Gotowe bibliografie tematyczne / Student theatre

Gotowa bibliografia na temat „Student theatre”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 5 lutego 2022

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Artykuły w czasopismach na temat "Student theatre"

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Aita, Sean. "The Theatre in Language Learning (TiLL) Model". Scenario: A Journal of Performative Teaching, Learning, Research III, nr 1 (1.01.2009): 64–80. http://dx.doi.org/10.33178/scenario.3.1.6.

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This article presents an outline of the Theatre in Language Learning (TiLL) model for second language learners, pioneered since 1966 by Vienna’s English Theatre in partnership with the Austrian Bundesministerium für Unterricht, Kunst und Kultur (BMUKK), linking text study, classroom based role play and professional performance with preshow and in-performance student interaction. It offers a reflection on the dramaturgy and practice of the Englisches Theater geht in die Schulen programme and explores how the model may impact upon student motivation in light of Ema Ushioda’s qualitative research in this field. The article is written from the perspective of a professional theatre practitioner reflecting on the context of theatre as pedagogy within an L2 environment. This article presents an outline of the Theatre in Language Learning (TiLL) model for second language learners, pioneered since 1966 by Vienna’s English Theatre in partnership with the Austrian Bundesministerium für Unterricht, Kunst und Kultur (BMUKK), linking text study, classroom based role play and professional performance with preshow and in-performance student interaction. It offers a reflection on the dramaturgy and practice of the Englisches Theater geht in die Schulen programme and explores how the model may impact upon student motivation in light of Ema Ushioda’s qualitative research in this field. The article is written from the perspective of a professional theatre practitioner reflecting on the context of theatre as pedagogy within an L2 environment.
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Tanner, Judith. "Recruiting Students to Your Theatres". British Journal of Perioperative Nursing (United Kingdom) 12, nr 5 (maj 2002): 184–90. http://dx.doi.org/10.1177/175045890201200503.

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This article is based on a paper presented at the National Association of Theatre Nurses Congress and Exhibition in October 2001. In it, Judith Tanner asks why it is so difficult to recruit students to theatres, identifies some reasons given by students for not going into theatres, as well as their reasons for going into theatres, and gives advice on how perioperative departments can become more student-friendly.
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Richardson, John M. "Online “iDentity” Formation and the High School Theatre Trip". Articles 51, nr 2 (9.01.2017): 771–86. http://dx.doi.org/10.7202/1038602ar.

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Over the years that I have taken secondary school students to the theatre, the the digital revolution has moved through schools, classrooms, and even theatres, calling into question my goal of contributing positively to students’ identity formation through exposure to live plays. Responding to calls to examine the ways in which young people’s online and offline lives are interwoven, a one-year qualitative case study of student theatregoers suggests that online settings feature prominently in students’ identity formation and that non-digital school experiences such as the theatre trip are often experienced in light of students’ digital lives. Traditional events such as a trip to the theatre are influenced by and combined with online experiences to contribute to a new “iDentity” formation.
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Limniou, Maria. "The Effect of Digital Device Usage on Student Academic Performance: A Case Study". Education Sciences 11, nr 3 (12.03.2021): 121. http://dx.doi.org/10.3390/educsci11030121.

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The aim of this investigation was to explore student behaviour when students brought their own digital devices into a lecture theatre. A total of 361 undergraduate psychology students from the University of Liverpool who used at least one digital device during lecture time fully completed an online questionnaire (159 first-, 124 second- and 78 third-year psychology students) during the 2018–2019 academic year. Although all the three years of undergraduate students brought laptops and/or smartphones into a lecture theatre, there was no significant difference in academic performance over the years of studies. The findings have linked student multitasking processes in a lecture theatre to Social Cognitive Theory principles (reciprocal interactions between behaviours, learning environment, and individuals). There was a significant difference between the three years regarding the use of applications and student characteristics after controlling for the different types of devices. Students who used only one application during lecture time were more likely to achieve higher academic performance as they were less distracted from their primary tasks of processing and retaining information. Overall, this investigation concluded the importance of reconsidering the teaching delivery process so as to avoid students’ escapism using devices during lecture theatres due to their engagement level and lecture norm pressures.
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Ayebi-Arthur, Kofi, i Kofi Acheaw Owusu. "Using audience response system in a third world country: The good, bad and ugly". E-Learning and Digital Media 17, nr 5 (26.06.2020): 408–24. http://dx.doi.org/10.1177/2042753020935551.

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An effective classroom is where there are various forms of interactions: student-student and teacher-student. Unfortunately, most of the interactions that go on in our lecture theatres are minimal. This paper reports an innovative method of engaging students through the use of an Audience Response System (ARS) in a university course. The ARS was used to explore the possibility of improving the interactions in the lecture theatres. The overarching research question was: How best does ARS support lecturer-student interactions in the lecture theatre? A questionnaire and interview were used to elicit students’ views on the use of ARS as an instructional tool. Students reported that they enjoyed using ARS as it facilitated class interaction and collaboration. Internet onnectivity and incompatibility issues on some devices made teaching with the ARS a bit challenging. It is therefore recommended that lecturers can make use of ARS to improve interactions in their lecture rooms.
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Lee, M. S. W., M.-L. Montague i S. S. M. Hussain. "Student-perceived benefit from otolaryngology theatre attendance". Journal of Laryngology & Otology 119, nr 4 (kwiecień 2005): 293–98. http://dx.doi.org/10.1258/0022215054020412.

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The value of theatre attendance by undergraduates is uncertain. This study aimed to evaluate the perceived benefits of attending operating theatre sessions during undergraduate otolaryngology attachments. The study comprised a questionnaire survey carried out in a university medical school. Fourth-year medical students were asked to complete a questionnaire at the end of their two-week attachment in otolaryngology. Completed questionnaires were returned by 152 students. The three most common student expectations were to see and learn common ENT operations, to see the anatomy involved and to learn about the disease being operated upon. Sixty per cent of students reported that their expectations had been met. On a Likert scale from 1 (strongly disagree) to 7 (strongly agree), the importance of theatre attendance as part of the curriculum was rated to be 4.7 (95 per cent confidence interval (CI) = 3.7 to 4.2) and the satisfaction of educational needs in operating theatre teaching was rated to be 3.9 (95 per cent CI = 3.7 to 4.2). Students perceived attending otolaryngology theatre sessions to be beneficial. This information is important in the planning of the otolaryngology undergraduate curriculum.
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Korsberg, Hanna. "Geographies of Theatre: the Finnish National Theatre in Stockholm in 1956". Nordic Theatre Studies 28, nr 1 (22.06.2016): 27. http://dx.doi.org/10.7146/nts.v28i1.23970.

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During the Cold War, the Finnish National Theatre actively sought possibilities for international visits and co-operation. It wanted to showcase its work abroad and especially connect itself with Western European theatres. In 1956, the Finnish National Theatre visited Stockholm. In terms of politics, it was interesting that the Finnish National Theatre chose to perform Aleksis Kivi’s The Seven Brothers and especially interesting that it performed Anton Chekhov’s The Three Sisters. It seems to be the case that there was a national border between the Finnish National Theatre and Anton Chekhov’s play that was hard to cross. The director of the production, Eino Kalima, was described as an expert in interpreting Chekhov due to his background as a student of Stanislavski. This was a myth created by the director of the Finnish National Theatre. However, it increased international interest for the production of The Three Sisters with Kalima as its director. Furthermore, it supported the theatre’s attempts at seeking mobility and engaging in international, cultural encounters.
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Tyszka, Juliusz. "Student Theatre in Poland: Vehicles of Revolt, 1954–57 and 1968–71". New Theatre Quarterly 26, nr 2 (maj 2010): 161–72. http://dx.doi.org/10.1017/s0266464x10000291.

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Polish student theatre was a unique artistic movement in the Soviet post-war empire, with a liberty of expression unparalleled elsewhere in the Soviet bloc. As in every political system, in any country, its creators and its public were students and young intellectuals. These theatre-makers used the umbrella of the Polish Students' Union – a surprisingly democratic institution in a totalitarian political order – and all attempts at their repression were usually appeased by the activists of the student organization, often the friends and supporters of the theatre-makers. After the creation of the Socialist Union of Polish Students these activists became more dependent on the Communist Party, but the Party establishment decided, in the period of the ‘thaw’ (1954–57), that the student artistic movement would be maintained as a kind of artistic kindergarten for avant-gardists and supporters of artistic and political revolt, to let them manifest their beliefs within the well-guarded, limited territory of student cultural centres. However, the young rebels overcame these restrictions and created a focus of artistic opposition which had a wide social and artistic influence, especially during subsequent periods of political crisis. Juliusz Tyszka was himself an activist in the student theatre movement in the late 1970s and early 1980s. Now an NTQ advisory editor, he is head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.
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McKay, Marlene E. "Readers Theatre—Take Another Look—It’s More Than Fluency Instruction". LEARNing Landscapes 2, nr 1 (1.02.2008): 131–44. http://dx.doi.org/10.36510/learnland.v2i1.280.

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This article argues that in spite of its benefits and value, there appears to be little attention given to the use of readers theatre or to its connection to theories of learning or reading. The author takes a "second look" at readers theatre and highlights its value in an attempt to reignite the excitement that it brings to reading. Social constructivism, Cambourne’s (1988) conditions for learning, and reader response theory are examined as the theoretical underpinnings. Using readers theatre increases comprehension, literature appreciation, and student engagement. Evidence is provided to support the claim that readers theatre is not only enjoyable for students, but it is also a sound pedagogy that results in more than improved fluency as reflected in the sample of student thoughts prefacing the next section.
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Forysiewicz, Barbara. "The Forum Theatre in the prevention of exclusion from a peer group in the school space". Journal of Education Culture and Society 11, nr 2 (11.09.2020): 335–42. http://dx.doi.org/10.15503/jecs2020.2.335.342.

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Aim. The article is a report from the research conducted in 2017 during the Forum Theatre performance, and it demonstrates the possibilities of using the Forum Theatre of Augusto Boal in activities to prevent exclusion from the peer group of teenage students. The purpose of this article is to signal the possibility of using the idea of ​​ Boal in preventing exclusions in the school space. Methods. In order to discuss the problems, the analysis of source material and participant observations were used. Results. At Forum Theatre, young people reveal their worldview and value system by interacting with actors and performing stage activities. The teacher, observing the students actions in the performance, can assess their empathy, sensitivity and interpersonal competence. The teacher gets to know the qualities that affect the student’s mental state at the time of exclusion from the peer group. In the theatrical activity, the personality of the student with his or her predisposition to being a victim or torturer is revealed. Using the example of the analysed spectacle The Cage directed by Jarosław Rebeliński in 2017, it is clearly seen that the Forum Theatre makes it possible to get to know the student, and thus his or her problems in relation with peers. Forum Theatre shows the effects and causes of exclusion while simultaneously signalling to the teacher the symptoms of the problem manifesting themselves in the behaviour of young people. Conclusion. Forum Theatre can be a diagnostic method for teachers in activities preventing the exclusion of a student from a peer group at school. Forum Theatre can be used as a method of working with students at risk of exclusion due to intolerance, lack of acceptance or lack of developed communication skills.
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Rozprawy doktorskie na temat "Student theatre"

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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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Sproston, Ronald Leslie, i res cand@acu edu au. "What a Difference a Play Makes: an examination of factors influencing personal development benefits through involvement in extracurricular theatre". Australian Catholic University. School of Education, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp89.09042006.

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The research investigates the personal development benefits to students of involvement in a particular extracurricular activity (student theatre). It examines aspects of student personal development that are promoted by involvement in this extracurricular activity and discusses factors within the activity that encourage or promote these results. It does this through its focus on participants’ perceptions of what happens in the group, in terms of personal development and events and actions that affected that personal development. The extracurricular theatrical activity that is the focus of this study takes place annually in a regional Catholic co-educational secondary college in Victoria, Australia. It is a multi-age activity that involves students from Years 7 – 12. Participation is open to all students and the activity is non-competitive. A detailed review of the literature covering the areas of extracurricular activity, adolescent development and resilience is provided. The research is underpinned by an holistic enactivist world-view and makes use of the constant comparison methodology of grounded theory to analyse the data it obtains. The theoretical justification for this position is provided. The data were obtained through semi-structured or guided interviews with long term participants in the activity. The participants included students, ex-students, teachers and parents. The participants’ perspectives of the personal development that occurred through involvement in the extracurricular activity were revealed through their voices, and were examined as they described and reflected upon their experiences. The interconnectedness of the personal development benefits and the factors that enable them are highlighted. Conclusions about the significance of an increased awareness of the complex inter-relatedness of the events that subscribe to the enhancement of personal development are offered. Theory related to the elements that contribute to the development of an environment that facilitates personal development benefits is developed.
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Lee, Michael B. "An Actor’s Growth: From Student to Professional, Tackling Collegiate Theatre with Michael Lee". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/342.

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This thesis includes the journey of Michael Lee becoming a professional actor by performing several characters within two contrasting productions. The first, "The Trojan Women", by Euripides, Michael portrayed Poseidon, Talthybius, and The Guard in ETSU's very own Bud Frank Theatre. Michael's second production included the character of Charles in the modern drama "Race" by David Mamet, which was held in the newly renovated Studio 205. Michael documented his growth as an actor through daily journal entries and analyzing the final performances.
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Cooley, Brock J. Mr. "Student Directing Thesis: Directing a Main Stage Show". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/188.

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My thesis gives insight on directing a main stage production at the collegiate level as a student. Specifically directing Tradin’ Paint, an original piece from playwright Catherine Bush a native of Abingdon Virginia, and a company playwright for the Barter Theatre. In the thesis I discuss how I arrived at different conclusions for my show through different research. I discuss the experience of being a director over professors, and my own peers, and how all of these challenges and discoveries eventually gave me a finished product to be proud of. If a director were to look at this work, they will find chapter two interesting, as it is my prompt book, with blocking and little notes on the script. This thesis is a great representation of a student directing thesis: Directing a Main stage Show.
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Motseki, Ellen 'Maliapa. "Student nurses' experience of the operating theatre as a clinical learning environment in Lesotho". Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/2960.

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Dainty, Karen. "Empathy and sympathy in applied theatre : a qualitative study". Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42513.

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As an academic working in the field of applied theatre with undergraduate students, I became increasingly interested in how their skills, techniques, knowledge and understanding are developed to work in applied theatre settings, particularly those that were unfamiliar to them. I was particularly interested in investigating how important, if at all, are the concepts of empathy and sympathy in the preparation of students to work in applied theatre settings and with different client groups. Research of relevant literature revealed pedagogical parallels with social work, particularly in relation to the client-facilitator relationship. There appeared to be synergy between the work undertaken in applied theatre settings and in social work. The interdisciplinary nature of this research contributes to new professional knowledge and practice. A qualitative case study was undertaken, adopting a constructivist and interpretative approach, to understand the way meanings of empathy and sympathy were constructed and interpreted by the students when working in applied theatre settings. The research took place as part of normal professional practice and consisted of a questionnaire (n=14), two semi-structured interviews (n=4) and a focus group (n=4) with third year students studying a BA(Hons) Drama in the Community degree at a small UK Higher Education Institute (HEI). The findings indicated that the participants found it difficult to define, or describe, the concepts of empathy and sympathy with any clarity. They also found it difficult to distinguish between the concepts. However, there was a consensus of opinion that the ability to distinguish between them was important because of the client-facilitator relationship when working in applied theatre settings. The data highlighted that the concepts had only been taught or considered on the programme of study in an implicit way. From this, I concluded that teaching the students the concepts in a more explicit way would help develop their knowledge and understanding of those concepts, thus enabling them to become more informed applied theatre graduates.
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Vančáková, Klára. "Mezinárodní studentské divadelní festivaly v zemích Visegrádské skupiny". Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-150355.

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Diploma thesis deals with international student festivals in the Visegrad Group. The thesis describes higher education systems in Visegrad countries and explores in detail higher education students' theatre festivals. The main aim of the thesis is to find out whether the cooperation of higher education students from the field of theatre acting in Visegrad countries is sufficient, to analyze the support system for their cultural activities and suggest a suitable solution. To achieve the main objective of the paper the survey method and the method of semi-structured dialogue were used.
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Smith, Heather. "Vocal Health: Awareness and Perceptions in Undergraduate Vocal Music and Theatre Majors". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3404.

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Objective: The purpose of this study was to identify the perceptions of students majoring in vocal music and theatre regarding the instruction they receive in their undergraduate curricula on voice health education. Methods: A survey was adapted from a previous study, Beeman (2016), with permission by the author. The survey was disseminated to undergraduate vocal music and theatre majors across the United States via SurveyMonkey®, an online survey tool. Results: Students perceived receiving knowledge on vocal health from their voice teachers, however they reported low levels of vocal hygiene compliance. Additionally, students recognized the connection between the singing and speaking voice, and they were unclear of the role of the speech-language pathologist in voice. Conclusion: The disconnect between vocal health knowledge and student compliance of vocal hygiene strategies, requires further investigation. Utilizing the voice care team, specifically the speech-language pathologist, to educate both the voice teachers and the students on best practices, is imperative.
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Fuão, Anna Schumacher Eder. "Performances de tempos e espaços na escola : um estudo com professoras da rede pública". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/115953.

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Esta dissertação trata sobre o modo como o currículo, o tempo, o espaço e a relação entre professor e aluno estão presentes na escola pública hoje e como as aulas de teatro se inserem nesse contexto. O trabalho parte dos estudos de Michel Foucault a respeito da constituição do sistema escolar como um sistema fechado e problematiza as suas possibilidades de escape, por intermédio do trabalho teatral. A partir disso, são utilizadas as práticas de quatro professoras para refletir a respeito da busca pelo rompimento dessa lógica fechada e estagnada em direção a um trabalho que é de outra ordem, que parte do coletivo, e que procura outras formas de utilização do espaço e do tempo escolar, ao mesmo tempo em que propõe uma relação diferenciada entre professor e aluno. Baseia-se nos Estudos da Performance para identificar a repetição e a ruptura dos elementos presentes no sistema escolar e para visualizar os espaços e os tempos intermediários capazes de criar com os alunos experiências subjetivas. Por intermédio de entrevistas e observações de aulas, apresentam-se os caminhos encontrados pelas entrevistadas para solucionar os impasses do cotidiano escolar no que diz respeito às limitações impostas pelo tempo e pelo espaço designado ao teatro na escola.
This dissertation deals with the way the curriculum, time, space, and the relationship between teacher and student are present in public schools today and how theatre lessons fit in this context. The work draws on Michel Foucault's studies on the constitution of the school system as a closed system, questioning the possibilities of escape through theatrical practice. From this, the practices of four teachers are used to reflect on the attempt to break with this closed and stagnant logic towards a work of another order, fundamented in the collective, seeking other ways to use the school space and time, and proposing a different relationship between teacher and student. This text is based on Performance Studies in order to identify the repetition of and break with elements present in the school system and to visualise the intermediate spaces and times which create subjective experiences with the students. Through interviews and classroom observations, we present the ways found by the interviewees to solve the dilemmas of school life with regard to restrictions imposed by the time and space assigned to theatre in schools.
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Meadath, Brock Irvin. "Effects of Fitzmaurice Voicework® on the voice of graduate student actors". Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3142.

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The vocal demands placed on actors are higher than those of the typical speaker. Actors' livelihood is predicated on their ability to consistently perform at peak levels, many times in conditions that are not optimal for vocal efficiency (e.g. theaters with poor acoustics). Further, many actors perform after spending the day at a second job to ensure they have a sufficient income to support themselves. Despite challenges, the hallmark of the strong actor is to strive for peak performance. To do so, many actors implement some form of theatre voice training. One popular method is Fitzmaurice Voicework®. Fitzmaurice Voicework® is comprised of two phases: Destructuring and Restructuring. Destructuring is based in decreasing tension through relaxation and tremoring. Restructuring focuses on maximizing voice function with the least amount of effort needed. This study specifically looked at the effect of Fitzmaurice Voicework® training on the voice, as it has little more than anecdotal evidence to support its effect. Six graduate student actors enrolled in a theatre voice course based on Fitzmaurice Voicework® completed pre and post training measures examining the changes in maximum phonation time, average loudness and loudness range, fundamental frequency and frequency range, jitter, shimmer, and noise to harmonic ratio, and perceptual measures of vocal quality (e.g. strain, breathiness, and roughness) on the CAPE-V. Despite no statistically significant findings due to the small sample size and noted variability between individual subjects, trends of more efficient performance post training were present for individuals without a history of voice problems.
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Książki na temat "Student theatre"

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Engelsman, Alan. Theatre arts 1 student handbook. Wyd. 3. Colorado Springs, Co: Meriwether Pub., 1997.

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Pat, Friday, red. AQA A2 drama and theatre studies student book. Cheltenham: Nelson Thornes, 2008.

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Rehearsing the audience: Ways to develop student perceptions of theatre. Urbana, Ill: ERIC Clearinghouse on Reading and Communication Skills, 1988.

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Dockrill, C. F. Dynamic dramatics: Four drama scripts with workshop activities for the secondary student. Cambridge: Cambridge University Press, 1991.

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1943-, Engelsman Penny, red. Theatre arts 2 student handbook: On-stage and off-stage roles : fitting the pieces together. Wyd. 2. Colorado Springs, Colo: Meriwether Pub., 1998.

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Tsagkarliotou, Eleni. Theatre in school: An exploration of how theatre can be educational, meaningful and approachable to students. Birmingham: University of Central England in Birmingham, 2001.

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Dieleman, Cock, Ricarda Franzen, Veronika Zangl i Henk Danner. Dramaturgy. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724968.

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The image of the dramaturg resembling a stuffy librarian, as opposed to the largely intuitive process of theatre making, belongs to the past. Contemporary theatre performances not only tell a story, but constantly reflect on the world in which that story takes place and is shown. As a result, dramaturgy has become part of the artistic process. Thus everybody involved in a theatre production is concerned with dramaturgical thinking, i.e. how to relate to material, process, audience and society. The dramaturg crosses borders between theory and practice, between theatre makers, performance and audience. Dramaturgy. An Introduction provides a broad overview of the concept of dramaturgy and the profession of the dramaturg. It is intended for students and teachers of theatre and performance studies, but also for directors, scenographers, actors and for all lovers of theatre.
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Wings to fly: Bringing theatre arts to students with special needs. Rockville, MD: Woodbine House, 1993.

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Spalding, Peter. Drama in practice: A handbook for students. Basingstoke, Hampshire: Macmillan, 1985.

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Brigden, Raymond J. Operating theatre technique: A textbook for nurses, operating department assistants, medical students, junior medical staff and operating theatre designers. Wyd. 5. London: Churchill Livingstone, 1988.

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Części książek na temat "Student theatre"

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MacDonald, James. "Adaptation and the Drama Student". W Theatre Praxis, 128–47. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26996-9_7.

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Ronsse, Lauren M., Martin Lawless, Shane J. Kanter i David T. Carreon Bradley. "Supporting the Student in Theatre Design". W Rooms for the Learned Musician, 21–24. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72054-4_4.

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Bowskill, Nicholas. "Student-Generated Induction in a Lecture Theatre". W Designing Courses with Digital Technologies, 143–48. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003144175-31.

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Schmidt, Marcelo, i Mark Charney. "Assessing Creativity as a Student Learning Outcome in Theatre Education". W Creativity Theory and Action in Education, 271–87. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78928-6_16.

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Bland, Janice. "Interactive Theatre with Student Teachers and Young Learners: Enhancing EFL Learning across Institutional Divisions in Germany". W International Perspectives on Teaching English to Young Learners, 156–74. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137023230_9.

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Franklin, Jo, i Ryan Anstey. "Exploring ‘Teaching Excellence’ in Vocational Theatre Training: What Role Does It Play in Enabling Student Success?" W Exploring Disciplinary Teaching Excellence in Higher Education, 91–107. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69158-5_6.

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Kovacs, Alexandra (Sasha). "Voicing students’ perspectives in the transformation of theatre pedagogy for climate justice". W Theatre Pedagogy in the Era of Climate Crisis, 59–74. Abingdon, Oxon ; New York : Routledge, 2021. | Series: Research and teaching in environmental studies: Routledge, 2021. http://dx.doi.org/10.4324/9781003087823-6.

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McKinnon, James. "“I Had Never Danced in a Bathroom Before”: Using Audio Walks to Engage Theatre Students in the World Outside the Classroom". W New Directions in Teaching Theatre Arts, 45–61. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89767-7_4.

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Giacomucci, Scott. "Sociodrama, Activism, and Role Training to Empower Communities". W Social Work, Sociometry, and Psychodrama, 373–92. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6342-7_19.

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AbstractThis chapter will highlight the use of role-playing, especially sociodramaand role trainingin community empowerment and social activist movements. Historical context will be provided for the traditions of using drama, theater, and role-play in social work and social activismincluding Jacob Moreno’s vision of the theater as a modality for societal change. The sociodramatic approach will be outlined with focus on its utility in community settings as an experiential and communal experience of social action. Multiple examples of sociodrama or role training in communities are depicted with an emphasis on its adaptability for different settings and its effectiveness at empowering people. Examples include its application with youth, law enforcement, intergenerational dialogues, domestic violence response teams, undocumented immigrant communities, social work students, and to empower advocacy with employers, insurance providers, funders, or policy makers.
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Kadir, Norbaiyah Abd, Farah Haneem Ahmad Jamal, Juhaida Ismail i Roose N. Subki. "Using Reader’s Theatre to Promote Reading the Judicial Decisions (Court Case) Among Foundation Law Students". W Proceedings of the International Conference on Science, Technology and Social Sciences (ICSTSS) 2012, 3–9. Singapore: Springer Singapore, 2014. http://dx.doi.org/10.1007/978-981-287-077-3_1.

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Streszczenia konferencji na temat "Student theatre"

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Tihomirova, Kristina, i Linda Mezule. "Management of wastewater trough theatre". W Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9162.

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Compulsory study course on wastewater treatment and sewage systems contains lectures, classroom calculations, technical project and laboratory practicum. The course is addressing not only the developing skills in wastewater treatment technologies but also provides preparation of professionals that can communicate with institutions involved in water and wastewater sector. Over the years it has been observed that even after receiving the most sophisticated knowledge and highest markings, students often lack skills in practical communication with industry and implementation of theoretical knowledge in praxis. Here we describe student-centred teaching method that is based on the activities that are similar to theatre and allow: (i) the teacher to find and understand the weaker places in student knowledge gained during the semester; (ii) the students to form professional skills during the active communication with colleagues and mentors from industry. The students work in several groups “INDUSTRY”, “MUNICIPALITY” and EXPERTS”, try to find better solution for industrial sewage treatment and cooperation model with the municipality and present their results. After 2 years of the modernisation and adjustment, the training course has created an interest not only from student side but also from the industry representatives that are interested in communication with the new specialists and develop strong contacts with the university.
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Neveu, Caroline, Katie Pavoni i Lynette Harper. "SC36 ‘working together to learn together: a high fidelity interprofessional simulation between student paramedics and student learning disability nurses’". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.59.

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Hunter, Rebecca, Fernando Lopes, Kirsty Harris, Isobel Ryder, Carrie Hamilton i Naomi Morris. "SC17 Simulated mass casualty exercise: a student perspective". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.41.

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Narayan, Vickel, Thomas Cochrane, Neil Cowie, Meredith Hinze, James Birt, Chris Deneen, Paul Goldacre, Lisa Ransom, David Sinfield i Tom Worthington. "A mobile ecology of resources for Covid-19 learning". W ASCILITE 2020: ASCILITE’s First Virtual Conference. University of New England, Armidale, 2020. http://dx.doi.org/10.14742/ascilite2020.0122.

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Mobile devices and a vast array of accompanying applications offer significant affordances to create, consume, share, collaborate and communicate—affordances that could be easily leveraged to facilitate meaningful learning. A positive disruption arising from COVID-19 that aligns with the affordances of mobile learning is the uncoupling of time and space in the learning process. Traditionally formal learning is a process that is predominately viewed as an experience that is ‘timetabled’— scheduled to eventuate at a ‘place’—lecture or a tutorial (or similar) in a room or lecture theatre. In this concise paper, an ecology of resources is discussed along with guiding principles for designing and facilitating uncoupled authentic and student-determined learning post the emergency remote teaching phase.
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Hamilton, Carrie, Marjolein Woodhouse i Isobel Ryder. "SC3 Educating faculty in working with simulated patients within undergraduate student nurse training". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.27.

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McCrone, Luke. "Transitional space: learning in the spaces in-between". W Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.14.

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There is increasing evidence, particularly in STEMM education, that traditional didactic transmission lecturing is less effective than more active, student-centred learning (Freeman et al., 2014). This mounting evidence has resulted in institution-wide curriculum review, pedagogic transformation and ongoing space refurbishments at Imperial College London, a research-intensive institution that provides the context for this work. Although active learning is proven to improve cognitive outcomes by supporting ‘students to do meaningful learning activities and think about what they are doing’ (Prince, 2004, p.223), its examination remains largely linked to instructional contexts, with neglect for the self-directed, non-timetabled learning spaces that support a rich learning experience. This instructional emphasis is evident from the capital that Imperial College London, among other institutions, continue to invest into ongoing classroom refurbishments to support curriculum review and innovation. However, it could be argued that these changes to physical infrastructure do not accurately reflect and address the growing self-directed workload that students now contend with. Furthermore, as capital spending on maintaining and modernising university buildings in the UK approaches £3 billion annually (Temple, 2018), these refurbishments are increasingly time- and money-intensive, placing a financial strain on institutions. The assumption that students successfully transition between passive and active learning, between directed and self-directed learning and between formal, timetabled and informal, non-timetabled spaces has meant transitional space being overlooked. By seeking to better understand student engagement with these transitional spaces as physical, curricular and cognitive spatial phenomena, this study is generating evidence for the educational importance of transitional space and using this to better understand active learning. By redesigning underutilised ancillary spaces adjacent to formal lecture spaces at lower cost than lecture theatre refurbishments, students can better self-direct active learning at moments of transition into and out of formal, timetabled spaces.
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Condron, Claire, Gozie Offiah, Lenin Patrick Ekpotu, Siobhan Murphy i Daniel Kane Kane. "SC29 Evaluation of medical student retention and transferability of clinical skills following simulation teaching". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.52.

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Tulloch, Laura, Beth McIldowie, Helena Wells, Tiffany Jones, Aled Benbow i Luke Simonds. "P50 Using simulation to improve medical student confidence in the assessment and management of serious falls". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.142.

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Feneley, Andrew, George Badham, Victoria Gray, Jessica Blake i Barry Featherstone. "P12 Foundation realistic on-call simulation training (FROST): improving confidence at the transition from medical student to foundation doctor". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.106.

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Cairnduff, Karen, Karen Nagalingam i Anthony Wheeldon. "P14 Simulated ‘transition’ ward for final year student nurses: developing leadership, management and professional nursing practice in a realistic clinical environment". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.108.

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Raporty organizacyjne na temat "Student theatre"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, marzec 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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