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Bibliografias temáticas / Playbuilding

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Literatura científica selecionada sobre o tema "Playbuilding"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 21 de fevereiro de 2023

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Artigos de revistas sobre o assunto "Playbuilding"

1

Webb, James. "Collaborative playbuilding and the act of crystallization". Applied Theatre Research 10, n.º 1 (1 de julho de 2022): 39–53. http://dx.doi.org/10.1386/atr_00061_1.

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Collaborative playbuilding is an emerging arts-based research design that uses playwriting and playbuilding as tools of inquiry for artists and researchers to investigate sociological questions, dealing with such matters as racial and class conflict, youth offenders, school safety, stereotypes of urban teenage girls, women and obesity, and social justice. Researchers use the design to generate and disseminate data; however, the literature reveals a lack of studies that show how the playbuilding process ‐ the actual structuring and crafting of the performance script ‐ can be used as a primary means of data analysis. In this article, I discuss my study, in which I used collaborative playbuilding to investigate why some African Americans leave the Black Church and choose not to return. I argue that although I conducted my research using traditional qualitative methods (i.e. interviews, questionnaires, observations and a focus group), I relied on the playbuilding process to serve as an act of crystallization, which provided me with creative distance to analyse the narrative data in interesting ways, yielding findings not previously seen in the literature and thus supporting the efficacy of the arts-based design.

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2

Shabtay, Abigail, Mindy R. Carter e Hala Mreiwed. "A dramatic collage: becoming pedagogical through collaborative playbuilding". Qualitative Research Journal 19, n.º 4 (11 de novembro de 2019): 403–14. http://dx.doi.org/10.1108/qrj-02-2019-0020.

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PurposeThe purpose of this paper is to explore a case study of a group of preservice teachers that took part in a playbuilding process as part of a drama education course at a Canadian University. The paper focusses on ten preservice teachers’ creation in original theatrical production,The Teacher Diaries: a collage of stories based on the preservice teachers’ lived experiences as teacher candidates. Through a discussion of the playbuilding process, the techniques used, and an analysis of three scenes, this paper addresses the question: How can playbuilding and performance help preservice teachers “become pedagogical”?Design/methodology/approachThe paper focusses on ten preservice teachers’ creation in original theatrical production,The Teacher Diaries: a collage of stories based on the preservice teachers’ lived experiences as teacher candidates. Through a discussion of the playbuilding process, the techniques used, and an analysis of three scenes, this paper addresses the question: How can playbuilding and performance help preservice teachers “become pedagogical”?FindingsThe primary understanding that emerged from this research was how playbuilding can be used as a holistic participatory research method in which participants conduct research, analyse, thematise, implement and disseminate data throughout the creative process.Research limitations/implicationsAs researchers of this playbuilding process, the authors have come to realise that when using playbuilding as a method for research and arts creation there is an overlapping of understanding and analysis of the research findings that is a continual part of the research process. Rather than simply collecting data, analysing it and drawing conclusions from the previously identified data, the whole process becomes a research experience. As seen above, participants were continually coming up with insights throughout the process that informed the creation, growth and change of their scenes so that they could create a final product.Practical implicationsDrawing on a case study of ten preservice teachers, and their original performance pieceThe Teacher Diaries, this paper set out to determine how the playbuilding process can be used to help preservice teachers develop pedagogically. Several scholars have already noted that creating collaborative theatre is a reflective, inquiry-based process (Belliveau, 2006; Cahill, 2006; Carteret al., 2011; Conrad, 2004; Goldstein, 2008), and that the creation and performance of live theatre allows participants to interact with audiences in ways that written material cannot (Norris, 2000, 2008).Social implicationsThroughout the playbuilding process, the preservice teachers engaged in storytelling, improvisation, reflection and dialogue. Working collaboratively, the preservice teachers were able to identify similarities in their experiences and develop a supportive community where they could share stories and resources (see Mreiwedet al., 2017 for more discussion of community development through drama).Originality/valueBecause of this, the members of Team Awesome were inspired to create a pamphlet (including tips and links to government and other online resources) to share with their peers following the performance. While this was simply one case study, the results of this study indicate that the playbuilding process has great potential for use in helping educators “become pedagogical” through collaboration, reflection, articulation of needs, community-building and the sharing of resources in preservice teacher education.

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3

Norris, Joe. "Playbuilding and Social Change". LEARNing Landscapes 13, n.º 1 (13 de junho de 2020): 23–27. http://dx.doi.org/10.36510/learnland.v13i1.1024.

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In this interview, Joe Norris reflects on his early experiences with performance and how he became involved with collective creations and playbuilding. His work has led him to develop and implement qualitative research methods using playbuilding. In his role as artistic director of Mirror Theatre, he has been the driving force behind numerous plays that inspire social change. He shares candid observations about the challenges of doing performative work and gives advice for educators wishing to pursue this kind of work.

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4

Bishop, Kathy, Will Weigler, Tracey Lloyd e David Beare. "Fostering Collaborative Leadership Through Playbuilding". New Directions for Adult and Continuing Education 2017, n.º 156 (dezembro de 2017): 65–75. http://dx.doi.org/10.1002/ace.20260.

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5

Prior, Ross W. "Looking around in awareness: playbuilding on HIV-AIDS". Research in Drama Education: The Journal of Applied Theatre and Performance 10, n.º 1 (fevereiro de 2005): 55–64. http://dx.doi.org/10.1080/13569780500053312.

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6

Yoshida, Mariko. "Playbuilding in a Japanese College EFL Classroom: Its Advantages and Disadvantages". Caribbean Quarterly 53, n.º 1-2 (março de 2007): 231–40. http://dx.doi.org/10.1080/00086495.2007.11672321.

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7

Cotton, Tony. "Book Review: Playbuilding as Qualitative Research: A Participatory Arts-Based Approach". Qualitative Research 11, n.º 4 (agosto de 2011): 454–55. http://dx.doi.org/10.1177/1468794111410649.

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8

Perry, Mia, Anne Wessels e Amanda C. Wager. "From Playbuilding to Devising in Literacy Education: Aesthetic and Pedagogical Approaches". Journal of Adolescent & Adult Literacy 56, n.º 8 (maio de 2013): 649–58. http://dx.doi.org/10.1002/jaal.195.

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9

O’Keefe-McCarthy, Sheila, Michael M. Metz e Bernadette Kahnert. "He-ART-istic Journeys: Transformative Experiential Learning Through Applied Theatre". LEARNing Landscapes 15, n.º 1 (23 de junho de 2022): 283–98. http://dx.doi.org/10.36510/learnland.v15i1.1076.

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Employing applied theatre techniques of playbuilding, research-grounded scene development, and facilitated workshops has the potential to provide transformative learning. The He-ART-istic Journeys-Heart DIS-ease play is one example that invites learners to experience (living with heart disease). This aesthetic encounter creates a reflective space that embraces the uncertainty of (un)knowing-necessary to participate in relearning. Engaging in Mirror Theatre’s method of dialogic exploration, we share two scenes that demonstrate the pedagogical potential and creative process for transformative teaching purposes.

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Becker, Kelly Mancini. "1, 2, 3, Action: Using Performance in Higher Education to Develop Teachers and Learners". LEARNing Landscapes 13, n.º 1 (13 de junho de 2020): 41–51. http://dx.doi.org/10.36510/learnland.v13i1.1001.

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This paper explores the use of performance in a college-level course that teaches education majors how to use drama, dance, and music in their instruction. Students engage in drama activities such as improvisation and playbuilding in an effort to experience firsthand the benefits of such practices for their future classrooms. The essay shares some of the students’ experiences in this course. A common outcome shared is that the processes encouraged students to get out of their comfort zone, which they found beneficial to their learning. The essay examines how having students perform may help them develop as both a learner and a future teacher.

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Teses / dissertações sobre o assunto "Playbuilding"

1

Lovesy, Sarah Caroline, University of Western Sydney, of Arts Education and Social Sciences College e School of Education. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning". THESIS_CAESS_EDU_Lovesy_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/787.

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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education
Doctor of Philosophy (PhD)

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2

Lovesy, Sarah Caroline. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning". Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/22408.

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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education

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3

Lovesy, Sarah Caroline. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning /". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051129.144927/index.html.

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4

Wong, Jennifer. "Playbuilding: Considering Identities, Agency and Self-Efficacy". Thesis, Griffith University, 2018. http://hdl.handle.net/10072/382031.

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The purpose of this study is to examine the role improvisatory and collaborative playbuilding processes play in enabling positive self-efficacy in children from low-income homes in Singapore. The study also examines how shifts in identities and agency, and the participants’ relationship with a facilitator outside of the low-income community affected the young people’s perceptions of selves and opened up the space for them to reflect on their possible futures. This thesis discusses the findings from a thirty-two-hour playbuilding programme with a group of sixteen children from a subsidized public rental neighbourhood in Singapore. The participants were between the ages of six and twelve and the project was conducted in collaboration with a voluntary welfare organization located in the same neighbourhood. The playbuilding programme took place between March and May in 2015. This qualitative case study critiques and reports how improvisatory and collaborative processes within playbuilding acted as sources of influence to the young participants’ sense of self-efficacy. Employing reflective practitioner approach, this study investigated the facilitator-researcher’s use of specific drama conventions and techniques in the playbuilding process and at the same time, examined the impacts of the close working relationship the researcher shared with the community worker from the voluntary welfare organization. The facilitator’s reflection journal was the main source of data in the research, and the notes in the journal were examined together with data collected through observation, video recordings, semi-structured and unstructured interviews with the children and community worker, debrief sessions after each workshop and performances. The qualitative data were analysed initially using categories that had been pre-determined through the literature reviewed and also the researcher’s prior experiences of working with young people in similar settings. New categories were added later when the data did not fit into the existing ones. Collectively, the categories formed the core arguments in this thesis which are reflected in the three chapters that examined topics of ‘playbuilding processes’, ‘shifts in identities’, and ‘voice, perspectives and ownership’. This thesis argues that participation in collaborative and improvisatory playbuilding processes created the space for young people to re-imagine and visualise possible outcomes in their lives and devised ways to achieve plausible counterdistinctive ends in the drama. It is expected that this study will contribute to the existing discussion on the use of theatre-making processes as a tool to support the healthy development of young people from challenging backgrounds. At the same time, it is hoped that narratives presented in this thesis will add to the current conversation in Singapore about the struggles and problems faced by young people in poverty.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of education & professional studies
Arts, Education and Law
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5

Melnik, Laurie. "THE ROLE OF OTHER:AN EXPLORATION OF A FACILITATOR'S ROLE IN PLAYBUILDING WITH ECONOMICALLY DISADVANTAGED ADOLESCENT WOMEN". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3863.

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During the Fall 2007 semester, I facilitated the devising of a new play with students from a school located in St. Louis, Missouri. As an employee of a mid-America prominent regional theatre company, the organization partnering with the school on this project, I was hired as the teaching artist who oversaw the students' playwriting. Both the school and the regional theatre company hoped my being there would assist the girls in writing a play that connected to their Top 20 Teens curriculum as well as demonstrate the high standards that are expected of them by their school's administration. This is the second year that the school and the regional theatre company partnered on this project, and they discovered last year that the play's use of language and character development suffered due to hands off directing. Neither organization wanted this to happen again and decided that a facilitator needed to work with the girls throughout the entire playwriting process rather than allow the students free reign in hopes that they were challenged to make different decisions from last year's play. The school's student population stems from communities deemed economically disadvantaged, and my role in this project proved challenging due to the fact that I am not from the same population as the students. As a white, middle class female working in an inner city environment, I seem to be endowed with a modicum of perceived power, whether or not I agree with it or want it. In my experience, I have noticed a dynamic permeated by uneasiness due to past, and current, tensions between whites and other races. As a Caucasian entering an inner city environment, I felt like the obvious minority. Resulting from these situations, I assume the role of "other" when entering populations that differ from my own. In the case of the school, I felt my role as "other" increased due to working in an all-female environment with participants drawn from economically disadvantaged backgrounds. My role as "other" sparked the following questions for me: How do I facilitate this project as an "other," and how does this crucial, racial and socio-economic role affect the construction of my sessions with the participants? I was interested in documenting how I perceived this role relative to my participants and the partnering organization during my facilitation and in my conclusions after the project was completed. During my facilitation, I kept a journal that served as a self-action study during all of my sessions with the girls. The "in the moment" writings allowed me to capture those times when my role as "other" directly affected my approach to the facilitating of the playbuilding and the choices I made during the project. Afterward, I developed a conclusion section that was written a few months after the project had ended. I wanted to determine how my perception of "other" shifted, if at all, while I facilitated the project and after I had the time to reflect on the project. I discovered that my perception of "other" did change as I went through this project. During the study, I found myself aware of this shift, but noticed my awareness of power and privilege increased when I had time to reflect on the project months after it had ended. I discovered that I can be "other" in some instances while this role may not be apparent to my participants. My thesis documents how being "other" guided my choices as a facilitator, as well as when it did not seem to be the basis of my decision-making. From this study, I concluded that my being different racially and socio-economically led me to place an unnecessary filter over my work with the playbuilding project which caused me to have many challenges as a white teaching artist working in an inner city setting.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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6

Simons, Jennifer, University of Western Sydney, of Arts Education and Social Sciences College e School of Social Ecology and Lifelong Learning. "Enhancing the use of professional craft knowledge in process drama teaching". THESIS_CAESS_SELL_Simons_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/720.

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The research articles in this portfolio describe and analyse how process drama teachers use the special combination of content knowledge, pedagogical knowledge and knowledge gained in 'lifeworld' experiences (described in this portfolio as their 'professional craft knowledge') in order to promote learning. These publications also provide a detailed description of methods used in pre-service teacher education at the University of Sydney to enhance the development of professional craft knowledge in beginning teachers. The studies in this portfolio are framed within an interpretative research paradigm; the subject matter of the research is the way that teachers and learners in process drama collaborate to construct meaning. The methodology is primarily reflective practitioner research, recently described as one of drama's 'own innovative recommended research designs'. Qualitative methods have been used to collect and analyse relevant data. Separate sources of data are used to check the trustworthiness of the findings, through the process of crystallization : the alignment of sources such as reflective journals, outside observations, video records and oral reflections. Professional craft knowledge is developed by individual teachers as they reflect in action on the choices they see as available to them, as they work with their own classes. Often teachers are not conscious of the expertise they are developing; it quickly becomes tacit, embodied knowledge. However, reflecting upon their actions, teachers can usually explain why they acted as they did. The research articles in this Portfolio make use of reflection in and upon action in order to deconstruct the work of process drama teaching. As a collection these articles also examine how the use of reflective practices in pre-service education can facilitate and enhance the development of craft knowledge before teachers enter the professio
Doctor of Education

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7

Melnik, Laurie Christina. "The role of other an exploration of a facilitator's role in playbuilding with economically disadvantaged adolescent women /". Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002119.

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8

O'Brien, Sharon. "Collaboration: A Process in Understanding". Thesis, The University of Arizona, 2005. http://hdl.handle.net/10150/193290.

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After years of education, many people enter the workforce without the team-working skills fundamental in today's innovation economy. As one of the primary goals of education is to prepare students for the workforce, a shift from individual learning to collaborative learning is recommended. One way to incorporate collaborative learning in formal education is through students' engagement in the collaborative development of plays. When understanding of collaboration is achieved, according the theories of Teaching for Understanding, the learner can apply knowledge outside of the domain in which it was learned. Team-based management in business and collaborative playbuilding in theatre share congruent structural principles, therefore, the application of knowledge from one domain to the other is natural. This study investigated how university students came to understand collaboration through involvement in a Collaborative Play Development course. Findings support the recognition of collaborative theatre as an opportunity to develop marketable skills for the learners.

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9

Gore, Rosemary Anne. "The Kartini Project". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35809/1/35809_Digitised%20Thesis.pdf.

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This project is an account of one teacher's journey with her students, across cultural boundaries in search of creating authentic Asian/Australian Drama experiences. The project explores the notion of establishing a shared cultural context. The early chapters focus on the background influences that determine where and how the project is set. Subsequent chapters provide an account of the innovative use of dramatic forms used in preparation for the fieldwork, then account of the fieldwork and post classwork. The study ends with a series of recommendations for any teacher intending to undertake a similar project.

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10

Simons, Jennifer. "Enhancing the use of professional craft knowledge in process drama teaching". Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/720.

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The research articles in this portfolio describe and analyse how process drama teachers use the special combination of content knowledge, pedagogical knowledge and knowledge gained in 'lifeworld' experiences (described in this portfolio as their 'professional craft knowledge') in order to promote learning. These publications also provide a detailed description of methods used in pre-service teacher education at the University of Sydney to enhance the development of professional craft knowledge in beginning teachers. The studies in this portfolio are framed within an interpretative research paradigm; the subject matter of the research is the way that teachers and learners in process drama collaborate to construct meaning. The methodology is primarily reflective practitioner research, recently described as one of drama's 'own innovative recommended research designs'. Qualitative methods have been used to collect and analyse relevant data. Separate sources of data are used to check the trustworthiness of the findings, through the process of crystallization : the alignment of sources such as reflective journals, outside observations, video records and oral reflections. Professional craft knowledge is developed by individual teachers as they reflect in action on the choices they see as available to them, as they work with their own classes. Often teachers are not conscious of the expertise they are developing; it quickly becomes tacit, embodied knowledge. However, reflecting upon their actions, teachers can usually explain why they acted as they did. The research articles in this Portfolio make use of reflection in and upon action in order to deconstruct the work of process drama teaching. As a collection these articles also examine how the use of reflective practices in pre-service education can facilitate and enhance the development of craft knowledge before teachers enter the professio

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Mais fontes

Livros sobre o assunto "Playbuilding"

1

Playbuilding. Portsmouth, NH: Heinemann, 1994.

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2

Michaels, Wendy. Playbuilding Shakespeare. Cambridge: Cambridge University Press, 1996.

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3

Hatton, Christine. Young at art: Classroom playbuilding in practice. New York, NY: Routledge, 2008.

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4

Wendy, Michaels, ed. Building plays: Simple playbuilding techniques at work. Markham, Ontario: Pembroke Publishers, 1995.

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5

Tarlington, Carole. Building plays: Simple playbuilding techniques at work. Portsmouth, NH: Heinemann, 1995.

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6

Strategies for playbuilding: Helping groups translate issues into theatre. Portsmouth, NH: Heinemann, 2001.

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7

Playbuilding as qualitative research: The collective creation of dramatice representation. Walnut Creek, Calif: Left Coast Press, 2009.

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8

Norris, Joe. Playbuilding as qualitative research: The collective creation of dramatice representation. Walnut Creek, Calif: Left Coast Press, 2009.

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9

Bray, Errol. Playbuilding (MANUALS). Currency Press, 1991.

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10

Norris, Joe. Playbuilding as Qualitative Research. Routledge, 2017. http://dx.doi.org/10.4324/9781315422497.

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Capítulos de livros sobre o assunto "Playbuilding"

1

Wong, Jennifer. "Playbuilding: A Platform for Re-imagining and Re-thinking Identities and Power". In Artistic Thinking in the Schools, 279–95. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8993-1_15.

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2

"Teaching playbuilding creatively". In Young at Art, 32–44. Routledge, 2008. http://dx.doi.org/10.4324/9780203890721-10.

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3

"Contemporary classroom playbuilding". In Young at Art, 189–95. Routledge, 2008. http://dx.doi.org/10.4324/9780203890721-18.

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4

Tanner, Samuel Jaye. "The Winter—Playbuilding". In Whiteness, Pedagogy, and Youth in America, 71–89. Routledge, 2018. http://dx.doi.org/10.4324/9780203702437-4.

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5

Norris, Joe. "I Expect". In Playbuilding as Qualitative Research, 141–50. Routledge, 2017. http://dx.doi.org/10.4324/9781315422497-10.

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Norris, Joe. "The Party". In Playbuilding as Qualitative Research, 151–58. Routledge, 2017. http://dx.doi.org/10.4324/9781315422497-11.

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Norris, Joe. "Dares". In Playbuilding as Qualitative Research, 159–66. Routledge, 2017. http://dx.doi.org/10.4324/9781315422497-12.

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Norris, Joe. "Are You Really Listening?" In Playbuilding as Qualitative Research, 167–74. Routledge, 2017. http://dx.doi.org/10.4324/9781315422497-13.

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9

Norris, Joe. "Who’s with Whom?" In Playbuilding as Qualitative Research, 175–82. Routledge, 2017. http://dx.doi.org/10.4324/9781315422497-14.

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Norris, Joe. "Whose Pencil Is It Anyway?" In Playbuilding as Qualitative Research, 183–94. Routledge, 2017. http://dx.doi.org/10.4324/9781315422497-15.

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