1996): 53–56. http://dx.doi.org/10.1007/bf03174503.

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Singh, Asha. "Humanising Education: Theatre in Pedagogy." Contemporary Education Dialogue 2, no. 1 (July 2004): 53–84. http://dx.doi.org/10.1177/097318490400200104.

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Nichols, Glen. "Roles of Theatre in Higher Education: Liberal Education and University Theatre Programs in Canada." Theatre Research in Canada 39, no. 1 (January 2018): 77–79. http://dx.doi.org/10.3138/tric.39.1.77.

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Meiklejohn, J. M. C. "Theatre Education after World War II: A Memoir." Theatre Research in Canada 12, no. 2 (September 1991): 141–68. http://dx.doi.org/10.3138/tric.12.2.141.

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Michael Meiklejohn (1906-1989) was one of Canada's most influential leaders in community theatre after World War II. As full-time theatre consultant with the Department of National Health and Welfare from 1948 to 1955, he adjudicated drama festivals, gave speeches, taught workshops, published training materials, and consulted informally with other leaders in theatre education in Canada and abroad. In this memoir, written about 1981 and found among his private papers after his death, Mr Meiklejohn records his impressions of community theatre and theatre education in the burgeoning climate of post-war Canada.

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Ganelin, Aleksandr E. "Early 20th Century Studio and Theatre Innovations of Vs. E. Meyerhold and S. E. Radlov." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 393–409. http://dx.doi.org/10.21638/spbu15.2021.303.

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The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the beginning of the XX century. The unique theatre school-studio became an autonomous art structure, independent of the staffing and financial demands of repertoire and private theatres that studios during this period experienced. For Meyerhold and other teachers of the Studio, particularly, Vladimir Solov’ev, a top priority was reviving the stage technique commedia dell’arte. The student plays of the studio fully reflected the undoubted successes and, naturally, the vulnerabilities inherent in such innovative searches. The article analyzes the detailed list of stylistic, mise-en-scenic and decoration production solutions proposed by Meyerhold and Yuri Bondi, the opportunity to improvise in a pre-prepared directorial plan. Sergei Radlov, a participant in the Studio at Borodinskaya, continued his creative search in the approach proposed by Meyerhold for the development of an improvisational synthetic theatre. Radlov’s directorial and pedagogical work in the studios of Kurmascep, “Popular comedy” (Narodnaya Comediya), etc., at the Institute (later Technical School) of stage arts deserves additional consideration in terms of the scientific analysis of the evolution of his innovative views at the beginning of the century and their interconnection with traditional approaches to theater education and stage practice of those years.

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Klein, Jeanne. "Creativity in theatre: theory and action in theatre/drama education." Youth Theatre Journal 33, no. 2 (July 3, 2019): 163–64. http://dx.doi.org/10.1080/08929092.2019.1685326.

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Heinrich, Anselm. "WILLIAM GLADSTONE AND THE THEATRE." Theatre Survey 52, no. 1 (May 2011): 83–103. http://dx.doi.org/10.1017/s004055741100007x.

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William Ewart Gladstone, four times prime minister (1868–74, 1880–5, 1886, and 1892–94), the “greatest colossus of the Victorian Age,” the most influential prime minister of the nineteenth century, and the Grand Old Man (G.O.M.) of British politics and statesmanship, seems an unlikely advocate for the theatre. Deeply religious, conservative, and serious, Gladstone is not easily imagined as an avid theatregoer. It is difficult to imagine him supporting the ephemeral, often subversive, and suggestive character of the theatre. And indeed, in his early years Gladstone despised the theatre and called it an “encouragement of sin.” As prime minister, he was almost obsessed by a religious zeal; Richard Foulkes has noted that “Few, if any, prime ministers have carried out their role in making senior Church appointments as assiduously as Gladstone did.” For members of Victorian Britain's Christian majority, the theatre was anathema and regarded as morally suspect. They were intensely suspicious and saw playgoing as a distraction from religion and as a promoter of frivolity, vanity, and female forwardness. They linked theatres to “prostitution, juvenile delinquency, idleness, drunkenness and frivolity.” In fact, theatres were the “antithesis of the Victorian world view which prized respectability, gentility, decency, education and uplift.” Until at least the later decades of the nineteenth century, theatre “was widely regarded as the lowliest of the arts, if one at all.”

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Петрова and A. Petrova. "Auditorium of the Bolshoi Theater Journey As a Form of Aesthetical Education of Younger Schoolchildren." Primary Education 4, no. 4 (August 17, 2016): 32–34. http://dx.doi.org/10.12737/21359.

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The article discusses the educational potential of the excursions in the auditorium of the Bolshoi Theatre for introduction to younger students the peculiarities of architecture, interior design of the theater building, initiation to understanding the creative life of the theater group. The aim of the tour is the aesthetic education of children, development of their imagination and the ability to co-creation, conscious perception of theatrical art.

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Kazragytė, Vida. "The development of school theatre pedagogy in Lithuania: aspect of ideas." Pedagogika 114, no. 2 (June 10, 2014): 154–66. http://dx.doi.org/10.15823/p.2014.013.

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At the beginning of last century the school theatrical performances were organized by enthusiastic teachers amateurs. The purposes of theatre in schools were considered differently: as a teaching tool and as area of artistic education through theatre. From the 8th decade of XX century in Klaipėda in higher school the preparing of stage directors for amateur activities was established. There the professional actors worked as theatre teachers. Thy pushed the artistic trend toward. But the idea of children‘s theatre as a learning tool through performances grounded on pretend play was also strong. About 1500 of children‘s theatrical groups aroused in Lithuania.From 1988 the reform of general education started and through about twenty years the theatre subject or acting was integrated in the system of general education in Lithuania. In 2003 the implementation of theatre pedagogy master study program and in 2005 bachelor study program undertakes. But until now there are no theoretical backgrounds of theatre didactics created. But on the development of didactics the quality of theatre integration in general education depends. In 2013 the theatre mature examination was implemented firstly. It requires the new competences of theatre teachers. And that is the new directions for theatre pedagogy development.

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Kempe, Andrew J. "Widening Participation in Theatre through ‘Relaxed Performances’." New Theatre Quarterly 31, no. 1 (January 30, 2015): 59–69. http://dx.doi.org/10.1017/s0266464x15000068.

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In this article Andy Kempe discusses how a nationwide project has marked a significant step forward in improving access to the theatre for UK audiences who have hitherto felt largely excluded from theatre by mounting a number of ‘relaxed performances’. He makes particular reference to autistic spectrum disorders to illustrate how, in order to widen participation, theatres need to cater for a diverse range of individual needs. The article explores the challenges of catering for children and young people who may be, variously, under- or over-sensitive to sensory stimuli, in both the way performances are adapted and how the front-of-house is organized. A case study is offered of how one small regional theatre sought to address these challenges by giving a ‘relaxed performance’ of its annual pantomime. The impact of the production is considered as well as insights that have emerged from the enterprise. Andy Kempe is Professor of Drama Education and a Teaching Fellow of the University of Reading. His work with students of all ages and abilities has informed his numerous publications on a variety of issues in drama and arts education, including Drama, Disability, and Education (Routledge, 2012).

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Datoo, Al Karim, and Zainab M. A. Chagani. "Street Theatre: Critical Pedagogy for Social Studies Education." Social Studies Research and Practice 6, no. 2 (July 1, 2011): 21–30. http://dx.doi.org/10.1108/ssrp-02-2011-b0002.

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This paper aims at exploring the usefulness of street theatre as critical pedagogy in teaching of social studies education. It gives a brief background of street-theatre and its linkages with critical pedagogy. In the light of theoretical underpinnings of this arts-based pedagogy, the paper deliberates upon the relevance and efficacy of street theatre in a social studies classroom. This paper uses a street theatre performance case to look at the techniques such as: body motion, body work, props, use of visual and audio aids, etc.; processes such as: conscientization and catharsis; and dialogical approach employed by street theatre to bring awareness about socio-political and cultural issues prevalent in a society. The analysis of this performance act shows that street theatre successfully encourages spectators or the oppressed masses to reflect, and triggers action in them to come out of socio-political oppression. When looked at from educational perspective, street theatre encourages the employment of multiple-intelligences of both students and teachers; and therefore, it can be one innovative strategy to make students aware of the issues infecting their society and also to empower students for action

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Nijemčević Perović, Marija. "Doprinos pozorišne pedagogije razvoju kompetencija nastavnika nemačkog jezika u inicijalnom obrazovanju." Узданица 18, no. 1 (June 2021): 269–85. http://dx.doi.org/10.46793/uzdanica18.1.269n.

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This paper examines the contribution of theatre pedagogy, implemented in the initial education of German language and literature students, to the development of teaching competencies defined in strategic documents. The target group of the research consisted of German language teachers who were members of the Academic Theater of German Students during their bachelor and master studies. A semi-structured group discussion was used as the data collection technique, while the data analysis and interpretation theater pedagogy methods, they should be integrated into the curricula of study programs dealing with the education of future foreign language teachers. were performed using a qualitative research method. The results have shown that theatre pedagogy contributes to the development of professional, psychological, didactic and mod- erational-mediational skills of future teachers of German as a foreign language. Having in mind the spectrum of teaching competencies that are developed through the application of

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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.

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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.

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Feldhendler, Daniel. "Playback Theatre." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 2 (July 1, 2007): 46–55. http://dx.doi.org/10.33178/scenario.1.2.4.

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Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education. Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education.

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Aleshi, Rowland U., and Clementina N. Iloh. "The Need for Theatre Arts Education in National Reformation." International Letters of Social and Humanistic Sciences 19 (December 2013): 208–16. http://dx.doi.org/10.18052/www.scipress.com/ilshs.19.208.

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This essay discusses the concepts of theatre arts and education, and the convergence of theatre arts education in national reformation. In-between cultural norms and religious values, the theatre artist as an evangelist can provide solutions to reform the declining morals and values of society. This crucial role of the theatre artist is what the author articulates and urges us to consider as an option to regain our country’s lost glory. The increasing threat of social degeneration and global insecurity calls for this genre to bring about peace, unity, prosperity and development in Nigeria. The author recommends that government and stakeholders should give support and recognition to theatre arts as a profession and remind parents, teachers, community and religious leaders to restore family values. Theatre arts can crystallize action for national rebirth or re-orientation as it mirrors the society and propagates strict spiritual, moral and behavioral education to characterize child upbringing and training. Theatre arts education can influence character and moral discipline in youths and make the society a better place by stemming the tide of the growing number of delinquents who are easily enlisted and indoctrinated by terrorists, gangsters, fraudsters, kidnappers and armed robbers.

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Klein, Jeanne. "Teaching Theatre Today: Pedagogical Views of Theatre in Higher Education (review)." Theatre Topics 17, no. 2 (2007): 169–70. http://dx.doi.org/10.1353/tt.2008.0008.

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Krylovskaya, Izabella I. "Amateur Musical Theatre of the Russian Far East (1940s – 1980s)." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 34–64. http://dx.doi.org/10.35852/2588-0144-2022-2-34-64.

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This article undertakes the first systematic study of the amateur music and theatre art of the Soviet Far East. Based on a wide range of unknown sources, the author traces the development and creative activity of the amateur music and theatre groups in the Magadan Region, Khabarovsk and Primorsky territories. Such theatre activity is considered by the author as one of the non-stationary form of the Far Eastern music theatre. As a result of the study, the author identifies general trends in the development of amateur musical theatres in all regions of the Far East: the heyday of activity is connected with the end of the 1950s –1960s; increased attention to the Soviet and local repertoire, the presence in the repertoires of the Ukrainian national operas, Russian and Soviet operas, Soviet and European operettas, independent solution of the problems of training and education of personnel, solving the problem of cultural services for remote territories.Conclusions are drawn about the representation of amateur music theatre in the regions of the Far Eastern music theatre system that developed before the early 1940s. There is also mentioned a problem of considering the amateur music and theatre art in the Russian Far East being a part of the music theatre life of the regions within the framework of their music and theatre culture.

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Journal articles on the topic 'Theatre in education'

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