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Van, Zyl Yolande. "Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2290.
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Thesis (MDram (Drama))--Stellenbosch University, 2008.The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.
2
Bryson, Lucy Lynn. "Drama + math = dramath". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.
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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
3
Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made:
1. Questions were used extensively to promote the drama process.
2. The teacher employed a wide range and diversity of questions.
3. Definite patterns emerged in teacher questioning techniques.
4. Specific kinds of learning were emphasized by teachers within the drama.
Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research:
1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described.
2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically.
The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
4
Moss, Lynette Kaye. "Insights into drama in the early childhood setting: A rationale for the use of drama". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1388.
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This research is an investigation into the implementation of drama in early childhood education conducted in one Perth metropolitan primary school, over a three-week period. The six drama lessons were taught by the researcher/practitioner in a Pre-primary and a Year One class. These students were chosen for their limited exposure to the Drama in Education experience. The expectation was of a less conditioned response both in their conduct and expression within the drama environment. The lessons were captured on video and transcribed, then analysed utilising an ethnomethodological methodology. The responses of these children were recorded in an attempt to disclose how a group of young children share knowledge during a drama class, and examine the social conventions, articulating the features of common rule-usage and assumed communication. The discourse also examines the complex and at times ambiguous nature of drama and the need to articulate and to analyse practices, to unravel how drama is constructed and perceived. The practice of drama in the early childhood classroom highlights the role and relationship of the practitioner and the children. The study offers insights into the foundation issues within drama in education that are a product of the historical, cultural and social domains of knowledge and affect the implementation of drama in the early childhood. This research provides information on drama in education within the pre-primary school setting. It would be of interest to any teacher or researcher who wishes to gain a deeper understanding of the issues that surround drama in early childhood years, and provides insights into the interactions of the participants.
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Sammut, Elvira. "Notions of justice through drama". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1239.
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This paper explores and describes the lived-experience of a group of 16-year-old girls in a drama class designed to heighten awareness of values of social justice. The students involved are experienced drama students, with a good knowledge of the theory of role-play and play-making, as well as, sound dramatic skills and techniques. The lived-experience provided the source for the research study that used film as a medium to inculcate notions of justice and equity in the classroom through self-devised drama. Phenomenological research was conducted with a group of seventeen Year II drama students. The students took part in a series of' drama lessons that used a documentary film as stimulus for self-devised drama presentations. Participant observation, as well as the students' own personal reflective journals, were used to collect data that was then coded, collated and categorised into significant statements. The results suggested that a significant number of students understood more about values, recognised alternative actions to resolve conflict, and were generally more empathetic to others after completing the study module. This verified my thesis, that the drama classroom is a good environment to inculcate notions of justice, and that drama students are most receptive to this mode of learning. The results revealed sufficient positive evidence to indicate that concrete recommendations be considered by The Western Australian Curriculum Council for inclusion in Drama syllabi to further strengthen the Council's thrust for a values-based curriculum in Western Australian schools.
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Galea, Marco. "A study of postcolonial drama in Malta". Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411117.
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For almost two centuries Malta was a British colony. During this period it developed an active theatre which, unlike the situation in most colonized communities as described by postcolonial criticism, used a local language as its main means of expression. Most Maltese playwrights continued to write their plays in Maltese even after their country became independent, and therefore after the Maltese language had outlived its utility as a weapon of resistance against a formal foreign colonizer. The thesis traces the development of Maltese drama and theatre in the nineteenth and early twentieth century but its main focus is the drama of the post-independence period, when playwrights became more daring both in the views they held and in the form they gave to their plays. It discusses in detail the major themes which recur in Maltese plays from 1964, when Malta gained its independence from Britain, to the present day, thereby evaluating the various playwrights' position of commentators on their country's history, politics and social values. It is shown that many of the subjects that interest Maltese playwrights, such as history, power, family structures and theatrical life, are also present in many important plays originating in other postcolonial situations. Likewise, Maltese drama shares with other postcolonial drama a stylistic engagement with the western canon, which is analyzed in detail in the last chapter
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Khorll, Angela E. "Creating Dramatic Scene Work for Literature in a Secondary Language Arts Classroom". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/KhorllAE2008.pdf.
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Johnson, Valerie. "Drama teaching: Understanding what we do". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/732.
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Drama teaching in secondary schools in Western Australia has become an increasingly complex discipline in recent years. This study has considered the work of Drama teachers from the point of view of those practising the discipline, using a phenomenological methodology which allowed the voices of the participants to be heard directly. In the discussion, consideration is given to the way in which these teachers practice the dynamic which is drama, are influenced by the art form of theatre, and deliver the school subject, Drama.
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Saxon, Belinda Sue. ""Borrowing from the east" a study of types of Western theater adaptations of Chinese opera, Japanese noh, and kabuki /". online access from Digital Dissertation Consortium access full-text, 1992. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1351076.
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Lang, Linda L. "Teaching with drama, a collaborative study in innovation". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34870.pdf.
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Leung, Tze-tuen Stella, i 梁子端. "Promoting learner autonomy through a drama project: an ethnographic study". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29664548.
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Stear, Ezekiel Glenn. "Dual-language drama as a door to classic literature". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3270.
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The author believes that the mediation of classic literature through drama would increase student's opportunity for academic success on the secondary and post-secondary levels of education. This project develops curriculum and materials using dramatic adaptations of ancient literature created by the author.
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Ebong, Inih Akpan. "Drama and theatre among the Ibibio of southeastern Nigeria : a case study of Utuekpe or Ekoon drama". Thesis, University of Birmingham, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365341.
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Eckersley, Mark. "Signposts and messagesticks: An ethnographic study of non-indigenous drama teachers’ engagement with an indigenous drama text". Thesis, Australian Catholic University, 2019. https://acuresearchbank.acu.edu.au/download/c794a0bbc920b0dccbd1d1d653692286e42558ad76312d10462327ff49fa9c66/3588331/Eckersley_2019_Signposts_and_messagesticks_an_ethnographic_study.pdf.
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The purpose of this ethnographic study is to investigate how non-Indigenous Australian secondary drama teachers engage with an Australian Indigenous drama text. Some studies, such as those of Moriarty (1995) and Harrison and Greenfield (2011), have focused on the implementation and teaching of ‘Aboriginal Studies’ and ‘Aboriginal Culture’. There is a gap in scholarly literature relating to the way teachers engage with Indigenous Australian perspectives and texts. In this research, I address the following question: ‘How do non-Indigenous Victorian secondary school drama teachers (NIVSSDTs) engage with Indigenous Australian drama texts and what effects does this have on ‘ways of seeing’ that develops knowledge and understanding?’ Ethnographic and case study research is used to examine how non-Indigenous Victorian secondary school drama teachers (NIVSSDTs) perceive and make sense of an Indigenous Australian drama text. A case study was conducted that included four NIVSSDTs in an ethnographic study of their teaching of an Indigenous drama text. Data collection was based on three data collection methods. First, semi-structured interviews with each of the four NIVSSDTs were undertaken. Second, visual journals of the NIVSSDTs were examined. Finally, discussion in forums involving the participants took place. The case design was informed by Indigenous Australian Aboriginal pedagogy of cultural interface as represented in the eight-stage model of Yunkaporta (2009) and the work on privileging Indigenous Australian ‘ways of Knowing’ by Rigney (1997), Smith (1999), Nakata (2003), Foley (2002) and Blair (2015). Important also to the data analysis were ‘theories of visuality’, especially the conceptual frameworks of reception theory (Hall 1980). Findings from the study were that NIVSSDTs primarily adopt hegemonic or negotiated operating positions especially when concentrating on exam criteria. Negotiated positioning is more evident when NIVSSDTs concentrate on story, themes and contexts. NIVSSDTs tended to aestheticise, objectify and engage with Indigenous Australian cultures positioning Indigenous ‘ways of Knowing’ on the periphery of Western knowledge constructs. Lack of meaningful consultation with Indigenous Australian knowledge holders is also evident. The significance of my research lies in its contribution to knowledge about social, cultural and political issues surrounding Non-Indigenous teachers’ engagement with Indigenous cultures and ‘ways of Knowing'.
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Vik, Frida. "Breaking maxims in a crime drama : A study on non-observances of maxims in crime drama Blindspot". Thesis, Umeå universitet, Institutionen för språkstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184990.
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The conversational maxims are guidelines to how a conversation should be conducted, but sometimes these maxims can be broken for different reasons. The aim of this thesis is to identify breakings of the conversational maxims in the crime drama Blindspot and to study which maxims are broken, for what purpose the maxims are broken and if there are any changes to the number of maxims broken between different seasons of the series. The results show that the maxim of quantity is most frequently broken in the episode from season one and the maxim of quality is broken most frequently in the episodes from season three and five. Some of the reasons for the breakings are sarcasm used for a comedic effect, not giving enough information to keep the viewers in suspense and as a way to change the subject or focus of a conversation.
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Allan, William. "A study of Euripides' Andromache". Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363480.
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Moyo, Awelani Lena. "Between self and author : an autoethnographic approach towards the crafting of reflexive compositions in post graduate drama studies". Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002375.
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This thesis explores the merits of reflexivity in the processes of creating a performance and of performing research in Drama Studies. In it, I make a case for the validity of autobiographical material as an aid to generating such reflexivity. Through an autoethnographic case study of my work entitled Compositions (a series of performance projects) in which I focus on the theme of migration, I provide an indepth account of my experiences, focusing specifically on the interrelated concerns of body, space and journey in my ritualistic performance. My examination explores the dynamic effects of liminality within identity politics, through which I foreground several issues of concern which I have encountered as an emerging scholar and theatremaker working within an academic institution. I propose that the process of studying drama in a University ultimately requires one to continually negotiate a range of subject positions, whilst finding connections between these various identities that one may take up during the course of one’s studies. By developing an awareness of the overlapping of such identities and inhabiting the spaces in-between subject positions, I demonstrate how taking into account one’s personal lived experience can help illuminate one’s understanding of both the work of art and the research report, as well as the broader contexts in which such practice-based work exists. I illustrate how such an understanding has ultimately maximised the knowledge and learning that I have gathered, and has contributed to the crucial project of developing my authorial voice in writing and performance, which is central to the aims of the Master of Arts degree in Drama.
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曾慶慈 i Hing-chi Tsang. "A critical study of supernatural elements in Yuan drama". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31210028.
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文秉懿 i Bing-yee Man. "A study of minor comic characters in Yuan drama". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B3121177X.
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Baughan, Lynn. "Drama in further education : a study in cultural marginality". Thesis, University of Warwick, 1990. http://wrap.warwick.ac.uk/106900/.
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This study is an attempt to explore and explain tensions and anomalies associated with the role of Drama in Further Education. An initial intuitive framework suggests that there may be a natural antithesis between the expressive ideology of Drama and the instrumental ideology of Further Education. The frameworks proposed for the exploration include cultural reproduction theory, whilst Drama is perceived as carrying the dilemmas and contradictions of its marginal status. A two-by-two dichotomy is proposed which combines an analysis of Further Education milieu as potentially 'transparent' or 'opaque', and the role of Drama as potentially 'instrumental' or 'expressive'. The study moves accumulatively through three case studies. The first is an historical case assessing the extent, through two representative contrasting periods, to which the problems of Drama in Further Education can be said to reflect wider tensions and ambiguities pertaining to the role of Drama in culture at large. The second case study examines whether the legacy of Further Education is one of historical uncertainty and confusion, and whether Drama has responded in a consistent way to the cross-fire of ideas, interests and rhetorics of justification that it has found itself caught in. The third case study is an in-depth ethnography portrayal of the vicissitudes of Drama in a single institution, Sutton Coldfield College of Further Education, placed against a preliminary city-wide perspective concerning Further Education provision in Birmingham. As a contribution to theory, the thesis seeks tentative generalizations from multi-site and cross-time case studies in several areas, including cultural reproduction theory, modified to take account of sub-cultural tensions, and the moral behaviour and practical gambles associated with marginal subject areas in hostile milieu. It also takes an interactionist perspective on the ploys and strategies by which participants in the contested areas manage the problems of their potentially deviant identities, an account in which the collaborators and fifth columnists have their places. A final consideration is the extent to which the forces of social control in the colleges operate by hegemonic consent or by coercion in seeking to curb and contain Dramatic activity.
21
Jordaan, Phoebe-Marie. "Finding creativity : integrating drama teaching techniques in creative writing lessons". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97125.
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Thesis (MEd)--Stellenbosch University 2015.ENGLISH ABSTRACT: Creative writing forms an essential part of the English language learning area in any curriculum. The expression of knowledge and ideas through writing is an integral part of the communication process; however, some learners struggle to express their thoughts and ideas in creative writing tasks. As such, this thesis strives to discover how creativity can be stimulated in order to assist learners in their written expression. Drama techniques, stimulation activities and other multi-literacy resources have been employed to try and understand the discovering and ‘finding creativity’ process through creative writing, journaling and performance in the drama classroom. The research utilises the action research methodology, employing participant observations, semi-structured interviews and reflective classroom discussions. It also uses the creative writing journals of the learners in an attempt to investigate how drama techniques can stimulate creativity for the creative writing process. The units of analysis in this case study are 13 grade 9 learners at a private school in the Western Cape, South Africa. The analysis of the data collected reveals that by utilising drama techniques, along with other stimuli and resources, in the classroom the process of creative writing become less troublesome and more enjoyable for both learners and teacher-researcher alike. Another finding is that the open, free and flexible atmosphere, which is created in the classroom assists learners not only with the development of their written expression, but also with verbal expression. The learners learn how to express their creative thoughts and ideas, about the world they live in, in a respectful, sensitive and empathetic manner. The creative writing programs have proved to be more than just tools to improve writing competence, but also have equipped learners with the tools to become creative, thinking citizens.
AFRIKAANSE OPSOMMING: Kreatiewe skryfwerk vorm ‘n essensiële deel van die Engelse leerarea in enige kurrikulum. Die uitdrukking van kennis en idees deur die skryfproses vorm ‘n integrale deel van die kommunikasieproses, maar sommige leerders vind dit uitdagend om aan hulle gedagtes en idees in kreatiewe skryftake uiting te gee. Met hierdie tesis beoog ek om dus om te ontdek hoe kreatiwiteit gestimuleer kan word om leerders met hulle geskrewe uitdrukkings vermoë te ondersteun. Dramategnieke, stimulerende aktiwiteite en ander meerdoelige geletterdheidshulpbronne is gebruik om te probeer verstaan hoe die ontdekking van die kreatiwiteitsproses deur kreatiewe skryf, joernaalinskrywings en opvoerings in die dramaklas, kan plaasvind. Hierdie studie het die aksienavorsingsmetodologie gevolg, waar deelnemende waarneming, semi-gestruktureerde onderhoude en reflektiewe klaskamergesprekke, asook die kreatiewe skryfjoernale van die leerders, gebruik is om te ondersoek in hoe ‘n mate dramategnieke kreatiwiteit vir die kreatiewe skryfproses kan stimuleer. Die studie is op 13 graad 9-leerders wat by ‘n privaatskool in die Wes-Kaap, onderrig word. Die analise van die versamelde data openbaar dat, wanneer dramategnieke in samewerking met ander stimulus en hulpbronne gebruik word, dit die kreatiewe skryfproses vergemaklik en dit meer genotvol vir beide die leerders en die onderwyser-navorser word. Nog ‘n bevinding toon dat die oop, vry en inskiklike atmosfeer, wat in die klaskamer geskep word, nie net die leerders in die ontwikkeling van hul geskrewe uitdrukking bygestaan het nie, maar ook met hul verbale uitdrukkingsvermoë. Die leerders het geleer hoe om hul kreatiewe gedagtes en idees oor hul individuele wêrelde in ‘n respekvolle, sensitiewe en empatiese manier uit te druk. Die kreatiewe skryfprogram blyk veel meer as bloot ‘n hulpbron te wees om die skryfvermoëns van die leerders te verbeter. Dit het hulle ook toegerus om kreatiewe, denkende landburgers te word.
22
Wachsman, Frances 1942. "Music, movement and drama in the center of the elementary curriculum". Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277227.
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The purpose of this project is to develop a research-founded semiotically-based, holistic philosophy for utilizing quality, child-tested music, movement and drama resources in an integrated learning format and to provide workable activities within an accessible, understandable structure for use by the teacher in kindergarten through third grade classroom situations. Since children are "meaning makers," it is logical to create an approach for classroom teachers to use which builds on what children need most to help them make learning connections: an integrated format which helps children understand how learning fits together or makes sense. This project organizes music, movement and drama activities thematically in content areas which are ordered from simple to complex to accommodate the age range to which the project is directed.
23
Rowe, Julisa. "A guide to ethnodramatology developing culturally appropriate drama in cross-cultural Christian communication : a comparative study of the dramas of Kenya, India and the United States /". Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Schultz, Waldemar. "Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actor". Thesis, Stellenbosch : Stellenbosch University, 1997. http://hdl.handle.net/10019.1/55769.
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Thesis (MDram)--Stellenbosch University, 1997.ENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department.
AFRIKAANSE OPSOMMING: 'n Tesis waarin die outeur maniere ondersoek waardeur 'n regisseur binne 'n akteurs-opleidingsinstansie die volskaalse teaterproduksie kan gebruik as 'n metode vir intense opleiding vir die betrokke studente. Die outeur meen dat 'n groot gedeelte van die teorie en praktiese opleiding wat in die klaskamer weergegee word, nie ten voile verstaan of benut word, tensy die student dit beproef en beleef in so 'n realisties (wat professionele teater betref) moontlike scenario, in die vorm van 'n studenteproduksie. Vir die doeleindes van hierdie tesis word 'n tipiese produksieproses as model gebruik, en verskeie areas waarin die regisseur as onderwyser of katalisator tot selfontdekking kan optree, word grotendeels bespreek in die volgorde waarin dit in die praktyk mag voorkom. Die gevolgtrekking is dat intensiewe opleiding in die produksieproses 'n uiters tydsame en duur oefening sou wees, dog baie lonend indien prakties uitvoerbaar. Daarby sou dit 'n hoogs gekwalifiseerde regisseur-opleier verg, met 'n holistiese kennis van die teaterkuns, wat bereid is om baie tyd en moeite op s6 'n produksie te bestee. Navorsing vir hierdie tesis sluit in leeswerk, praktiese regie- en toneelspelprojekte sowel as klasgee in toneelspel as deeltydse lektor aan die Universiteit van Stellenbosch se Departement Drama.
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Bodden, Lisa. "Developing a Creative Classroom through Drama Work: One Teacher's Reflective Journey". Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193264.
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In this qualitative, action research study, I aimed to improve my teaching practices in my seventh grade drama classroom. I conducted the study by implementing a monologue unit plan I had used in the past adapted for this study. My emphases for the study were the promotion of creativity, the identification of drama and theatre elements, and the transformation in understanding. Data was gathered from students in my class, a third eye observer, and me. Notation, description, sources for analysis, and questioning procedures were used to survey the data by looking for patterns, coding the responses, and generating findings that satisfied the research questions. I discovered that imagination is supported in my classroom but that I need to develop better strategies to show how dramatic skills affect the daily lives of students and the importance of empathy for this class as well as the others I teach.
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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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Piazzoli, Erika Caterina. "Navigating the Labyrinth: A Study of Engagement and Artistry in Process Drama for Additional Language Teaching and Learning". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365439.
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In this reflective practitioner research I investigate process drama for additional language teaching and learning (AL/process drama). In particular, I examine two constructs relevant to AL/process drama aesthetics: ‘learner engagement’ and ‘teacher artistry’. To explore these constructs I draw on three case studies, developed within two adult schools of Italian (AL) and a university, in Milan, Italy. As teacher/researcher, I designed and facilitated a series of process drama workshops for each context, resulting in 45 hours of video-recorded material. I kept a reflective journal (written in English) and a logbook (written in Italian) where I recorded my reflection-in-action and reflection-on-action. As a translingual researcher, I deliberately switched between languages, in an attempt to capture different nuances and better understand my attitudes and beliefs towards AL/process drama teaching. Within each case, I worked with a group of up to 16 international students of Italian (AL) at an intermediate level of proficiency (student-participants) and up to seven teachers (teacher-participants) who observed the workshops and took notes on the learners’ engagement. Both students and teacher-participants took part in individual and focus group interviews. At the end of each workshop, student-participants were invited to choose a specific moment from the drama and self-evaluate their engagement. These moments informed the selection of video extracts that were later used within video-stimulated recall interviews. The ‘learner engagement’ construct was explored through the Vygotskyan lens of ‘felt-experience’ (perezhivanie) in which individuals perceive, feel, interpret, internalise, and re-create meaning through a cognitive, affective and social investment. I analysed the nature of engagement from a sociocultural perspective, across three domains: Second Language Acquisition (SLA), Intercultural Education and Aesthetic Learning. The analysis revealed that the nature of learner engagement in the SLA domain seems to appear and manifest as a cycle of ‘perception-in-action’.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
Full Text
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Minier, Márta Magdolna. "Translating Hamlet into Hungarian culture : a case study in rewriting and translocation". Thesis, University of Hull, 2005. http://hydra.hull.ac.uk/resources/hull:5668.
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This thesis investigates the translation of Hamlet into Hungarian culture. In order to cover as wide a spectrum of translation as possible, the thesis employs Roman Jakobson's tripartite notion of translation: interlingual, intralingual and intersemiotic transfer. However, the thesis also challenges Jakobson's categories, especially with regard to the considerable degree of overlap that occurs. The first part of the thesis focuses on what is traditionally termed translation - translation 'proper' or interlingual translation. Nevertheless, in the context of the Hungarian Hamlets intralingual translation is also involved due to the central status of Janos Arany's 1867 translation. This translation influences the work of later translators, whether they approach the sacred text with the attitude of discipleship (that is to say, with reverence for Arany and with the intention of imitating or learning from Arany) or, less frequently, with the attitude of mastery (claiming equal or greater expertise). This process, which can be described as a Bloomian coming-to-terms with the father figure, is apparent when one looks at how famous Shakespearean-Aranyean fragments of Hamlet are 'retranslated' by subsequent translators. Apart from examples of the fragmentary afterlife of Arany's Hamlet, critical discourse also displays a certain taboo surrounding Arany's Hamlet. The second part of the thesis deals with interserniotic translation, providing a detailed case study of the 2003 Pécs performance based on a contemporary translation by Ádám Nádasdy. This instance of translation involves the transposition of a purely verbal text onto an art form that is not exclusively verbal. The third part of the thesis engages in the discussion of a spectrum of rewrites (or, in Jakobson's term, 'rewording') and follows a genre-based division: Hamletian ramifications in drama, fiction and poetry. The examination of these three interrelated areas of translation activity prompts the critic to envisage a complex Hungarian Hamlet palimpsest woven in the spirit of making Shakespeare and Hamlet 'our own'.
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Malick, Neeraj. "The politics of laughter : a study of Sean O'Casey's drama". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39493.
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This is a study of popular festive laughter in Sean O'Casey's drama. It argues that O'Casey's use of the strategies of laughter is an integral part of his political vision. The concept of festive laughter is derived from the theory of Mikhail Bakhtin, and is related, in this thesis, to the culture of low life in O'Casey's Dublin. Through a detailed analysis of O'Casey's plays, this study shows how the forms of laughter function to interrogate the hegemonic political, economic, and cultural discourses of the Irish society of his time. The Dublin trilogy counters the nationalist ideology and its constructions of history, while the later comedies focus on the issues of cultural domination and religious authoritarianism. This negative critique of the dominant order is accompanied, in these plays, by a celebration of the rich energy of popular, collective life, and its capacity to resist domination and to create an alternative society. The study concludes by focusing on the festive nature of O'Casey's theatre.
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魏城璧 i Sing-bik Cindy Ngai. "A study of court drama in the early Ming Dynasty". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221531.
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Si, Tou Sau-ieng, i 司徒秀英. "A study of zhuanqi drama of the mid-Ming period". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31239262.
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Peirce, L. Meghan. "Botswana's Makgabaneng: An Audience Reception Study of an Edutainment Drama". Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1304698745.
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Requejo, Ansó Alberto Ángel. "A study of Jesus Guridi's lyric drama Amaya (1910-1920) /". Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40036327d.
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Keller, Michelle Margo 1954. "A study of pathological narcissism in Renaissance English tragic drama". Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289178.
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The central conviction of this dissertation is that the tenets of the psychiatric medical category, pathological narcissism, explain, in a way other psychological interpretations have not adequately addressed, why the main characters in several important English Renaissance tragic dramas become enmeshed in difficulty and come to ruin. Evidence in the plays themselves invites the use of this particular interpretive category. William Shakespeare's Coriolanus in Coriolanus, Vindice in Cyril Tourneur's The Revenger's Tragedy, Edward in Christopher Marlowe's Edward II, and John Frankford in Thomas Heywood's A Woman Killed with Kindness are representative of tragic characters who suffer from a lack of a psychologically integrated self--the least common denominator of narcissistic disturbance. Pathological narcissism is not a hedonistic orientation toward self-gratification, nor is it self-love, but rather, it refers to an impoverished state of being that is self-misconstrued in a special way. Lacking a stable self-configuration--a mental state that is experienced painfully and fearfully, narcissists engage in patterns of defensive, compensatory behaviors which include grandiose acting out, masochistic and sadistic functioning, aggressive and vengeful conduct, mental splitting, and inappropriate psychological mirroring. The terrible irony of these defensive strategies is that, because they are so offensive and alienating to others, they isolate the narcissist from relational contact and impel him back toward the sense of self-incohesion that he seeks to avoid. In each chapter, I examine how pathological narcissism manifests itself in the four tragic protagonists under consideration. Coriolanus's exaggerated focus on himself renders him a completely unsuitable candidate for the office of consul. Vindice revives himself from mental paralysis through narcissistic defensive activities which cause him self-destructively to collapse back onto himself. Edward II possesses a self that is so narrowly conceived that it cannot survive the rigors of monarchical office. John Frankford lives in the narcissistic psychological prison of perfectionism that will be his undoing. Also in each chapter, I suggest how Ovid's treatment of Narcissus in the Metamorphoses, for whom the psychological condition of pathological narcissism is named, provides a gloss on the disastrous course each protagonist's life takes.
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Suliman, Menal, i Jenny Uneby. "DEALING WITH DRAMA : A Qualitative Study on Workplace Friendship Deterioration". Thesis, Umeå universitet, Företagsekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-161283.
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Relationships are an essential factor for wellbeing. To create and maintain relationships is also a crucial part of many jobs. These relationships sometimes develop into friendships, which often have been viewed as positive for performance and wellbeing at the workplace. However, previous research mainly focuses on the upsides of workplace friendships. In recent studies, the importance to also investigate the dark sides of workplace friendships have been emphasized. One of these dark sides has beenlabeled workplace friendship deterioration, which is the phenomenon which will be studied in this thesis. The study contributes to the research field of management with insights into coping mechanisms tied to the phenomenon. More specifically, the studyfocuseson organizational members within the service sectors. Therefore, the research question reads as follows: Which coping mechanisms are displayed by organizational members in service sectors when workplace friendships are deteriorated?The theoretical point of departure providesa foundation for the study by presenting previous academic studies, discuss the relevance of concepts and interpret findings reported in previous studies. The theoretical framework introducesthe theories of coping mechanisms and emotions. This forms a basis for the analysis and discussion of the findings. The study is based on a qualitative research method. Data was collected through semi-structured interviews with nine different respondents, all based in Umeå, Sweden. The interviews were transcribed and then coded with the software Nvivo. The results of this study show that the coping mechanisms organizational members in service sectors display when workplace friendships deteriorate depend on the characteristics of the experienced situation. Depending on the situation, one of the main coping categories of problem-focused coping, emotion-focused coping, adaptive coping, or maladaptive coping are adapted. These are more specifically expressed as distancing, confronting, talking to others, reaching out, informing manager, altering point of view, denying, and breaking commitment. The main coping and the expressed coping together form the displayed coping mechanisms. The process of coping with workplace friendship deterioration is found to consist of four stages. These are labeled as causes, emotions, main coping, and expressed coping. Causes for workplace friendship deterioration, ordered from most to least commonly occurring, are toxic behavior, communication issues, different perceptions on tasks and responsibility, close relationships, polarization, injustice, organizational issues, management issues, differing moral and values, competition, differing ambitions and goals, and distractions.
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McNamara, Catherine. "The constitution of transgender masculinities through performance : a study of theatre and the everyday". Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1544.
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This doctoral project is concerned with gender and the way that transgender masculinities are manifested, articulated and debated through drama, theatre and performance. The central question of the research is how `performance' contributes to the process of constituting individual identities and communities, specifically transgender masculinities. The research engages with the multiple ways that the concepts or categories of the individual, of community and of performance are defined, and how they function and are experienced when transgender identities or transgender masculinities are central to a `performance event'. The particular individuals and groups of transgender-identified people, or people who might be described in relation to a trans framework of identity, are those for whom gender is not a fixed state rooted in a binary system, but a state that can be bent, moved or made malleable in order to fit according to individual need. The individuals and groups on whom I focus tend to have had their sex assigned female at birth and at some point in their lives have identified themselves as male rather than female. There are also individuals who do not self-identify as male but refute gender categorisation, thereby not identifying as female either. Moreover, there are people who still self-identify as female but have developed or produced markers of masculinity on their body that have a significant impact on their day-to-day living and in their performance work. In this thesis I will be referring to this range of varied identities as transgender masculinities. This research will be of relevance to contemporary theatre scholars, particularly those with an interest in the creation of avant-garde and community-generated practices. The research will also be of use to those interested in queer and non-normative identities as manifested through drama, theatre and performance, whether this is by solo artists or within project work with groups of people who identify as transgender, genderqueer or have an otherwise complex relationship to gender.
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Morris, Gay. "Own-made in the (post-)new South Africa : a study of theatre originating from selected townships in the vicinity of Cape Town". Doctoral thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/11720.
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Includes bibliographical references (p. 194-205).This thesis sets out to develop a framework for the analysis and description of theatre practices evident in selected Cape Town townships during the past six years. Building an account which is both aesthetic and sociological and informed by political intentions; which considers the whole - the gestalt - and which adopts a located orientation; the study sets out to elucidate the theatre's connections to its locality and local culture, its particular organizational and aesthetic character, its idiosyncrasies and performance strengths, its concerns, and its struggle for distinction within the field of theatre in Cape Town.
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Neethling, Miemie. "Cape curtains : a study of selected Cape Town theatres, 1843-1916". Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52726.
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Thesis (MDram)--Stellenbosch University, 2002.ENGLISH ABSTRACT: This study aims to reconstruct the history of the Capetonian theatrical venue of the second half of the 19th century. It explores the many different venues used for theatrical activities. Venues discussed include amateur theatres such as the Hope Street Theatre, Roeland Street Theatre, Haupt's Theatre and the Drury Lane Theatre. Due to the extensive research already done on the African Theatre on Riebeeck Square and the Garrison Theatre they are only briefly mentioned as part of the background to the social dynamics of Victorian Cape Town. Quite often venues such as banqueting halls, drawing-rooms and wine stores doubled as theatrical venues. Halls discussed include the Oddfellows Hall, the Mutual Hall and the Drill Hall. Although the main objective of the study was the theatrical venue, it is impossible not to mention the different drama companies that occupied these venues. Therefore, the activities of the drama companies were also discussed to a certain extent, because of the strong interrelationship between company and theatre house. These include, among others, the companies of Sefton Parry and Disney Roebuck. For the purpose of this study the theatrical venue has been defined as an indoors space, which is divided into two clearly demarcated areas, namely the stage and the auditorium. Because of this definition the early African theatrical activities are not included in this study and it deals rather with the Western theatre tradition, namely that of the early Dutch and English artists. The study deals primarily with the dominant English theatre post-1850 and the shift from amateur to professional theatricals. Professional theatres include the Theatre Royals of Harrington Street and Burg Street, the Exhibition Theatre and the Good Hope Theatre. At the end of the thesis parallels are drawn between the 19th and 20th century theatre houses such as the Opera House and the Tivoli Theatre. Another issue addressed by the study is the quest for a permanent theatrical venue or building in the early Cape theatre tradition.
AFRIKAANSE OPSOMMING: Die studie poog om die geskiedenis van die Kaapse teaters te herstruktureer. Dit ondersoek die verskillende plekke en geboue wat vir teater aktiwiteite gebruik is gedurende die tweede helfte van die 19de eeu. Amateur teaters wat bespreek word is onder andere, die Hoopstraat Teater, die Roelandstraat Teater, Haupt se Teater en die Drury Lane Teater. Die Afrika Teater op Riebeeck Plein en die Garnisoen Teater vorm nie deel van hierdie studie nie, aangesien daar alreeds heelwat oor hierdie twee teaters geskryf is. Daar word slegs kortliks in die Inleiding na hulle verwys in die agtergrond tot Kaapstad gedurende die Victoriaanse tydperk. Dramas is nie net in formele teaters aangebied nie, maar ook in verskeie informele plekke soos banketsale en dies meer. Sale wat gebruik is vir sulke doeleindes was onder meer die Oddfellows Saal en die Mutual Saal. Alhoewel die hoof oogmerk van die studie die vermaaklikheidsplek (theatrical venue) is, sou dit onvoldoende wees om nie die verskillende drama geselskappe te noem wat in hierdie plekke opgetree het nie. Daarom is die aktiwiteite van die geselskappe ook bespreek na gelang van hul betrokkenheid by spesifieke teaters, onder andere die van Sefton Parry, James Lycett en Disney Roebuck. Die vermaaklikheidsplek word vir die doeleindes van hierdie studie gedefinieer as 'n binnehuise spasie wat verdeel word in twee duidelik afgebakende areas, naamlik die speelarea en die ouditorium. Die definisie hou egter sekere beperkinge in: Dit sluit die vroee inheemse Afrika teater aktiwiteite uit. Gevolglik word die vroee Westerse teater tradisie van die Hollanders en die Engelse bespreek. Die studie fokus hoofsaaklik op die meer dominante Engelse teater gedurende die tweede helfte van die 19de eeu, en die oorskakeling van amateur na professionele drama. Professionele teaters wat bespreek word is die Theatre Royals (Harrington Straat en Burg Straat), die Exhibition Teater en die Goeie Hoop Teater. Aan die einde van die tesis word daar 'n vergelyking getref tussen die 19de en 20ste eeuse teaters, soos byvoorbeeld die Operahuis (1893) en die Tivoli Teater (1903). Nog 'n aspek wat aangespreek word is die soeke na 'n permanente teatergebou binne die vroee Kaapse teater tradisie.
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McBain, James. "Early Tudor drama and legal culture, c. 1485-1558". Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.
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Bång, Olivia. "Drama as a pedagogical tool in technology education : A study of teachers’ perceptions of drama exercises when teaching ethics in technology". Thesis, KTH, Skolan för teknikvetenskaplig kommunikation och lärande (ECE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-207940.
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According to the National Agency of Education in Sweden, ethics should be a part of technology education in compulsory school (Skolverket, 2011), though research shows that technology teachers struggle with how they should teach ethics in technology (Kåreklint, 2007). The National Agency of Education also states that although drama does not have its’ own syllabus in Swedish grade school, it is encouraged that it is integrated in other subjects. The purpose of this study was to inquire how drama can contribute to the teaching of ethics in technology education in secondary schools. This was attempted to be fulfilled by answering the question " How do teachers view the usage of drama as a pedagogical tool when teaching ethics in technology education?" The inquiry was answered conducting three semi structured interviews with three different technology teachers from three secondary schools in Sweden. All teachers had previous to the interview received and conducted a lesson plan with their pupils, specifically developed for this study, where ethics in technology could be taught with a drama exercise. The interview was largely based on the teachers’ impression of this lesson. The result of the study shows that all participating teachers were very positive to the idea of using drama as a tool when teaching ethics in technology education. All teachers expressed that the lesson had gone well and they all answered that they could see themselves use drama as a tool again. The conclusion being that drama could be a viable option for teaching ethics in technology education.I läroplanen för grundskolan ska tekniketik vara en del av teknikundervisningen (Skolverket, 2011). Dock har forskning visat att lärare i Sverige har svårt att inkorporera detta i sin teknikundervisning (Kåreklint, 2007). I läroplanen för den svenska grundskolan så är drama inget eget ämne, men uppmanas av Skolverket (2016) att integreras i andra ämnen. Syftet med denna studie var att undersöka hur drama kan bidra till undervisningen av tekniketik genom att besvara frågeställningen "Hur ser lärare på användningen av drama som ett didaktiskt verktyg i teknikundervisningen kring etik?" Frågeställningen besvarades genom att intervjua tre tekniklärare från tre olika svenska grundskolor. Innan den semi-strukturerade intervjun hölls hade lärarna mottagit och utfört en för denna studie designad lektionsplanering där tekniketik lärdes ut genom en dramaövning. Intervjuerna vilade till största del på den uppfattning lärarna fått kring lektionen i fråga. Resultatet av studien visade att alla medverkande lärare såg positivt på att använda drama som ett didaktiskt verktyg för att lära ut tekniketik. Samtliga lärare uttryckte att lektionen hade fungerat bra och att de planerade att fortsätta använda dramaövningar i framtiden. Slutsatsen var att dramaövningar kan vara ett alternativ för undervisning av tekniketik.
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Pretorius, Mareli Hattingh. "Drama-opleiding : ’n ondersoek na die aard, implementering en uitkomste van kurrikula in Suid-Afrikaanse skole". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/19995.
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Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In the past drama education was an uncommon occurrence in South African schools, limited to the elective subject Speech and Drama at secondary level, which was only offered in a few schools in some of the provinces. The assumption is made that the introduction of Arts and Culture as one of the eight learning areas in Curriculum 2005 has greatly impacted on drama education at school level. This study aims to determine the state of affairs with regards to drama education within the current (2011) education system by investigating the nature, implementation and outcomes of drama curricula in South African schools. In the context of the far-reaching changes that has occurred in South African education since 1994, a historical overview of education before 1994 is given to act as a backdrop for a discussion of the process of education reform. The shift to an outcomes-based education approach is investigated by defining and discussing it in relation to the chosen South-African approach; identifying and discussing the theories and philosophies underpinning an outcomes-based approach to education; and looking at the national curriculum from its introduction as Curriculum 2005 until the recent revision of the National Curriculum Statement (Grades R-9), which will be phased into schools from 2012 as the Curriculum and Assessment Policy Statement. A comparative evaluation of the drama curricula in the current (2011) National Curriculum Statement (Grade R-12) and the drama curricula in the revised Curriculum and Assessment Policy Statement serves as the means to determine the nature, content and outcomes of the drama curricula. The Africanisation of the drama curricula is investigated and it becomes apparent that indigenous knowledge, traditions, customs and cultural practices are successfully included in the drama curricula. The comparative evaluation also leads to the conclusion that the revised national curriculum is a definite improvement on the status quo. Through the investigation of the nature and outcomes of the different drama curricula, it is possible to identify specific requirements for the successful implementation of drama curricula. With these requirements in mind possible challenges and/or problem areas with regards to the implementation of drama curricula are determined and discussed. These challenges and/or problem areas are the following: the curriculum itself, the socio-economic circumstances of schools and learners, language issues, the status of drama education at school level, time allocation and management, funding and infrastructure, and teacher training.
AFRIKAANSE OPSOMMING: Drama-opleiding op skoolvlak was in die verlede ’n nie-algemene verskynsel en is hoofsaaklik beperk tot die keusevak Spraak en Drama wat slegs in sekere provinsies by ’n beperkte aantal skole op sekondêre vlak aangebied is. Die veronderstelling word gemaak dat die bekendstelling van Kuns en Kultuur as een van die agt verpligte leerareas binne Kurrikulum 2005 ’n geweldige impak op drama-opleiding op skoolvlak gehad het en steeds het. Hierdie studie stel dit gevolglik ten doel om die stand van drama-opleiding binne die huidige (2011) onderwysstelsel te bepaal deur ’n ondersoek te loods na die aard, implementering en uitkomste van dramakurrikula in Suid-Afrikaanse skole. In die lig van die ingrypende veranderinge wat sedert 1994 binne Suid-Afrikaanse onderwys plaasgevind het, bied die studie eerstens ’n historiese oorsig van onderwys voor 1994 wat as agtergrond dien vir ’n bespreking van die onderwyshervormingsproses. Die oorskakeling na ’n uitkomsgebaseerde benadering tot onderwys word in oënskou geneem deur die gekose Suid-Afrikaanse onderwysbenadering te omskryf en te bespreek; die filosofieë en teorieë onderliggend tot ’n uitkomsgebaseerde onderwysbenadering binne die Suid-Afrikaanse konteks te identifiseer en te bespreek; en die nasionale skoolkurrikulum in oënskou te neem vanaf die bekendstelling van Kurrikulum 2005 tot en met die voorgestelde hersienings van die Nasionale Kurrikulumverklaring (Grade R-12) wat vanaf 2012 in skole infaseer word en bekend staan as die Kurrikulum- en Assesseringsbeleidverklaring. Deur middel van ’n vergelykende evaluering van die dramakurrikula in die huidige (2011) Nasionale Kurrikulumverklaring (Grade R-12) en die dramakurrikula in die hersiene Kurrikulum- en Assesseringsbeleidverklaring, word die omvang, inhoud en uitkomste van die dramakurrikula bepaal. Daar word ondersoek ingestel na die Afrikanisering van die dramakurrikula en dit word duidelik dat inheemse kennis, tradisies, gebruike en kultuurpraktyke op suksesvolle wyse binne die onderskeie dramakurrikula ingesluit word. Na afloop van die vergelykende evaluering word die afleiding gemaak dat die mees onlangse hersiening van die nasionale kurrikulum ’n definitiewe verbetering op die status quo is. Dit is moontlik om na aanleiding van die aard en uitkomste van die onderskeie dramakurrikula spesifieke vereistes vir die suksesvolle implementering van die dramakurrikula te identifiseer. In die lig van hierdie vereistes word moontlike uitdagings en/of probleemareas ten opsigte van die implementering van die dramakurrikula vasgestel en bespreek. Hierdie uitdagings en/of probleemareas is die volgende: die kurrikulum self, sosioekonomiese omstandighede van skole en leerders, taalkwessies, die status van dramaopleiding op skoolvlak, tydstoedeling en -bestuur, befondsing en infrastruktuur, en onderwyseropleiding.
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賴崇仁. "Taiwanese Laughing-Drama Record Study". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/21622168729044377819.
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林豐藝. "A study on the drama and drama views of Liang Chi-Chao". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/76836682652936792710.
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lee, sang chul, i 李相哲. "Study Of Mingdynasty’s drama creation theory". Thesis, 1996. http://ndltd.ncl.edu.tw/handle/93869497518821433770.
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Yang, Chi-chu, i 楊淇竹. "Study of "Wintry Night" TV drama". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/79439903598464979262.
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Wang, Shu-Hui, i 王淑惠. "Comparative Study of Female Characters Modelling in Taiwan Hand Puppet Drama-Case Study: Conventional Hand Puppet Drama and Epili Hand Puppet Drama Female Characters". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91881397608640172230.
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碩士東方技術學院
文化創意設計研究所
98
“Hand Puppet Drama” in Taiwan is considered a type of typical folk-style cultural drama. Via different eras of revolution, instead of being terminated hand puppet drama transforms into the type of performance that can most represent Taiwan’s cultural style. With such significance in arts its context must be worth discussing. This study mainly investigates differences in conventional hand puppet drama and modern Epili hand puppet drama female characters’ modeling. With further analysis, it compares different perspectives in performing factors in various times. This study also focuses on discussing hand puppet drama’s female characters. It observes Taiwan hand puppet drama female characters’ development and evolution as far as its styling from inside structure and texture to outside appearances such as hair modeling, face portraying, clothes design, and accessory materials analysis. By comparing result for Taiwan hand puppet drama female characters’ development and evolution, it understands variations in Taiwan hand puppet drama female character modeling for fifty years as well as its meanings for transformation in different time periods. To achieve above purposes, firstly this article adopts “Literature Review” to analyze and compare which includes exploring entire façade of hand puppet drama and “Female Characters” in hand puppet drama. In addition, due to female character puppets for conventional hand puppet drama is limited in quantity and are classified as national treasure, they are mostly kept in hand puppet drama museums all over Taiwan. Therefore, by using “Field Research”, it gathers observation records in each location, as well as it engages main-stream hand puppet drama performances professionals for in-depth interview and directly records their opinions towards hand puppet drama female characters. At last, it picks “Comparative Analysis Approach” to collect and study information including words and pictures for analysis and compiling; furthermore it compares step by step relevant data for conventional and modern Epili hand puppet drama. It discusses Taiwan hand puppet drama from conventional and modern as well as from classical and contemporary revolution regarding female characters’ evolution in Taiwan hand puppet drama. This study has concluded that: 1. These three factors including “Creator’s ideals”, “Manufacturing techniques and skills”, and “Materials’ Usage” have brought different impacts to hand puppet completion, style, dedicate level , and durability which include hand puppet appearances and flexibility; 2. From its reality outlooks, two parts which contains “hand head” and “hand body” details and proportions is the biggest factor that causes visual differences in conventional and modern female hand puppets. Hand puppet displays multiple folk living styles’ self-portraits, a living style. All style revolution and manufacturing time, as well as its social atmosphere during performing also relate to Taiwan hand puppet drama changes; it also demonstrates changes for Taiwan society. Besides, via this study, its implications and results for Taiwan hand puppet drama changes can provide to Taiwan hand puppet drama performers or researchers in relevant fields some suggestions and references.
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Jhang, Miao-Ping, i 張渺苹. "The Study of Deconstructing Drama Imitation in Li-Yu’s “Silent Opera” by Drama Script". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/35105204665076655386.
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碩士國立雲林科技大學
漢學資料整理研究所碩士班
101
Novels and drama are two types of literature. They affect each other during the process of literature development. Therefore, they have common ground and close relations. Li-Yu is good at composing novels and drama. He named his first short novel collection “Silent Opera” which showed the concept of silence. The study intends to reveal the practice of Li-Yu’s silent opera, how novels break the boundary to imitate from drama and present its specialty. Studies on Li-Yu’s have been emphasized too much on individual style drama analysis and novels for ages. The study will focus more on the relations of between and discuss drama imitation of “Silent Drama” from character forming and scenes and plots’ developing. The conclusions will be how Li-Yu uses and imitates the concepts and techniques to achieve his expected result—a unique feature.
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Chou, Shu-Fen, i 周淑芬. "The Study of Creative Drama Teachingin Kindergarten". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91046953327665523710.
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碩士國立臺北教育大學
幼兒與家庭教育學系碩士班
99
The purpose of this study was to explore the implementation of applying creative drama teaching in kindergarten.The researcher also investigated the young children's creative language expression and body movements.The subjects of this study included the researcher and 29 children.During ten weeks study, video recording, observation, interview and field journals were used to collect data.The results of this study were as following: (1) Imitation is the beginning step for yong children to participate creative drama activities. (2) Young children's experiences were the foundation of demonstration of creative language and body performance. (3) The coaching skills of teacher would affect on young children's creative performance. (4) The teaching strategies must be flexibly adjusted according to young children's performance.
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Naidu, Ramola L. "Speech and drama curriculum development : the perspectives of a selection of drama teachers in KwaZulu Natal". Thesis, 1998. http://hdl.handle.net/10413/4494.
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The researcher has attempted to gain an understanding of how Drama teachers perceive the teaching of the curriculum and curriculum change. The data were obtained through the use of the qualitative mode of engaging in research. The researcher, who is also a Drama teacher had come to experience the need for teachers to be given an opportunity to express their views on curriculum as the area of curriculum is complex and always in need of reappraisal. Also, teachers needed a medium through
which they could share their perspectives on curriculum. The researcher collected the relevant information by using the interview context as a
means of data collection. Ten Drama teachers responded to questions focusing on curriculum teaching and curriculum change. The Drama teachers' perspectives were recorded and analysed. Marxist theorists like Bowles and Gintis( 1986) view teachers as mere state functionaries and agents of the system. Drama teachers in this study contradicted the view of teachers as technicians within the system. They were not reflective of typical teachers. Rather Drama teachers challenged and mediated the curriculum, they did not accept and abide by the syllabus document and their classroom practice was determined by the immediacy of their particular teaching context. Finally through engaging in this research study the researcher has achieved the following objectives:
1. An understanding of the view that knowledge is a socially constructed
concept.
2. Has provided a medium through which the perspectives of Drama teachers are heard.
3. Has provided an invaluable experience of documenting the processes of
qualitative research.Thesis (M.Ed.)-University of Natal, Pietermaritzburg, 1998.
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Lee, Chiu-kuei, i 李秋瑰. "A Buddhist Drama: The Study of "Guanyin’s Ascetic Days in Xiangshan" in Ming Legend Drama". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/04109109556561507800.
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碩士華梵大學
東方人文思想研究所
95
Abstract The play Guanyin’s Ascetic Days in Xiangshan in Ming legend-drama is a Buddhist drama about Princess MiaoShan, a legendary figure in Buddhism. The play is based on Jiang ZhiQi’s The Legend of Guanyin’s Enlightenment, later written down by Cai Jing and scripted on a stone monument that nowadays still stands in Guanyin Stupa, Xiangshan Temple, Baofeng County, Henan Province, China. The work covers the evolution of Guanyin’s legend: from the Dharmakaya of Bodhisattva of Compassion, to the reincarnated princess, MiaoShan, and later, to the formation of the thousand-handed & thousand-eyed Bodhisattva in Esoteric Buddhism. In the script of Guanyin’s Ascetic Days in Xiangshan, the main themes of Guanyin’s ascetic practice are mainly Mahayana teachings. Yet, a complete version of the “Universal Gateway Section”, Saddharmapundarika Sutra (the Dharma-flower sutra), was kept in this Ming legend-drama for ritual reference. It implies that the vertical practice of Esoteric Buddhism is still based on the theories of Exoteric Buddhism. With both schools complement each other, a complete system of vertical practice, “Root, Path, Fruit” is thus formed. As a result, the present research starts with the background when the “Universal Gateway Section”, Saddharmapundarika Sutra (the Dharma-flower sutra) was translated into Chinese. Thus, Sutras about Guanyin and about the thousand-handed & thousand-eyed Bodhisattva that are translated in Tang Dynasty are analyzed in this study. The most important research material in this thesis is The Legend of Guanyin’s Enlightenment: The Legend of Princess MiaoShan, written by Jiang ZhiQi in Song Dynasty. The teachings of both Exoteric and Esoteric Buddhism are also under careful examination to conduct a more thorough study.