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Thomsen, Frank. "Von der Taktik zur Tugend Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929-1945 /". Frankfurt : Lang, 2008. http://catalog.hathitrust.org/api/volumes/oclc/272561135.html.
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Sheehy, Margaret. "Community and celebration in community plays". Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369683.
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Nelson, Bethany. "Drama and multiculturalism : power, community and change". Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/45734/.
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This three phase research project, conducted with low-income students of color in an urban high school, addresses the use of process drama and playmaking as primary modes for addressing components of best practice in multicultural education, and altering the reproduction of hegemonic ideologies in schools. Further, the effects of classroom community on the learning outcomes of the project are considered. This is a qualitative study using participant observation as a primary form of data collection, followed by ethnographic interviews. Data analysis followed a primarily inductive process with a focus on the development of grounded theory to explain the outcomes. Discussion of project outcomes are considered in relationship to literature on the nature of ideologies, the ways that public schooling both supports and exacerbates existing dynamics, the suitability of public schools as potential sites of change in these dynamics, and the potential of applied drama/theatre to provide a viable alternative curricular approach for facilitating change in hegemonic reproduction in schools.
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Preda, Colegiu Roxana Natalia. "Petru Dumitriu – Le drame de l’écrivain entre deux mondes". Thesis, Paris Est, 2015. http://www.theses.fr/2015PESC0025.
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La présente thèse c’est l’histoire d’une vie, des sommets et des abîmes, de la lumière et des ténèbres, des sourires et des sanglots. Les deux moitiés complémentaires de la vie, une manière d’expression personnelle et unique, une force créatrice qui va au-delà des limites, le talent littéraire indiscutable, voilà quelques mots-clefs qui caractérisent bien notre auteur. La métamorphose imprévisible continuelle manifestée dans son œuvre et les secrets de son écriture, contestée et appréciée à la fois, ne sont que des pistes générales qu’on se propose de développer tout au long de cette recherche. Les nombreuses publications récentes montrent un grand intérêt qui existe pour un sujet encore actuel et inépuisé, pour une époque qui suscite une longue chaîne d’interrogations, qui ne cesse de surprendre. Un thème de discussion toujours effervescent et passionné, qui accueille de plus en plus de participants prêts à se délivrer des mystères d’une époque lourde et obscure. Pourquoi « Le drame de l’écrivain entre deux mondes » ? Un titre apparemment simple, pour un thème vraiment complexe. Probablement parce que Petru Dumitriu est un cas atypique ; en contraste avec ceux qui préfèrent vivre en silence leurs drames, préserver au maximum leur intimité, tout sceller pour toujours dans les profondeurs de leur âme, Petru Dumitriu choisit l’ouverture, la sincérité totale, le récit assumé d’une expérience qui émeut dès les premières phrasesThe current thesis is the story of a life, peaks and abysses, light and darkness, smiles and tears. The two complementary halves of life, a way of personal and unique expression, a creative force that goes beyond the limits, the indisputable literary talent, here are some keywords that perfectly characterize our author.The continual metamorphosis unpredictable manifested in his work and the secrets of his writing, both challenged and appreciated are only general tracks that we propose to develop throughout this research.The many recent publications show great interest that exists for a current and still unexhausted subject to a time that elicits a long string of questions, which continues to surprise. A topic of discussion still effervescent and passionate, which welcomes more and more participants willing to deliver mysteries of a heavy and dark time.Why "The drama of the writer between two worlds"? An apparently simple title for a truly complex issue. Probably because Petru Dumitriu is an atypical case; in contrast to those who prefer to live in silence their dramas, preserve their privacy at the maximum while sealed forever in the depths of their soul, Petru Dumitriu chooses aperture, total sincerity, the narrative assumed an experience that moves from the very first sentences
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Aitchison, Bridget Mary. "Transformational drama: theatre for community and social change". Thesis, Faculty of Creative Arts, 2001. https://ro.uow.edu.au/theses/943.
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Transformational Drama is theatre which acts as a catalyst for change in communities and in society. It addresses issues of social importance and changes people's perceptions, attitudes and reactions to those issues. This thesis explores the foundational theory behind transformational drama, including the use of drama as an applied art as found in the work of Jacob Moreno (the founder of psychodrama), Richard Scheckner and Augusto Boal. It then examines the reclamation of the transformational properties of drama from the behavioural sciences back into the conventional theatre by looking at the community theatre and Theatre-In-Education movements. Three plays are examined for their transformational effect - Aftershocks, Property of the Clan/Blackrock, and Runaways. Each had their own particular methodology (verbatim, scripted and devised) which leant itself toward theatre which caused social change. Each created transformations in the communities for which they were originally produced but each also went on to affect wider, main-stream audiences. In researching these three plays, the author combined elements of each, as well as the foundational theory, to create a new methodology for the production of transformational drama. This method was trialled in Back From Nowhere, a production based on the issue of youth-suicide. The thesis details the process used to create this play and an analysis of the resulting product.
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Li, Jing. "Self in community: twentieth-century American drama by women". HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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YU, Hsiao Min. "English drama For critical pedagogy : adapting Caryl Churchill’S dramas as a methodological tool for community-engaged theatre workshopping in post-Umbrella Movement Hong Kong". Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/eng_etd/12.
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Tertiary-level drama is often condescendingly perceived in Hong Kong as either vocational or leisure-related, and tends to be marginalized in many – though not all – curricula as an activity for extra-curricular inter-university competition. This research aims at re-imagining Drama and Community Theatre as a critical pedagogy in promoting community culture. The aim of the research project is to strengthen the social functions of drama as community experience and as a tool for empowerment in the ‘glocal’ sociopolitical context of today. The study examines the methodology of a semi-scripted, community-engaged, theatre workshopping initiative with scenes adapted from Caryl Churchill’s plays, offering a powerful pedagogic praxis with the goal of raising social and cultural consciousness in the post-Umbrella Movement era of Hong Kong.
The first part of the study focuses on the experimental forms of community-oriented plays and theatre workshopping practices in historical contexts, investigating how Churchill’s plays respond to theatre as social criticism in contemporary society. It proposes four community-engaged theatre workshopping models with scene extracts adopted and adapted from Top Girls, Cloud Nine, Serious Money and A Number by Caryl Churchill. These models are designed to engage with the learning needs and interests of tertiary students particularly in the current global sociopolitical context.
The initiative is supported by an empirical action research element, which envisages one of the models as a form of critical pedagogy, connecting the typical tertiary Drama Studies curriculum with outreach community experience. The second part of the research project presents a local case study in which scene extracts from Top Girls were adapted and introduced to Hong Kong secondary students as a methodological tool for community-engaged theatre workshopping. This small-scale experimental model of a community drama outreach programme was facilitated by a focus group of students from an undergraduate Drama course.
The research results reflect on how students’ existing social awareness of community cultural development and identity can be linked to the glocal construct in the way they perceive and interact with the contemporary community-oriented plays that Churchill has produced. Based on the narratives from the focus group and my participant-observation of the response from the participating community, my qualitative study makes a number of conclusions about the effect of such pedagogic methodology on students’ empowerment in learning autonomy. The model is intended to encourage tertiary students to create their own forms of theatre workshopping to share their internalized subject knowledge and personal insights with other communities outside the institutional setting. And the research expresses the significance of theatre for community as rehearsals of the anticipated tensions between citizens and institutions in the global sociopolitical context.
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Esterhuysen, Jana Maria. "’n Ondersoek na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80359.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: In this research paper an investigation into applied theatre as medium for community development in the Stellenbosch area is conducted. An initial investigation was launched to determine whether there are currently organizations in the Stellenbosch area that uses applied theatre for the purpose of community development. This investigation concluded that there are organizations currently in the Stellenbosch area that make use of community theatre, but not necessarily for the purpose of community development. After further research, it was found that there are organizations in the greater South Africa who make use of other forms of applied theatre as a medium for community development such as theatre for development and theatre-ineducation. Consequently, brief overviews of the different forms of applied theatre are given, explained and discussed under the following three categories: applied theatre in education, applied theatre in the community and applied theatre in the workplace. From this description it was determined that community theatre and theatre in education is the most appropriate forms of applied theatre for community development. An empirical study was launched to investigate existing and/or completed applied theatre projects in the Stellenbosch area as well as the greater South Africa to determine which projects have been undertaken, which forms of applied theatre has been used and what the focus and outcomes of the projects was. Interviews were conducted with specific organizations to determine how applied theatre is being applied as medium for community development. Following the existing projects and the identified forms of applied theatre that could be used for community development, it was decided to conduct and launch a theatre for development project in the Stellenbosch area. There is currently no similar theatre for development projects and the feasibility of such a project has been questioned in a practical manner in a case study. The case study was launched at a school in the Stellenbosch area where a project that deals with the importance of school attendance were undertaken with a group of Grade 7 students. After completion of the research study it has been determined that applied theatre can be used as a medium for community development in the Stellenbosch area. Although there are several challenges to face such as finance and planning associated with the execution of an applied theatre project, it is possible for such a project to be potentially successful.
AFRIKAANSE OPSOMMING: In hierdie navorsingstudie word daar ondersoek ingestel na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing. Hierdie navorsing rus op drie bene, naamlik ’n literatuurstudie, ’n empiriese ondersoek in die vorm van onderhoude en ’n gevallestudie in die vorm van ’n teater vir ontwikkeling-projek. Eerstens word ’n bondige oorsig van die verskillende vorme van toegepaste teater gegee. Die verskillende vorme word uiteengesit en bespreek onder die volgende drie kategorieë, naamlik: toegepaste teater op onderwysgebied, toegepaste teater in die gemeenskap en toegepaste teater in die werkplek. Uit hierdie omskrywings is bepaal dat teater vir ontwikkeling, gemeenskapsteater en teater-in-die-onderwys oënskynlik die mees gepaste vorme vir gemeenskapsontwikkeling is, alhoewel die begrip toegepaste teater oor die algemeen verandering van een of ander aard ten doel stel. ’n Empiriese ondersoek is geloods na bestaande en/of afgehandelde toegepaste teaterprojekte in die Stellenbosch-omgewing, sowel as die groter Suid-Afrika om te bepaal watter projekte is reeds aangepak, watter vorme van toegepaste teater gebruik word en wat die fokus en uitkomste van die projekte is. Daar is gevind dat organisasies in die Stellenbosch-omgewing wat wel teater as medium vir ontwikkeling gebruik, meestal fokus op gemeenskapsteater. Organisasies in die groter Suid-Afrika maak egter ook gebruik van ander vorme van toegepaste teater vir gemeenskapsontwikkeling, soos byvoorbeeld teater vir ontwikkeling en teater-in-die-onderwys. Na aanleiding van die bestaande projekte en die geïdentifiseerde vorme van toegepaste teater vir gemeenskapsontwikkeling is daar besluit om ’n teater vir ontwikkelings-projek in die Stellenbosch-omgewing te loods. Daar is tans geen soortgelyke teater vir ontwikkeling-projekte nie en die lewensvatbaarheid van so ’n projek is op praktiese wyse ondersoek in ’n gevallestudie. Die gevallestudie is geloods by ’n skool in die Stellenbosch-omgewing waar daar met Graad 7- leerders ’n projek aangepak is wat handel oor die belangrikheid van skoolbywoning. Na afloop van die navorsingstudie is daar bepaal dat toegepaste teater wel suksesvol as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing gebruik kan word en in sommige gevalle reeds gebruik word. Daar is wel verskeie uitdagings, onder andere met betrekking tot finansies en beplanning, wat gepaard gaan met die uitvoering van ’n toegepaste teaterprojek. Alle aanduidings is egter dat sulke projekte ’n beduidende impak op ’n gemeenskap kan hê.
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Munday, Caitlin Ruth. "Conceptualising the drama classroom as community: a case study approach to effective learning and teaching". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/12867.
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This study explores the relationship between effective learning and teaching within best-practice drama classrooms. It draws on the convergence of two complementary fields: drama in education and sociocultural approaches to learning. It particularly focuses on an ensemble-based approach to drama (Neelands, 2009a) and communities of learners (Rogoff, 1994). Three secondary drama classes from two New South Wales schools participated in this research. These formed two qualitative case studies that sat within a broader ARC funded project investigating The role of arts education in academic motivation, engagement and achievement, conducted in partnership with the Australia Council for the Arts. This study found that effective drama pedagogy was best understood within the context of community. Distinct communities of learners emerged within each drama classroom. They were temporally formed and spatially located, bound together by shared relational and experiential histories. Community membership was dependent on the reciprocation of trust, respect and commitment as codified social values that encouraged social cohesion, shaped participation, and created a safe space. The preservation of these values determined the conditions for effective learning and teaching as characterised by four interrelated practices: collaboration, creativity, critique and risk-taking. Together, students engaged in a collaborative creative process that promoted democratic decision-making, and emphasised responsibility and autonomy. Drama learning was found to be multi-dimensional, oriented towards social and aesthetic understanding, and supported by a flexible and relational pedagogy that negotiated the emerging paradoxes of bounded freedom and ordered disorder indicative of classroom action and interaction. This study conceptualises the drama classroom as community, an inclusive model for understanding effective learning and teaching. The creation of such communities realises the potential for drama to enact a participatory, ensemble-based model of learning, which pursues both aesthetic and social understanding and purposes within current curriculum. In doing so it contributes to an ongoing discussion about the particular nature of classroom drama, and the significance of the arts more broadly.
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Sebestyen, John S. "Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.
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Jennings, Matthew. "The Function and Impact of Community Drama in Northern Ireland 1998-2008". Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520527.
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Chaney, David Christopher. "Spectacular drama in urban entertainment : the dramatisation of community in popular culture". Thesis, Durham University, 1985. http://etheses.dur.ac.uk/10497/.
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This is a study of some of the many types of entertainment that have been called spectacular, of the cultural significance of certain conventions in ways of transforming space and identity. Forms of spectacular drama both require and celebrate urban social relations, they constitute essential parts of the popular cultural landscape. They display an idealisation of ways of picturing collective experience. Although I note continuities in forms of spectacular drama through different eras, it is differences in the ways in which our sense of collective life or community is experienced and expressed that provide for very different understandings of forms of spectacular display. I describe and discuss forms of spectacular drama in the fifteenth, nineteenth and twentieth centuries. I have chosen the fifteenth century as it was a period when there was a flourishing range of dramatic entertainment but no theatres. The principal features of the culture that I stress are the looseness of the dramatic frame. In contrast, the nineteenth century is a period of both urban expansion and theatrical supremacy. In the course of the century the population became urbanised and the growing cities became spectacular stages for new forms of social experience. I describe a broad framework of popular entertainment which provided many forms of spectacular experience, but concentrate upon the theatrical form of melodrama and forms of pictorial realism. In the chapter on the twentieth century I am principally concerned with the implications of processes of massification - both of society and culture. I argue that the democratic individualism of consumer culture and mass leisure has made the vocabulary of identity and community peculiarly problematic. The theme is that spectacular drama in contemporary culture has become more insistent and more public and yet our participation and response has been increasingly privatised.
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Krebs, Katja. "Dissemination of culture through a translational community : German drama in English translation on the London West End stage from 1900-1914". Thesis, University of Hull, 2002. http://hydra.hull.ac.uk/resources/hull:12373.
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This thesis seeks both to chart the dissemination of German drama 'on the London West End Stage between 1900 and 1914 and to provide an account of the ideological factors which inevitably underlie such a considerable programme of translational activity. In other words, the play a particular group or individuals decide to translate, the nature of the translational choices and strategies which are employed at every stage of the translation process, the particular time, place, and manner of staging, and the issues of reception are never ideologically neutral events. Translation always exists within a historical and cultural context. The main set of premises for a study of this kind - indeed, for all work which might come under the heading Descriptive Translation Studies - is the notion that all translation involves re-writing (see Lefevere 1985), that such re-writing "is never innocent" (Bassnett & Lefevere 1990:11), and that "all translation implies a degree of manipulation of the source text for a certain purpose" (Hermans 1985: 11). It should be stressed, however, that although Descriptive Translation Studies might be described as the dominant methodology within the relatively new discipline of Translation Studies this thesis represents one of the first extended attempts to apply that methodology to the English stage.
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Harrison, Kiersten Rose. "A Theatre for Change: Applying Community Based Drama Practices into Ontario Middle Schools". Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20511.
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Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood.
Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.
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Knightsbridge-Randall, S. J. "The drama of a policy process : community education in Waltham Forest 1984-89". Thesis, Cranfield University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385763.
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Olson, Grant. "Rediscovering 'invisible communication' : a re-evaluation of Stanislavski's Communion via 'radiation'". Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32199/.
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This thesis investigates Stanislavski’s unnamed invisible form of communication described within the chapter ‘Communion’ in An actor prepares (1936). The description Stanislavski includes in the chapter is especially difficult to access leading to much neglect in critical studies of Stanislavski’s approach. This thesis explores the concept as it permeated across Stanislavski’s writings and practical work. It then establishes a comprehensive, concise and contained description of the experience Stanislavski sought to achieve through his proposed ‘invisible communication’. Most current literature investigating aspects of this ‘invisible communication’ relate it to Stanislavski’s interest in yoga philosophy and practice. Although Stanislavski did indeed appropriate terms and technique from his readings and interest in yoga practice, this thesis proposes that the concept existed from Stanislavski’s earliest theatrical explorations and helped shape his understanding of acting as art. With the compiled description amassed from Stanislavski’s work, this thesis locates correlations of the experience Stanislavski described within the current paradigm of cognitive studies. These correlations help form a theoretically plausible account of the concept to aid further discussion and evaluation. In addition, this thesis uses abductive reasoning to postulate a working hypothesis accounting for the perception within a framework of current understandings of cognitive function. This thesis is the first stage of a much-needed re-evaluation of Stanislavski’s ‘invisible communication’. With a framework to investigate and discuss ‘invisible communication’ in theoretically plausible manner, this thesis is helpful in future development of performer training and practice.
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Badir, Patricia L. "Playing space : 'Commonwealth', 'community' and dramatic activity in York, Beverly and Hull, 1500-1600". Thesis, University of Leeds, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369539.
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Iles, Timothy John Frederick. "Towards a new community. Abe Kôbô, an exploration of his prose, drama, and theatre". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27668.pdf.
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Wanless, Rebecca Anne. "The Progression and Development of Community in a First Grade Classroom". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354680730.
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Gibson, Susan E. "Drama praxis : Rural arts workers and lifelong learning : a phenomenological study". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1359.
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The purpose of this study is to explore and describe the experiences of a specific group of arts workers in an isolated rural community in the South West of Western Australia. These participants have all worked in the community as arts workers for an extended period of time. Through phenomenological research, the telling of these workers stories, it is anticipated that the research will highlight, strengthen and enrich the political and economic positions of these workers. The study is based on the assumptions and pre-conceptions that geographical and cultural isolation contributes to significant problems and situations such as communication that the workers can have when organising, co-ordinating and funding community arts projects. The current theories of ‘lifelong learning’ are discussed and evidenced through the experience of the research participants. Although generalisations are not appropriate based on form, style and philosophical paradigm of this research, certain implications are evidenced through the participants responses, opinions and experiences. The study is conducted within a qualitative research paradigm. Phenomenology is the methodology used in this study. As such the lived experiences and perceptions of the research participants are described. Open-ended interviews were conducted.
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Ahern, John N. "Conscience, the Other and the moral community: a study in meta-ethics and tragedy /". Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2676.
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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/.
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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.
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Yasar, Mustafa. "An ethnographic case study of educational drama in teacher education settings resistance, community, and power /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149082511.
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Preston, Sheila. "Theatre for development in context : exploring the possibilities and contradictions of visions of theatre and development within the action of community". Thesis, University of Winchester, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341380.
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This study is research into practice, concerned with locating a critical perspective into the possibilities of drama in achieving sustainable development within communities. This qualitative research approach draws on action-research paradigms, ethnographic techniques and drama methodologies to create in depth analysis of the facilitation and action of community drama within case study contexts. The case study contexts were drawn from the field of mental health provision and the context of self-advocacy for people with learning difficulties. Drama and video workshops were facilitated within these groups between periods of 9 - 18 months. Participants were involved from three groups including a women's group and a male orientated group within mental health provision, and a group for young adults with learning difficulties within a self advocacy project. This thesis contributes to knowledge in the field of Theatre for Development and UK community based drama in the following ways: The thesis suggests that previous assumptions and claims as to the 'success' of community drama projects need closer, critical interrogation. Analysis of the field work reveals that 'visions' of theatre and development face conflict when positioned in context, as both the nature and action of community is itself contested and ambivalent. The relationship of the facilitator role to other involved parties is given specific interrogation. The role and persona of the facilitator as a key player is identified, and demonstrated as such throughout the thesis through adoption of self-reflexive strategies of writing. It becomes clear that the radical, pedagogic intent of the drama process to foster collective ownership through the critical addressing and the representation of issues pertinent to a group's social reality, is questioned by those involved at various levels in the process. In exploring the nature of drama and video representations as resistance and intervention, sites of personal resistance and 'counter' interventions are illuminated. However, the reality of resistance is also bound up within the complexity of identity politics where the consequences of 'coming out' and accepting a label can become both a liberatory and oppressive experience. In chapter eight the continual difficulty of sustainability is examined and critiqued in the light of key issues identified within the previous chapters. Finally, the thesis assesses the substantive issues in relation to current discourses in cultural theory. By resisting opportunities to prescribe models and techniques thus reproducing the discourses critiqued this study culminates with optimism. Developing creative frameworks, that genuinely engage with contradiction and the complicated politics of context, are deemed as critical conditions for practices.
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Fitts, Elizabeth Ashley. "An examination of classroom community in the drama classroom through action research and refractive practitioner research". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399638139.
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McKay, Joseph A. J. "There are many rooms in God's house bridging the gap between pastoral counseling and the community of faith /". Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Kauli, Jacqueline. "Establishing the conceptual and practical foundations of a new form of theatre for development: Theatre in conversations". Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84751/2/Jacqueline_Kauli_Thesis.pdf.
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This research was developed between Australia and Papua New Guinea (PNG) over two years investigating ways in which theatre for development could be held accountable for the claims it makes especially in PNG.
The motivation to improve theatre for development (TfD) practice was triggered by the desire to enhance the democratic processes of collaboration and co–creativity often lacking in TfD activity in Papua New Guinea. Through creative practice as research and reflective processes, working with established and experienced local community theatre practitioners, a new form of theatre for development, Theatre in Conversations evolved. This form integrated three related genres of TfD including process drama, community theatre and community conversations. The suitability and impact of Theatre in Conversations was tested in three remote villages in PNG. Findings and outputs from the study have the potential to be used by theatre for development practitioners in other countries.
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De, Bruyn Lavona. "Exploring social identity through theatre : an examination of the process of creating Jingle Dreams with youth in the coloured community of Clanwilliam". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/10391.
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Includes bibliographical references (leaves 58-62).This dissertation examines the process of creating Jingle Dreams with the youth in Clanwilliam. It aims to ascertain whether the processes of Community Theatre drama create opportunities for the individuals in the identified community to explore a social identity influenced by historical legacy, heritage, memory (or absence thereof) and socio-economic environment. The intention of the dissertation is influenced by the Applied Drama mission to benefit individuals, communities and societies through artistic forms of intervention such as dramatic activities, theatre directing, mediation and discussions. I will examine how the processes and the performative qualities of drama and theatre have the potential to transform individuals and society. Community Theatre creates the space for young people to share and question common experiences of life. This ensures that marginalised voices are heard which has psychological and social benefits for the participants. The dissertation proposes to interrogate how young people revealed their social identity through the narrative structure, dialogue, stereotypes and symbols in Jingle Dreams. I have been strongly motivated by the work of Augusto Boal which was the source of a large part of the dramatic processes. In the research process, the young people belonging to The Community Networking Creative Arts Group were encouraged to find their own forms of artistic, cultural and theatrical expression. During the rehearsal process, the group improvised and developed many scenes which reflected issues such as alcoholism, drug abuse, domestic violence and intergenerational tension. The narrative of the performance was based both on their stories and on stories from their community. It reflected their circumstances, their struggles, their hopes and their dreams. Theatre devised in community situations reflects concern with the representation of memory, and participants are invited to recognise that autobiographical narratives have social, communitarian and historical significance, as well as personal relevance. Performers drew on their own experiences to devise the scenes. This process often emphasised how the boundaries between truth and fiction are blurred. The lack of a clear distinction between fact and art facilitated the revelation, exploration and contestation of social identity.
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Odhiambo, Christopher. "Theatre for development in Kenya : in search of an effective procedure and methodology". Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/20919.
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Thesis (DPhil)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. The works of Paulo Freire and Augusto Boal provide the study with a theoretical model in which its basic assumptions and arguments are tested and developed. These two authors, whose works are related in many ways, privilege the use of participatory approaches in the process of creating critical consciousness and promoting change in the individual and in society; these are fundamental requirements in any meaningful practice of Theatre for Development. The findings of this study reveal the discursive and eclectic state of the practice of Theatre for Development in Kenya as originating from a multiplicity of factors such as the skills (or lack thereof) of the practitioners, government interference and the prescriptive agenda and demands of the project funding bodies, institutions and agencies as well as the proliferation of NGOs using Theatre for Development but lacking its foundational philosophy and methodology. This study therefore suggests that, for the enterprise to be more effective and efficient there is a serious need to reflect critically on its procedures and methodology in order to improve and guide its operation. These fundamental aspects include collaborative research, codification, interactive participation, and facilitation and intervention, and are not prescriptive matters but descriptive, arrived at through a critical analysis of a number of Theatre for Development activities in Kenya. Ultimately the research process has thus highlighted a number of weaknesses and strengths in the practice of Theatre for Development in Kenya. Because Theatre for Development is a performance event, the study utilised both quantitative and qualitative research methods. This was necessary, because the study depended on a bibliographical review, unstructured interviews and action research, where the researcher participated in Theatre for Development projects, happenings and related activities
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoek na Teater vir Ontwikkelling in Kenya. Dit poog om die verskillende manifestasies van die praktyk te karteer en beskryf waardeur dit, tot ‘n mate, a kritiese model vir praktisyns en aandeelhouers kan dien. Die onderneming is egter op geen wyse ‘n soeke na ‘n rigiede, allesomvattende teoretiese model nie, maar bied tog ‘n beskrywing van aspekte van Teater vir Ontwikkelling waarbinne en waardeur transformasie van sosiale optrede en handeling in hierdie eklektiese veld kan plaasvind. Met dit in gedagte word na ‘n aantal toepaslike en kontrasterende gevallestudies van Teater vir Ontwikkelling gekyk om ‘n perspektief te ontwikkel wat praktisyns in staat sal stel om hulle eie praktyke krities en effektief te kan evalueer. Die werk en geskrifte van Paulo Freire en Augusto Boal verskaf die teoretiese model vir hierdie ondersoek, wat die basiese beginsels en uitgangspunte daarvan in die Afrika-konteks uittoets en ontwikkel. Hierdie skrywers, wie se werke nou verband hou met mekaar, gee voorkeur aan ‘n interaktiewe, deelnemende benaderings tot die ontwikkelling van ‘n kritiese bewussyn en die stimulering van verandering by die individu en in die gemeenskap. Dié benaderings is fundamenteel tot enige sinvolle aanwending van Teater vir Ontwikkelling. Daar is bevind dat die beoefening van Teater vir Ontwikkelling in Kenia uiters eklekties en uiteenlopend van aard is en dat hierdie stand van sake toegeskryf kan word aan ‘n verskeidenheid faktore, insluitend die vaardighede (of tekort aan vaardighede) van praktisyns, inmenging deur die regering, voorskriftelike agendas en vereistes gestel deur borge en befondsingsagentskappe, edm. ‘n Ander faktor is die geweldige toename in nie-regeringsorganisasies (NGO’s) wat van Teater vir Ontwikkelling gebruik maak terwyl hulle nie oor die basiese filosofiese en metodologiese kennis en opleiding beskik nie. Die bevinding is dus dat sodanige programme slegs meer effektief en doeltreffend bedryf kan word indien daar ernstig besin word oor fundamentele prosedures en metodologieë, om aan die verdere bedryf van die program(me) rigting te kan gee en uitkomste te verbeter. Fundamentele aspekte hierby betrek sou insluit spannavorsing, samewerking, kodifisering, interaktiewe deelname, fasilitering en intervensie, wat nie voorskriftelik is nie, maar beskrywend en rigtinggewend van aard, afgelei uit ‘n kritiese ontleding van ‘n aantal Teater vir Ontwikkelling aktiwiteite in Kenia. Die navorsing het dus uiteindelik ‘n aantal sterk- en swakpunte in die praktyk van Teater vir Ontwikkelling in Kenia belig. Omdat Teater vir Ontwikkelling ‘n aanbiedings-gebeurtenis (“performance event”) is, het die ondersoek beide kwantitatiewe en kwalitatiewe navorsingsmetodes gebruik. Dit was nodig omdat die ondersoek gebruik gemaak het van formele literatuurstudie, sowel as ongestruktureerde onderhoude en aksienavorsing, waartydens die navorser self deelgeneem het aan van die Teater vir Ontwikkelling projekte, gebeure en aktiwiteite.
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Tabor, Nicole Malkin. "A shimmering doubleness : community and estrangement in novelized dramas and dramatized novels /". Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883691271&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Minton, Gretchen E. "Imaginative space and the construction of community, the drama of Augustine's two cities in the English Renaissance". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ46392.pdf.
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Jaramillo, Nathalia E. "Nepantla pedagogy urban schools, social dramas, and las madres of Mirasur /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1456285081&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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St, Pierre Kelly M. "Revolutionizing Czechness: Smetana and Propaganda in the Umělecká Beseda". Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333472822.
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Read, Richard. "Revitalizing New Orleans theatre community: a report on an Arts Administration internship with DramaRama New Orleans, Louisiana, Summer and Fall, 1997". ScholarWorks@UNO, 1999. http://scholarworks.uno.edu/aa_rpts/38.
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What follows is a play-by-play account of my work with DramaRama 5, followed by an explanation of my precise duties at the festival, my assessment of DramaRama 5, and my thoughts on the organization's future and what lessons I will take with me as I progress in my career.
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Pecore, Joanna Theresa. "Sounding the spirit of Cambodia the living tradition of Khmer music and dance-drama in a Washington, DC community /". College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/196.
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Thesis (Ph. D.)--University of Maryland, College Park, 2004.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Clifford, Sally Margaret. "Why have you drawn a wolf so badly? : community arts in healthcare". Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35893/1/35893_Clifford_1997.pdf.
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Community arts is often criticised for its tendency to be more about welfare than art. This thesis investigates this claim through the environment of a growing number of
arts projects taking place in healthcare settings. Healthcare settings inherently deal with the field of welfare. This research has recognised that many of these projects are participation-based community arts projects. I have termed these projects arts-inhealth
and they form the case studies of this research.
Arts-in-health is not art therapy. Arts-in-health is a community arts-based approach to artmaking which enables people to access art processes and skills which are not part of the treatment or diagnosis of their illness. This thesis recognises that people belong to a communal web of relationships which can often be severed when they
become ill. Because arts-in-health encourages artmaking beyond a treatment framework, it can re-connect people to their communal web. is thesis claims that for community art to have this impact it must be designed and
implemented through artistic processes and not treatment, therapeutic or clinical ones. If community art processes do become distorted by therapeutic processes, they
will become more about welfare and less about art; consequently, they contribute less to the community in which individuals live.
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Sanchez-Camus, Roberto. "Applied live art : co-authorship in socially engaged and site-responsive performance practice". Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6027.
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This thesis looks at the ways in which performance can integrate participants and local context into the development of new devised work. This practice-led research is based on a methodology that grew out of three performance case studies completed in diverse international settings with a varied range of participants. The case studies are: Napoli Scorticata completed in 2007 in Naples, Italy; Youth Visions, completed in 2008 in Northeastern Ghana, West Africa; Triangulated City, completed in 2009 in Beirut, Lebanon. Within these diverse contexts the research questions the role of authorship when working in socially engaged practice, focusing on how practitioners can shift the focus from the artist to the body politic. Merging social engagement with a site-responsive approach, the research proposes that the artistic medium is the social system and as such argues that the modes of employment require a focus of appreciation on the generative process, context and product combined. The research is presented in two parts. Part I is an interactive DVD with images of the development process and final presentations as well as a video of each performance work. Part II is a written thesis that explores the modes of engagement, outlines the methods of development and structures a general working methodology that can be referenced by other performance practitioners. The thesis proposes Applied Live Art as a term to describe practices that include a hybrid of time-based media options, which include a social component as their primary focus. The research outcomes conclude with an analysis of place making and its importance when working with both site and society.
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Larsson, Carina. "Pedagogiskt drama i socialt arbete - Kreativa metoder för att behandla etiska frågor i socialt arbete". Thesis, Malmö universitet, Fakulteten för hälsa och samhälle (HS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-25238.
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Syftet med denna studie var att undersöka hur pedagogiska dramametoder kan användas i socialt arbete för att öka reflektion i den professionelles arbetsliv. Vidare undersöktes huruvida verksamheter som arbetar med pedagogiska dramametoder bidrar till att uppmärksamma och stötta utsatta och marginaliserade grupper i samhället. Informanter från olika verksamheter i södra Skåne presenterade i sex halvstrukturerade intervjuer olika kreativa arbetsmetoder som de använder sig av. Informanterna arbetar bland annat på uppdrag av statliga och kommunala verksamheter, men även med egna fristående produktioner för att bearbeta olika etiska frågor i samhället. Då dramapedagogiska metoder har visat sig bidra till djupgående och aktiva reflektioner är resultatet att dessa metoder kan användas som gynnsamma komplement och alternativ till traditionell handledning. Vidare har olika pedagogiska dramametoder visat sig bidra till att synliggöra marginaliserade människor och öka empowerment. De nedskärningar som görs i kulturbudgeten påverkar således inte bara kulturlivet i sig utan i förlängningen även samhället och det sociala arbetet. De kreativa metoderna skulle kunna nyttjas i mycket större skala, då de har genuin potential för socialt förändringsarbete.The purpose of this study was to investigate how educational drama methods can be used in social work to increase reflection in the professional’s work life. Furthermore, it was studied whether organizations that work with educational drama methods contribute to supporting vulnerable and marginalized groups in society. I made six semi-structured interviews with informants from different organizations in southern Sweden that presented different creative working methods that they use. The informants work, among other organizations, on behalf of governmental and municipal organizations, but also with their own independent productions to process various ethical issues in society. Since educational drama methods have proven to contribute to in-depth and active reflections, the result is that these methods are favorable complements and alternatives to traditional supervision. Furthermore, various methods that the informants work with have proven to contribute to increased empowerment of marginalized individuals and they have also given them a chance to get their voices heard. The cuts made in the cultural budget therefore not only affect the cultural life itself but likewise the society and social work. The creative methods could be used on a much larger scale, as they have genuine potential to affect change in our society.
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Brand, Amelda. "Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoek". Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52858.
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Thesis (MDram)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk. Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is. Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid- Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by ontwikkelde lande se beskouings aansluit. Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik. Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees. Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in die voorafgenoemde teatervorme. Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater en is dikwels in die praktyk omruilbaar.
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Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /". Link to the online version, 2007. http://hdl.handle.net/10019/1670.
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Ferrer, Joshua. "The community of women in María de Zayas y Sotomayor's La traición en la amistad". Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1091819243.
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Bastani, Nava Corinne. "A project proposal for the formation of People’s Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay". Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2149.
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Thesis (MPhil (School of Public Management and Planning))--University of Stellenbosch, 2007.In the present chaos surrounding society, youth are in dire need of tools that will enable them to navigate life’s tests and help them understand their role in building a new world civilisation. It is not enough though merely to hear and profess grand ideals, action needs to accompany words. Action happens when ethics and spiritual principles are integrated at a deep level and become part of an individual’s character. The following mini thesis is a project proposal for the formation of a Drama Workshop called People’s Theatre. People’s Theatre aims to help youth become of service to humanity through the internalization of morals and through the realization of their spiritual identity and their oneness with the entire human race. The project proposal begins with an explanation of why the project is being implemented on a local level and where it fits in on a global level. The project utilises three component parts that are seen as necessary if the project is to be sustainable. There are dramatic, moral education and service component parts to the project. The dramatic component will focus particularly on the ZIPoPo method which has been chosen due to it being a powerful medium of expression as well as its focus on positive decision making and moral development. Following this, the project proposal goes into detail concerning the necessary steps needed to be taken in order to practically implement the project and make it a success. The format follows a typical project proposal format. Another factor that was decided upon in order to help make the project more sustainable was that the project would be divided into three main phases. These phases are talked about throughout the proposal. There is also an analysis about why certain activities were chosen and how to take advantage of any opportunities that may arise and lead to the further success of the project. Particular attention was paid to how to make the project truly sustainable and participatory and in this way enable it to succeed. Empowerment begins by teaching people how to walk their own path to development. The following project proposal provides a detailed plan on how to help youth to do just that.
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Le, Grange Rene. "Effective planning and organisation of a student theatre festival". Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.
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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.
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Borland-Sentinella, Deanna. "Embodied futures: Weaving futures thinking, applied theatre and community development in creative and participatory embodied practice". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205943/1/Deanna_Borland-Sentinella_Thesis.pdf.
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This practice-led research both bridges, and offers an extension to, the fields of Applied Theatre, Participatory Community Development and Futures Thinking. Through a series of practical workshops, conducted in Australia and Timor-Leste, the study explored what a structurally transformed world might practically be like. Themes discussed in the reflection on practice include: patterns of time and macrohistories; distancing through role and metaphor; and re-contemplating ancestors’ influence on people's worldviews. Outputs from the project include an Illustrated Exercises Book and the Embodied Futures Framework for stepping through stages of change to help groups understand what transforms tomorrow.
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Aebi, Delphine. ""Il faut trouver un modus vivendi" : le scandale au théâtre des années 1940 aux années 1960". Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL025/document.
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L'ensemble de notre démarche se fonde sur un constat : le scandale, souvent abordé à travers des discours moraux le condamnant ou le célébrant, est en réalité un évènement protéiforme et profondément ambigu. Il trouve sur la scène le lieu par excellence de son déclenchement, le théâtre étant étroitement lié aux idées de surgissement et d'immédiateté. Le théâtre et le scandale, communément associés aux notions du spectaculaire, de l'exhibition et du conflit, ne sauraient toutefois s'y réduire pour des auteurs en quête d'une définition de leur identité et de leur relation aux autres. Les années 1940 à 1960 en France constituent une période troublée et instable qui mène des dramaturges pourtant très différents à converger vers un même but : la création d'une communauté dynamique. Le scandale représente pour eux un moyen de communication privilégié entre la scène et la salle, offrant l'espoir d'un théâtre capable de concilier l'individu et la citéOur whole approach is based on the observation that scandal, often addressed through moral discourses that condemn or celebrate it, is actually a protean and profoundly ambiguous event. Because drama is closely linked to the concepts of emergence and immediacy, scandal finds on stage the perfect place for its release. However, in the eyes of authors seeking a definition of their identity and their relationship to others, drama and scandal, although commonly associated with notions of the spectacular, exhibition and conflict, should not be reduced to this trope. The years 1940 to 1960 in France are a troubled and unstable period, leading playwrights from different horizons to converge towards the same goal: creating a vibrant community. Scandal represents for them a privileged means of communication between the stage and the audience, offering hope of a theatre capable of reconciling the individual and the city
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Santos, Valmir Jesus dos. "Coreutas de Barão Geraldo: uma transversal do Teatro de Grupo no distrito de Campinas". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-31082009-100856/.
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Esta dissertação circunscreve os mecanismos de organização e criação de três grupos teatrais radicados no distrito de Barão Geraldo, Campinas, SP. Os dados são coletados a partir de observações, anotações de campo e entrevistas. Como forma narrativa, procuramos colocar em relevo a subjetividade entredita nos discursos e práticas. Retraçamos o percurso histórico do lugar e dos três grupos eleitos para a análise: o Lume Núcleo Interdisciplinar de Pesquisas Teatrais, a Boa Companhia de Teatro e o Barracão Teatro. A partir dessas trajetórias, descortinamos um panorama bastante peculiar do fazer artístico em território de reminiscências rurais, outrora ocupado por fazendas de café e de cana-de-açúcar, entre os séculos XIX e XX, e convertido à modernidade com a chegada do campus da Universidade Estadual de Campinas (UNICAMP), na década de 1960. A maioria dos atores-criadores estuda ou ministra aula no Departamento de Artes Cênicas do Instituto de Artes. Primeiro como laboratório de movimentos corporais, depois como núcleo, o Lume é vinculado à instituição e, após anos de reivindicação, obtém infraestrutura razoável para manter-se. Boa Companhia e Barracão Teatro seguem caminhos independentes, mas seus profissionais também têm a universidade como referência. Os artistas fundam e sistematizam uma rigorosa pesquisa voltada à arte de ator contemplada em diferentes linhagens, como a máscara, o clown e a mimese corpórea. Seus processos transparecem uma deontologia para o ofício que abraçam. Os três grupos possuem sedes em Vila Santa Isabel. Atualmente, somando outros bairros de Barão Geraldo, existem pelo menos mais 12 coletivos em atividade. Eles sintonizam a crescente produção do Teatro de Grupo no Brasil, a partir dos anos 1990, cuja tônica são os chamados espetáculos experimentais gerados em modo colaborativo e fomentados por políticas culturais que valorizam a cidadania. A contradição evidente dessa cultura de grupo, no distrito, é a extrema dificuldade em cativar o espectador vizinho, os ditos nativos, que também se autoexcluem por associar o teatro à UNICAMP, herança do choque socioeconômico de sua implantação. Isso relativiza a vitória artística e chama aos desafios da vida artística em comunidade.This work describes the mechanism of organization and creation of three theater groups from a small town called Barão Geraldo located in the city of Campinas, São Paulo, Brazil. The data were collected through observation and interviews. In a narration form we aimed to detach the subjectivity in the discourses and practices of those groups. We traced the historical background of the town and of the groups: Lume - Núcleo Interdisciplinar de Pesquisas Teatrais, Boa Companhia de Teatro e Barracão Teatro. From a historical perspective we exposed a broad and peculiar view of making art in an area where coffee and sugar cane farms existed between XIX and XX centuries and which was occupied by Campinas State University in the 1960\'s bringing some modernity to the space, but also some social and economical shock. Most of the actors-creators study or teach at Departamento de Artes Cênicas do Instituto de Artes (Institute of Art). Lume became part of the University first as a lab for studying and training the body movements, then as an interdisciplinary center of theatrical research and after some struggle it has some institutional support to keep their work. Boa Companhia and Barracão follow independents paths, but their workers have the university as a reference. The artists found and systematize a meticulous research towards the art of the actor, through the study of masks, the clown art and the body mimesis. Their processes display a deontoly to their work. The three groups have their offices in Santa Isabel Village. Nowadays, there are at least 12 collectives working in the surroundings of Barão Geraldo. They harmonize with the increasing theater group production in Brazil since the 1990\'s, which are called experimental spectacle\' created collectively and motivated by cultural policies which focus on citizenship. The evident contradiction of a group culture is the difficulty in captivating the local public, who exclude themselves because of the impact the University had on them in the past. This exhilarates an artistic victory and challenges the life of art in the community.
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Ferrer, Joshua. "The Community of Women in María de Zayas y Sotomayor’s La traición en la amistad". Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1091819243.
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Maritz, Gerrit Ulrich. "An appreciative inquiry approach to community theatre on HIV and AIDS education for young people". Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/26490.
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This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response.Dissertation (MA (Drama))--University of Pretoria, 2011.
Drama
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Gaskin, Kelly Michelle. "Assessing risk in a community intellectual disability sample : the clinical utility of the Dynamic Risk Assessment and Management System (DRAMS) : a study of clinician evaluations". Thesis, University of Leicester, 2007. http://hdl.handle.net/2381/9547.
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Literature Review: Growing numbers of people with intellectual disabilities are now living in the community and as a result are more exposed to the risk of offending. Assessment of risk is therefore becoming progressively within the remit of professionals working within community settings. The aim of the current review was to critically evaluate the literature on assessing the risk of offending in people with intellectual disabilities living within the community. The review highlighted that there are a number of barriers to assessing risk in such settings and that services which do exist for this population are often variable in their availability. In addition to this, unlike non-intellectually disabled populations, there is currently no standardised tool specifically for assessing risk in people with intellectual disabilities. Further research is needed to develop specialised risk assessment tools and to better understand and meet the needs of this client group. Research Report: The clinical utility of a newly-developed risk assessment tool, the Dynamic Risk Assessment and Management System (DRAMS), designed specifically for offenders with intellectual disabilities was investigated on a sample of 8 participants. The experience of clinicians' in carrying out the DRAMS was compared with their experience of carrying out the Functional Analysis of Care Environments Risk Profile (FACE) for the same participants. A randomised cross-over design found a significant difference between the two conditions, indicating that the DRAMS was favoured by the clinicians in terms of clinical utility and usability with intellectually impaired offenders. A thematic analysis of clinician experiences in administering the two measures supported this finding. In addition, verbal IQ of the offenders was found to be more highly correlated with the difference in scores on the Clinician Feedback Questionnaires than performance IQ, indicating that the clinicians found the DRAMS to be a more clinically useful tool with those offenders with a higher verbal IQ. Critical Appraisal: Reflections on research process, origins of the research question, and conducting the project are discussed.