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1
Benson, Simon. "The production of early modern dramatic space : practices, places and perceptions". Thesis, University of Hull, 2010. http://hydra.hull.ac.uk/resources/hull:2719.
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From the introduction:This dissertation explores the nature and development of dramatic space in early modern England. Arguing that essential to its quality and character was the early modern player’s ability to produce highly creative and productive spatial textures and experiences, this dissertation examines some of the shifting attitudes to and uses of space from ca. 1516 (the date of publication of Thomas More’s Utopia) to the first decade of the 17th century for what they reveal about the spatial economies that common playing responded to, participated in, developed and sustained. The theoretical basis for the work draws from the phenomenological philosophy of Lefebvre, de Certeau, Merleau-Ponty and Derrida – all of whom offer different but complementary ways of recognising the instrumental role of primordial experience (as opposed to the forms of intellectualised knowledge through which experience is subsequently organised and mediated) in the production of meaning. For Mike Pearson and Michael Shanks, recognizing space as the product of experience is the necessary first step toward opening up the creative approaches necessary for recontextualising the past. Rather than approaching the past looking for ‘things’ to collect and curate, Pearson and Shanks engage with it as an embodied field, wandering through it as one would a landscape, noting its various identities, instabilities and its constantly shifting textures. Their highly spatial and spatialising approaches take account of what is lost when we engage with the past solely (or even largely) through texts (and the discourses texts sustain), and they argue for stories (plural) about the past rather than the production of single, dominant and authorising texts on it. Similarly, Michel de Certeau, asserting the value of the knowledge that is derived from stories, argues for a theory of narration in relation to practices and the spaces practices produce – for de Certeau, stories (plural) cannot be reduced to a single meaning, they ‘are not about movement, they make movements, not objects but effects, they transform, they do exactly what they say they do […] they bring invisible geographies into contact with the ordered realm of the rational’ (italics original). In seeking to describe and account for the ephemeral and elusive nature of early modern dramatic space, this dissertation recognises the impossibility of such a task (of translating primordial experience into language). However, by taking into account some of the spatial transactions and exchanges that early modern dramatic production participated in, the story told here attempts to make visible a normally invisible geography by pointing out those logics of practice (‘the ordered realm of the rational’) through which that geography is/was produced.
2
Pidduck, Julianne. "Intimate places and flights of fancy, gender, space, and movement in contemporary costume drama". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0007/NQ40298.pdf.
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Theodoraki, Anezina. "SEEING THE SEEING PLACES A Video Documentary on the Historical Significance of the Ancient Greek Theatres of Lato, Thorikos, and Makynia". Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1082120594.
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Rothkirch, Alyce von. "The place of Wales staging place in contemporary Welsh drama in English". Trier Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/MUSE.html.
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von, Rothkirch und Panthen Alexandra Victoria. "The place of Wales : staging place in contemporary Welsh drama in English". Thesis, Swansea University, 2003. https://cronfa.swan.ac.uk/Record/cronfa42349.
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This thesis discusses discursive constructions of place, which are seen to largely replace essentialist constructions of place, in contemporary Welsh drama in English (1979-2003). Place is seen as a particularly important structural element both of constructing reality in Wales and of replicating that reality in the theatre. The relatively new critical shift towards an interest in place in Western cultural criticism contributes, it is argued, to a new 'structure of feeling' (Raymond Williams) in the writing of new Welsh plays in the English language. The first chapter deals with the way in which the literary realistic paradigm, which had dominated Welsh playwriting in English from the beginning of the twentieth century, is slowly being superseded by other, often non-realistic, forms of representation. The second chapter deals with selected plays of Die Edwards. It interrogates the innovative ways this playwright constructs place and uses language to represent his highly politicised reading of Welsh reality. The third chapter focuses on selected plays written on historical themes and place. The chapter interrogates motivations to write history drama and the different forms history plays have taken in recent Welsh drama in English. The fourth chapter deals with gendered readings of place. Selected plays and two performances are discussed on the basis of a reading of Luce Irigaray's theory of 'woman as place.' The final chapter approaches place from a theoretical angle that unites the postcolonial paradigm and the new concept of sustainability. It is argued that, despite the shortcomings of the central tenets of postcolonial theory when applied to Wales, the framework of postcolonial theory offers valuable new ways of reading place in Welsh drama in English. A bibliography is attached.
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Dickert, James Nicholas. "Space, place, and identity politics : the drama of Naomi Wallace /". view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3147817.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes an interview with Naomi Wallace (leaves 163-204). Includes bibliographical references (leaves 205-215). Also available for download via the World Wide Web; free to University of Oregon users.
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Kiel, Sue. "Homecoming: finding a place for shamanic practice in the creation of post colonial theatre". Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/12549.
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At the centre of my research, in the light of my homecoming and notions of home, there is a question: might I find a place where dimensions of shamanism might intersect with modes of performance, in the creation of theatre for the 21st Century? In this liminal hybrid moment, a place between the present and the future, I suggest that art is actually necessary and that it is essential for artists to build a counter-narrative, both locally and globally, to terror, suffering and denial. Art and social change can be a trend for certain nations, societies, even artists and theorists. In my view, however, which is my point of departure, it is particularly in an era of self reference, modernity, post modern and post colonial rupture and fragmentation that an informed coherence between the inexplicable terror of unsettling major social upheaval and the individual, may be able to be sketched once again and with certainty, by and through art and performance; if not actual transformation; then a witnessing, an acknowledgement and an end to the pain of denial. This explication begins with an overview of current socio-political dilemmas, and looks at the role of theatre in impacting change. My exploration continues with an examination of the role of shamanism as a tool to assist the theatre maker, the actor and even the audience in the pursuit of a transforming experience where one might initiate a shift in perceptions, thought and consciousness. In my observation of current theatre makers in South Africa, I am finding that this is already taking place. The object of this paper is to frame and make more specific, the role of shamanism as it connects to interdisciplinary techniques and technologies for performance. In my practical research, which will include my culminating production, Passages (provisional title), I attempt to tease out these methodologies in order to expand my work and be a part of the development of theory and practice in theatre making in these significant and urgent times, for my 21st Century homes. The primary theorists that I have referenced, contained in my theoretical framework, are Ashraf Jamal, Sarah Nuttall, Achille Mbembe, Homi Bhabha, Breyten Breytenbach, Iain Chambers and Hamid Naficy. In my research for my praxis, I have worked predominantly with the findings of Richard Schechner, Victor Turner, Antonin Artaud, Peter Sellars, Jerzy Grotowski, Alison Oddey and Rachel Karafistan.
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Halligey, Alexandra. "Of place and playmaking: working with everyday city spaces through theatre and performance". Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/28406.
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This thesis proposes theatre and performance as tools for understanding the relational emergence of city spaces. It responds to two related urban studies calls. The first is for fine-grained ethnographies of the everyday to learn what city spaces might be becoming in order to strategise how to support these becomings. The second falls under the ‘cultural turn’ in urban thinking: what artistic projects might offer an everyday urbanism. Through an everyday urban lens, the work asserts the performativity of daily actions in constructing space, but also the affectual qualities that daily city life produces. These affectually charged, spatial constructions through the interrelation of daily activity are what make spaces become places, places that are temporary and always evolving. This thesis draws a link between everyday placemaking practices and the artistic practice of playmaking to propose theatre and performance as a way of learning about city spaces, actively engaging with this knowledge and broadcasting it. It argues that theatre and performance staged in the sites it seeks to know and in concert with city dwellers has the capacity to facilitate an embodied, but reflective experience of what it is to be continually implicated as a city dweller in spatial – and therefore place – construction through daily actions. The work takes as its primary focus a year-long participatory theatre and performance project run in the Johannesburg inner city suburbs of Bertrams, Lorentzville and Judith’s Paarl, resulting in a ‘site-specific’ play performed in the streets of the area. The practical component to the study is contextualized within the broader landscape of Johannesburg public art interventions over the last 15 years and specifically in relation to two other Johannesburg-based participatory public art projects: Terry Kurgan’s Hotel Yeoville and a series of public art commissions managed by The Trinity Session. The research uses Tim Ingold’s notion of corresponding with materiality in order to know as a methodology in service of understanding cities through their relational construction. This phronetic approach – knowing through doing – is applied to interpreting Kurgan’s and The Trinity Session’s work and to both the making of the theatre project in Bertrams, Lorentzville and Judith’s Paarl and the writing of this thesis. The study takes place at the intersection between urban studies, theatre and performance studies and public art. It draws together the socially-engaged concerns and considerations of all three fields to propose theatre and performance as a public art form offering a mode of productive, robust engagement with the contemporary urban moment.
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Cimei, Christopher Yo. "Troubling spaces : the representation of space and place in Troubles-era Northern Irish drama". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25945.
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Troubling Spaces explores the relationship between the representation of space and place on the Northern Irish stage and the production of space that occurs within Northern Irish society during the Troubles. Drawing from Henri Lefebvre’s The Production of Space, I examine how Nationalists and Unionists produced a series of communal narratives which allowed them to reorder Northern Irish space and its social relations. Additionally, I examine how these communal ideologies create divergent concepts of Northern Irish place which Doreen Massey refers to as negative and enclosed concepts of place. This not only reinforces the dualistic binary between Nationalism and Unionism, it also incites tribal associations and allegiances. Moving on from this, I conduct a close reading of three Troubles plays, Stewart Parker’s Northern Star and Pentecost and Christina Reid’s Tea in a China Cup, to examine how their dramatic narratives intersect and interact with non-traditional stage space to produce dramatic environments which provide compelling commentaries on Northern Irish spatiality. My examination of Northern Star traces the development of the ideological structures which shape Northern Irish spatiality; in Pentecost, I explore how its liminal domestic space is perfectly suited to illustrate the dynamic conceptualisation of place Massey argues for; and, finally, in Tea in a China Cup, I develop the distinction between private domestic spaces and public social spaces further by examining matrilineal narratives in relation to communal symbols within a female-coded domestic space. Through these close readings, I will demonstrate that a dialogical relationship can be discerned between the production of space and place that occurs within Northern Irish society and the representation of it on the Northern Irish stage. While many plays have the potential to act as an endorsement of the restrictive and enclosed concepts of space and place in the ideological frameworks of Nationalism and Unionism, the three that I have chosen provide important counterpoints during the Troubles that actively resist their cultural hegemony.
10
Böhnke, Dietmar. "Alyce von Rothkirch: The Place of Wales. Staging Place in Contemporary Welsh Drama in English. Trier 2007 (Rezension)". Universitätsverlag Winter, 2010. https://ul.qucosa.de/id/qucosa%3A34489.
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Sparks, Richard. "Television and the drama of crime : moral tales and the place of crime in public life /". Buckingham [u.a.] : Open Univ. Press, 1992. http://www.gbv.de/dms/spk/sbb/recht/toc/276912519.pdf.
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Krüger, Johanna Alida. "The Cherry Orchard transposed to contemporary South Africa : space and identity in cultural contexts / J.A. Krüger". Thesis, North-West University, 2009. http://hdl.handle.net/10394/5001.
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The transposition of Chekhov's The Cherry Orchard (originally published in Russian in 1904) to contemporary South Africa in Suzman's The Free State (2000) is based on the corresponding social changes within the two contexts. These social changes cause a binary opposition of past and present in the two texts. Within this context memory functions as a space in which the characters recall the past to the present and engenders a dialogue between past and present. Memory is illustrated in the two plays by associations with place as an important aspect of identity formation. Memory and place are fused in the plays by means of Bakhtin's concept of the chronotope which is best observed in the plays in memories of specific places such as the respective orchards, houses and rooms such as the nursery and the ballroom in. The Cherry Orchard and the garden in The Free State. Furthermore, the influence of the past is also evident in the present when ideas of social status, class, race (in the case of The Free State) and behaviour are contrasted and when various characters express their perceptions of personal relationships and ideas about marriage. The influence of the past is also evident when the characters voice their different perceptions and expectations of the past and future. In The Cherry Orchard these cultural differences are evident in the concept of heteroglossia. However, in The Free State, these dialogues are directed by a specific politically liberal view which diminishes the heteroglossia in the text. The juxtaposing of past and present is also illustrated in The Cherry Orchard by various subversive strategies such as comedy of the absurd in order to portray the behaviour of the characters as incongruous. Another subversive strategy is the contrasting of characters and ideas in order to expose pretensions and affectations in speech and actions to parody both the old establishment and the ambitions of former peasants. These conventions are best illustrated by the concept of the carnivalesque that also features as one of Bakhtin's terms to capture incongruous ideas and situations in literature. In The Free State, comedy is unfortunately much diminished and in contrast to Chekhov's ambiguity, only directed against politically conservative characters. The prevalence of these three Bakhtinian concepts in the texts shows how identity formation is to a large extent influenced and defined by occupied space. When social change affects the distribution of land, a character's concept of identity is destabilised. Although Suzman uses this similarity in the two contexts in order to transpose Chekhov's text to contemporary South Africa, she organises the various stances in the text to advocate a specific politically liberal view. Thus, Suzman's transposition leads to an interesting comparison between the Russian and South African contexts as well as between the two texts. However, her text is limited by her political interpretation of Chekhov's text.Thesis (M.A. (English))--North-West University, Potchefstroom Campus, 2009.
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Kahler, Eric. ""Tell Me, Where am I From?": A Study of the Performance of Geek Identity at Comic Book Conventions". Scholar Commons, 2015. https://scholarcommons.usf.edu/etd/5514.
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The performance of identity is an often studied subject matter. One identity, Geek, and the larger subculture to which it is attached (Geek culture) has become a growing field of study in since the turn of the millennium, mirroring the growth of the subculture itself. The question then is how do Geek's perform this identity and create an idea of what a Geek is? If there is a place to examine this performance then it is the growing event of comic book conventions. At these events thousands of individuals gather to celebrate, interact with, purchase and play with the commodities of Geek; comic books, video games, anime, manga and film. In this space, as I will discuss, the spectrum of performance as outline by Richard Schechner in Performance Theory occurs in simultaneous forms inside the convention. While there is ritual, there is also play, and theater, and all three may be occurring at any one time through any one individual. This is partially brought on by the presence of cosplayers, convention attendees who dress up as fictional characters, and perform a separate role that also speaks to their own identity. Furthermore, the presence of what Victor Turner terms social dramas in the space of the panel discussion complicate and re-form not only individual identities, but also Geek culture identity as well.
Underlying the interaction of identity with space/place is the, as Marc Agé terms it, non-place nature of the convention center itself. That the convention center does not bear the trappings of a typical anthropological place (such as history or tradition) influences the impact of the performance and the identity created therein. Consequently, the identity held will be challenged by the temporary nature, not just of the event, but also the place which contains it. I attended two comic book conventions in the state of Florida to examine this phenomena using my own experience as part of the study, as well as interviewing other convention attendees and people within my group. I will move through the space of the conventions exploring my personal relation to the identity of Geek and how others perform the identity while trying to explore what does it mean to be Geek?
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Castro, Maria Amábili Alves de. "TRAMAS E DRAMAS NO URBANO : O PROJETO RENASCER EM DOURADOS-MS E O PROCESSO DE REPRODUÇÃO SOCIOESPACIAL". UNIVERSIDADE FEDERAL DA GRANDE DOURADOS, 2009. http://tede.ufgd.edu.br:8080/tede/handle/tede/195.
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Previous issue date: 2009-08-31This study aimed to analyze the process of reproduction occurred in the sociohousing Pora Star I, II and III and Star YVAT (Project Rebirth), built to accommodate 409 families removed from a slum area along the Good Water Creek (Dourados-MS ), because in the rainy season, these families suffered from the floods. The area was unfit to live because of pollution of the stream that receives part of the sewage of the city and because it is an area of valley bottom. In 2005 the families who lived on the banks of that stream started to be removed to an upper, west of the city, where new housing developments cited above. We look at how to set the process of reproduction of social relations in the new place, since, as this is an area built by the public (standard with a significant number of identical houses, one next to each other) no process construction of space-time, with a characteristic morphology imposed, not having the network of meanings that the previous location had. We have, therefore, we seek to further our understanding of the process of identification with the new location, since the relationship with the neighborhood and especially the relationship belonging / alienation and, given this perspective, the place will be taken as an analytic category . We have also sought to evaluate the mechanisms adopted by the population to rebuild some of the benchmarks of life lost by the removal, because the challenge of this population is to build a new location that meets their expectations and needs. Faced with these contradictions we conclude that the urban transformations imposed by the government modify the uses and meaning of space as the reproduction of life, redefining social relations
Esta pesquisa teve por objetivo analisar o processo de reprodução socioespacial ocorrido nos conjuntos habitacionais Estrela Porã I, II e III e Estrela Yvate (Projeto Renascer), construídos para receber 409 famílias removidas de uma área favelizada ao longo do Córrego Água Boa (Dourados-MS), pois, em períodos de chuvas, essas famílias sofriam com as inundações. A área era imprópria para morar devido à poluição do córrego que recebe parte do esgoto do município e por se tratar de uma área de fundo de vale. Em 2005 as famílias que residiam às margens do referido córrego começaram a ser removidas para uma parte alta, porção oeste da cidade, onde se encontram os novos conjuntos habitacionais citados acima. Buscamos analisar como se deu o processo de reprodução das relações sociais no novo lugar, uma vez que, por se tratar de uma área construída pelo poder público (padronizada com um número expressivo de residências idênticas, uma ao lado da outra) não houve o processo de construção espaço-tempo, tendo como característica uma morfologia imposta, não possuindo a rede de significados que a localidade anterior possuía. É, nesse sentido, que buscamos compreender como se deu o processo de identificação do indivíduo com a nova localidade, desde a relação com a vizinhança e, principalmente a relação pertencimento/estranhamento e, considerando essa perspectiva, o lugar será tomado como categoria de análise. Buscamos também avaliar os mecanismos adotados por essa população para reconstruir parte dos referenciais de vida perdido por meio da remoção, pois o desafio dessa população é de construir uma nova localidade que atenda os seus anseios e necessidades. Diante destas contradições avaliamos que as transformações urbanas impostas pelo poder público modificam os usos e o sentido do espaço como reprodução da vida, redefinindo as relações sociais
15
Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.
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Hennaut, Benoît. "Théâtre et récit, l'impossible rupture: la place du spectacle dans le spectacle postdramatique entre 1975 et 2004, selon Romeo Castellucci, Jan Lauwers, Elizabeth LeCompte". Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209559.
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Dans sa période particulièrement dense de production au cours des années 1980 et 1990, le spectacle dit « postdramatique » affirme régulièrement sa volonté de rompre avec toute forme de narration qu’illustrent des formes dramatiques plus conventionnelles. C’est même devenu un topos critique de dire que le théâtre postdramatique échappe à la narration ou la rend problématique, tant pour qualifier sa production (en termes de projet dramaturgique) que sa réception par le public.Cependant, la force du déni installe le doute. Je me suis inquiété de l’insistance avec laquelle une certaine manière de concevoir le théâtre écartait ou s’opposait à un élément aussi structurant et persistant que le récit (en termes culturels, littéraires, dramatiques, …). Après avoir posé les termes de sa définition, j’ai voulu vérifier si le spectacle postdramatique ne contenait vraiment plus aucune forme de récit, quand bien même cette fonction lui serait implicitement ou explicitement contestée. Ma décision de mener l’enquête a été essentiellement provoquée par deux phénomènes :une intuition narrative qui se manifeste quand même vis-à-vis de ces spectacles (sur quoi est-elle fondée ?), et l’existence de textes qui en font le compte-rendu sur un mode narratif à la réception. Par ailleurs, j’ai senti le besoin d’analyser de manière un peu plus fine cette poétique non-narrative déclarée par les auteurs.
* * *
During a particularly dense production period running in the 1980s and 1990s, the so-called “postdramatic” theatre regularly attempted to break from all forms of narration utilized in more conventional dramatic forms. It became a recurring critical leitmotif to say that postdramatic theatre either eschewed narration entirely or rendered it problematic, whether as a qualifier to its production (in dramaturgical terms) or to explain audience reaction.
However, repeated denial definitely inspires doubt. I was concerned that one particular way of thinking about theatre seemed to refuse or rule out such a consistent and structural element as the narrative (culturally, dramatically, as well as in literary terms). I therefore wished to be sure that certain postdramatic pieces really had not retained any form of storytelling, had the choice been made implicitly or explicitly to exclude it. My decision to begin this investigation was triggered by two specific phenomena: a narrative intuition which manifests itself whether one wants it or not when one sees one of these pieces (what is its foundation?), and the existence of texts produced at the reception level which still seem to form a narrative stream when examined. I also felt the need to undertake a more detailed analysis of this non-narrative poetics as laid out by its creators.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Hýl, Petr. "Slovinské národní divadlo v Lublani". Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.
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Kozusko, Matthew Behen. "The places of the stage drama and culture in early modern London /". 2002. http://purl.galileo.usg.edu/uga%5Fetd/kozusko%5Fmatthew%5Fb%5F200208%5Fphd.
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Pidduck, Julianne. "Intimate places and flights of fancy : gender, space, and movement in contemporary costume drama". Thesis, 1997. http://spectrum.library.concordia.ca/434/1/NQ40298.pdf.
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If social theory and common wisdom might posit a gendered binary between the feminine principle of stasis and a masculine principle of dynamism, contemporary costume drama presents a delightfully complex and nuanced feminist philosophical dilemma. In this dissertation, I explore the tension within this genre between the intimacy of perfect interiors and precise, nuanced dialogue--and its offer of a fanciful escape into romantic and exotic costumes, landscapes, situations. My fascination with the gendered implications of these comfortable and confined interiors ("intimate places"), contrasted with dynamic journeys into the past ("flights of fancy") frames this cycle of film and televisual texts through the problematic of space and movement. A popular and formally interesting case study, costume drama charts nineteenth-century historical spaces embedded with gender, class, and colonial relations of power. As such, this corpus offers a rich site to work through these complex interrelated axes of power through the audio-visual blocking of space and movement. In advancing this approach as an alternative to the psychoanalytic framework dominant within feminist film theory, I develop an original "topographical" approach to the analysis of audio-visual texts. Figured through a close reading of textual space and movement, this dissertation advances a detailed critical reading of this significant cultural phenomenon--and proposes innovative epistemological and methodological avenues for the study of audio-visual texts.
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Smigiel, HM. "The place of educational drama in workplace and vocational training". Thesis, 1997. https://eprints.utas.edu.au/21605/1/whole_SmigielHeather1997_thesis.pdf.
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This project had a number of main foci. The first was to introduce workplace and vocational trainers to educational drama methods currently being used in school based education. The second was to identify the strengths and limitations of the application of these strategies in a variety of training contexts. The third was to compare these outcomes with those of quasi-dramatic techniques (such as role play and simulation) already being employed in training programs. The final focus was to establish the possible place of educational drfil!1a in training programs of the future.
A review of the literature of vocational and workplace training indicated the need for radically new approaches to training methods. The review also identified the importance of the development of "soft" skills as outcomes of contemporary training programs. These skills are defined as communication skills, team building skills, interpersonal skills, conceptual and analytical ability and individual or self understanding. Educational drama has been largely unexplored as a methodology in training programs. The literature of educational drama indicated that drama methodologies have the capacity to develop competencies, particularly in the area of these soft skills. The project was predicated on the belief that drama has the potential to provide new types of learning experiences for participants in workplace and vocational training and consequently new learning outcomes.
The project's implementation involved the design and delivery of a four-day training workshop for ten vocational and workplace trainers who volunteered to participate. The trainers were then required to select and trial drama methods that were appropriate in their particular workplace training programs and to reflect on the learning outcomes that were achieved by participants. The project was implemented over a period of five months during which the trainers met on a regular basis to discuss the project and the problems and successes that they were each experiencing.
The project utilised a qualitative research approach that provided detailed description of enacted educational drama strategies in a range of training contexts. It was crucial that these descriptions were able to be interpreted in the context of the particular training program in which they were employed, with knowledge of the trainer delivering the program in terms of the trainers' personal capabilities, commitment, resistance, adventurousness and understanding of educational drama.
The qualitative approach included anecdote and description, and data collection involved group and individual interviews, observation of educational drama strategies being implemented in the workplace and the trainers' reflective journals. The analysis of data followed the techniques described by Strauss and Corbin (1990). It was interpretative in nature and involved the coding of data, and the development of a "paradigm model" as a framework for the subsequent discussion of the outcomes identified by the trainers involved in the project.
The learning outcomes for participants in the workplace training programs where these drama methods were employed were identified through the triangulation of the data collected from the sources referred to above. These learning outcomes were compared with those of traditional role play and simulation. Results showed that educational drama has greater potential to achieve required training outcomes, particularly in the area of soft skills, than those quasi-dramatic methods currently being employed.
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Huang, Jhen-Yu, e 黃甄玉. "A Study of Product Information Suspiciously Placed in Television Trendy Drama". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/20404818929383104282.
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碩士中國文化大學
新聞研究所碩士在職專班
93
The advertising and marketing practitioner have employed product placement to promote products or merchandises. By placing product information in the content of movies, TV programs, or computer games, the marketing practitioner hope to increase brand awareness, influence the consumer’s attitude positively toward the product, and increase the willingness for the consumer to purchase the products. Although “product placement” has been widely utilized by the marketing practitioners, only few researches in Taiwan studied the utilization of this marketing tool and its communication effects. Therefore, this study intends to investigate how “product placement” is used to promote the product. By analyzing the content of television trendy opera and in-depth interviewing the marketing and media practitioners, the results of this study could increase the understanding of the utilization of “product placement” in Taiwan.
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WANG, CHUN-YU, e 王君瑜. "My “Home”, My “Place”- A Study on Developing Children’ Sense of Place Based on Drama Courses". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/m4z48k.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
104
The study aimed to explore the process of practicing drama courses to develop children’s sense of place in the kindergarten. Teaching challenges and children’s learning performance were also involved. The action research method was adopted in the study, and the objectives are 4 to 5 years old children in the researcher’s class. The study period lasted for 16 weeks, which involved a forty- minute drama course each week. Data were collected and analyzed through classroom observations, interviews, reflective notes, and documents of the students. The result showed that the classroom environmental planning of dramatic play center was the best start for children to inspire their family life experience. If the courses can emphasize the following elements of drama, “Props – play accessories”, Characters - family roles”, “Setting- play space ”, and choose related dramatic strategies to construct an interactive atmosphere, children can experience easily what diverse homes are. During the process of shaping the sense of place in the kindergarten, introducing students’ family member into their dramatic play center can ease children’ environmental anxiety, develop their place identity and belonging, and enhance their psychological safety and place attachment. This way, children can learn naturally in the homelike learning place. From the above, suggestions are provided for teachers, schools and researches for further study in the future.
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Haren, Samuel John. "Falling into place place and its imaginary in making performance /". 2008. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20090224.142202/index.html.
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Abdul-Rahim, Rania. "An exploration of the place and function of voice in the drama therapeutic process". Thesis, 2006. http://spectrum.library.concordia.ca/9223/1/MR20797.pdf.
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This study is intended to answer the question: what is the current versus the potential place and function of the voice in drama therapy in North America? With the intention of filling a void in the literature, the research method I have chosen is qualitative, in the form of a historical/documentary inquiry approach of reviewing, synthesizing, and analyzing information found mainly in the two root fields of drama therapy, psychotherapy and the theatre. Exploration of the transferability of this attention to voice to the field of drama therapy is addressed, in light of the current approaches of drama therapy. The main findings arrived at are that the voice has been awarded consideration and found to be an essential component of expression and healing in psychotherapy and the theatre. Moreover, it is found that the voice is not intentionally nor systematically used in drama therapy in North America, despite the fact that instances of its use have been discovered, as have previous calls, mainly from the United Kingdom, regarding the field's neglect of the voice. Specific functions of the voice are proposed, through the framework of the core processes of drama therapy. Finally, the discussion aims at better understanding why the calls to attending to the voice have not been answered, and what the field may do to rectify this.
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PAN, CHIU-JU, e 潘秋如. "The Development of Children’s Sense of Place through Drama Courses－Take Sigang District of Tainan City as an Example". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/as8vt3.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
107
The study is based on the sense of place theory in humanistic geography and it is divided into two aspects: interactive experience and place narrative. Based on local culture, it attempts to explore the possibility of deepening the sense of place of the primary school children in the drama field in performing arts of our country.The action research method was adopted in the national primary school in Sigang District of Tainan City. Conducted on 55 fourth-grade students in two classes, the course was implemented in 12 forty-minute classes and two lessons per week.The study collates local literature, conducts field research, organizes courses after selecting materials, analyzes course videos, photos, teaching reflection, students’ works then summarizes the research findings.To explore teachers’ design thinking of developing primary school children’s sense of place in the drama curriculum, the study found that teachers should refer to the relationship between drama education and sense of place theory, including sensory real experience environment, spontaneous and positive affection, experience place narrative in fiction context, and use body to feel in the Place-ballet. Moreover, teachers should organize the courses based on students’ local experience, and transform the realistic local elements into fictional drama elements.The problems faced by teachers in practicing the curriculum: one is students are difficult to put into drama pretend situation, and the other is the problems occurred after getting sucked into the story, including the confusion between reality and fiction. The study proposes solutions and recommendations.The study found that students demonstrate their understanding and interpretation of the place in multi ways, and they show a positive attitude and behavior to the “place”.
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Chih-HsienLi e 李芷嫺. "Investigation on the Relationship between Historical Representation of Taiwan Historical Drama Film and Residents’ Place Identity by the Case of KANO". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/30562682010274221026.
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碩士國立成功大學
創意產業設計研究所
103
Under the discourse of “historiophoty”, historical film not only provides different interpretation of the past for audience, but also has become a new kind of history. The research subject of this research is KANO, which depicts the history of Japanese Colonial Period (1895-1945) in Taiwan. During Japanese Colonial Period, under the government of Japanese, Taiwanese kept striving for democracy. However, within the 50 years, lots of infrastructures were constructed and Taiwan was transformed into a modern society. Because of the controversy of Japanese Colonial Period, historical film has opportunity to give different interpretation of the past. Therefore, by focusing on residents’ place identity, this research investigated how historical representation of historical film influences residents’ attitudes toward the past of their residence. There are two phases in this research. In the first phase, by using the four elements of history, this research analyzed how KANO represents the history and what history KANO represents. In the second phase, through in-depth interview with Chiayi residents, this research analyzed how KANO influences Chiayi residents’ place identity. This research found that the representation of place and the local culture depicted in KANO are the linkages between the residents and the past world. KANO enables the residents to recall their memories related to their residence. The residents also become more familiar with the history of Chiayi after watching KANO. Besides, KANO gives new characteristics to Chiayi and strengthens its original characteristics. During the process of applying the characteristics to place marketing cooperatively, Chiayi residents not only extend the idea of KANO, but also improve the residents’ community identity.
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Lin, Chia-Wen. "The most dangerous place I've been to that's not on the map : an autoethnographic performance research on the identity negotiation of a drama therapy intern". Thesis, 2007.
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The intention of this inquiry is to investigate my subjective experience of identity negotiation during my second year drama therapy practicum. Framed within the personality and social structure perspective, identity negotiation can be defined as the process by which people strive to manage aspects of their identity. Using an arts-based autoethnography performance as the mode of inquiry, I incorporated subjective experience, arts and performance both to produce and present data. An embodied personal narrative is created and the multiple layered meanings of the experience were communicated through a performance of movement narrative coupled with ritual and video arts, which is recorded and attached in DVD format. The performance has awakened the awareness of identity negotiation and feelings associated with it for the performer and the audience. I suggest that the concept of identity negotiation could be used as a reference point for future drama therapy students to reflect on intern experience.* *This dissertation is a compound document (contains both a paper copy and a DVD as part of the dissertation). The DVD requires the following system requirements: Windows MediaPlayer or RealPlayer
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Chou, Wan Ping, e 周婉萍. "The self identification and consumption of products placed in Korean dramas among Taiwanese female viewers: Examining the case of My Love from the Star". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/v23b72.
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碩士國立政治大學
傳播學院碩士在職專班
104
My Love from the Star is a popular Korean television serial drama that boosted the sales of Korean fashion products in Asia and Taiwan. Focusing on the core concept of character identification, this study uses a four-layer Concentric Circle Model of Self Idetification to examine the relationship and influence among the 4 different identifications of Taiwanese female audience, including character identification, scenario identification, fandom identification and culture identification, and their consumption behavior in those products placed in the drama. The study adopted both intensive interviews and survey to collect data and get well-round understanding of the female audience’s indentification with the heroine Cheon Song Yi and to validate all the hypotheses of this study by data analysis of a total 864 survey results. The result of this study found that the outer layer of the Concentric Circle Model: culture identification is the factor that comprehensively influences female audience to buy placed products in Korean drama. However, each layer of character identification, scenario identification and fandom identification has its significant influence on audience, and contributes to the audience’s indectification with Korean popular culture which affects consumption behavior in placed brands and products in Korean drama. This Concentric Circle Model of Self Idetification explains the key factors of Korean drama’s comprehensive success in product placement in recent years, especially for the Korean fashion products.