To see the other types of publications on this topic, follow the link: Applied theatre/performance.
Dissertations / Theses on the topic 'Applied theatre/performance'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 28 dissertations / theses for your research on the topic 'Applied theatre/performance.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
McKay, Matthew. "The Uses of Applied Theatre." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/89.
Full textAbstract:
Applied theatre is an umbrella term describing the practice of borrowing concepts from the conventional theatre and applying them to different disciplines. This thesis focuses on the use of applied theatre in teaching effective communication skills. Using the work of the Ariel Group and personal experiences working with the VCU da Vinci Center as examples, this paper demonstrates ways that underlying theatre concepts are used to teach communication skills. Additionally, this paper argues that there are many advantages for using theatre professors to teach communication skills to non-theatre students in other disciplines through the use of applied theatre methods. To support this argument examples are taken from the Critical Communications Group and my experiences teaching Public Speaking.
2
Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.
Full textAbstract:
The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.
3
Guse, Anna. ""I Am More Than an Inmate...": Re/Developing Expressions of Positive Identity in Community-Engaged Jail Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636691932172.
Full text
4
Streek, Katy. "Collaborating in No man's land : an enquiry towards creating an environment for 'equal' collaboration between international partners in an applied theatre project." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8257.
Full textAbstract:
Includes abstract.Includes bibliographical references (leaves 61-64).
This dissertation is an enquiry towards creating an environment for 'equal' collaboration between international partners in an applied theatre project. As a direct case study, I used my master's fieldwork project, No-man's land, a theatre project involving performers from South Africa and The Netherlands. The problematics of international exchanges in which people, resources and art works are brought together over long distances, generates issues around power, culture and the performing arts which demand attention from project partners. The term 'No Man's Land' isthe metaphor developed throughout this dissertation in order to conceptualise the space of collaboration, as well as the mentality such a collaboration necessitates. The focus here is on international collaboration projects within the field of applied theatre that have the potential to unite artists from different backgrounds to explore issues of mutual interest through theatre processes and performances.
5
Sulcas, Gabrielle Reeve. "An exploration of the relationship between applied theatre and community building practice, with specific reference to a teenage pregnancy project in Delft." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8154.
Full textAbstract:
Includes bibliographical references (leaves 102-105).In a developing country such as South Africa, the challenge to locate new, effective methods of social development is key. This study argues that applied theatre has the potential to become a powerful medium for the fulfilment of this aim. The development and performance of this kind of theatre, which occurs outside of conventional theatre settings and deals with social issues in a participatory way with its audience, brings people of different genders, ages, races and classes together. In doing so, a community is formed, dynamic and multidimensional in nature. This is a divergence from conventional understandings of community as a single static, objective entity. Community building practice centres around this reconceptualisation of community, providing an orientation to the ways in which people who identify as members of a shared community engage together in the process of community change.
6
Walcon, Erin Colleen. "Vital spaces/vital signs : young people, performance, identity and dialogue." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/9785.
Full textAbstract:
This thesis advocates that young people’s participatory theatre in Britain is an important site for dialogue - both internally between young people and externally with those in positions of power and authority who have decision-making responsibilities in young people’s lives. Contextualising the work within the field of critical pedagogy, the thesis asks questions about how devised theatre with young participants can be an effective method to start conversations about young people’s identity and role in society. The research was conducted within a Participatory Action Research methodology, and involved about 600 young people from across Devon in a variety of pilot projects which became increasingly dialogic in form over the three years of study. Looking first at the complex issue of ‘youth’ identity within sociology, cultural studies, ethnography and geography, the thesis posits that the fields of theatre and performance studies have important contributions to make to an understanding of how identity is a performed and constructed concept. Building upon this premise, the second chapter overviews the existing field of young people’s participatory theatre in the UK, stipulating that a pedagogical framework built on an historicized understanding of educational theatre is essential to mapping the existing state of practice. This pedagogical framing allows for navigation through the increasingly impact-driven criteria which can profoundly shape the aesthetics and authorship of such work when conducted in the field. These (often silent) shaping forces are analysed through a set of case study examples. Chapter III defines and defends the framing of this work as a form of critical pedagogy, specifically exploring the definitions of dialogue and literac(ies) through case study examples of dialogic practice with young participants. Chapters IV and V examine the PAR research conducted over three years under the heading Vital Spaces/Vital Signs, which moved from small-scale pilot projects in youth centres to larger-scale ‘devised dialogues’ within more traditional theatre spaces. The praxis and findings encountered within the action research are detailed, and recommendations for future extended dialogic work are made.
7
Woynarski, Lisa Christine. "Towards an ecological performance aesthetic for the bio-urban : a non-anthropocentric theory." Thesis, Royal Central School of Speech & Drama, 2015. http://crco.cssd.ac.uk/551/.
Full textAbstract:
As current precarious ecological conditions require urgent and multi-scalar responses, performance has an opportunity to creatively respond to the ecological situation, opening up new ways of thinking and engaging the public’s imagination. Problematising differentiating practices that divide humans from ‘nature’, I suggest performance may highlight the interconnectedness of humans and the more-than-human world by theorising, revealing and critiquing ecological relationships. My research into an ecological performance aesthetic takes up this opportunity and conceives of new ways of critically thinking about performance. I engage a range of ecological philosophy, combined with ecodramaturgical analysis of performance, to theorise the intersection of performance and ecology. Ecodramaturgy (May 2010) combines ecocritical and applied approaches to performance with ecological ways of performance-making, and represents a critical extension to the discipline of performance studies. Drawing on the ecomaterialism of Bennett (2010), Latour (2004), Alaimo (2013) and Barad (2012), I theorise ‘nature’ as a set of interconnected relationships, which disrupts the binaries between urban/nature, nature/culture, human/nonhuman. I coin the neologism the bio-urban to reflect the vibrancy and material agency of ecological relationships in urban settings. The focus on urban-based practice resists the rural bias present in much ecological writing (Harvey 1993b) and addresses a gap in scholarship around urban ecology in relation to performance. This research centres on a wide variety of illustrative, broadly site-based performance events, including urban gardening performances (and my own practice), walking and cycling performances, installation, live art, theatre pieces and work in places such as streets, mountains, (urban) meadows, cemeteries and rivers. I consider the way in which performance engages with the world, through the interrelated and overlapping discourses of postcolonial ecology, human geography and urban ecology. An ecological performance aesthetic informs modes of practice, presentation and reception, within current ecological conditions. From the provocation of the bio-urban, I theorise immersion and ‘environmental participation’, drawing on the corporeality of our relationship to the space around us, following ecological phenomenology. I then examine oikos as (earthy or planetary) home and consider it in relation to dwelling, suggesting that ecological performance opens up a space for critiquing these ideas. The complex relationship between the local and global is characterised in performance through eco-cosmopolitanism (Heise 2008). Finally, I suggest a non-anthropocentric paradigm for performance, one that employs an ‘ecological anthropomorphism’ that accounts for the material agency of the more-than- human, as well as the human as a geophysical force (Chakrabarty 2012). The aim of the research is to articulate an ecological performance aesthetic, extending and developing the field of performance and ecology.
8
Baim, Clark Michael. "Theatre, therapy and personal narrative." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/33997.
Full textAbstract:
Contemporary theatre has crossed boldly into therapeutic terrain and is now the site of radical self-exposure. The recent and expanding use of people’s personal stories in the theatre has prompted the need for a robust framework for safe, ethical, flexible and intentional practice by theatre makers. Such a framework is needed due to the risks inherent in putting people’s private lives on the stage, particularly when their stories focus on unresolved difficulties and cross into therapeutic terrain. With this ethical and practical imperative in mind, and in order to create a broader spectrum of ethical risk-taking where practitioners can negotiate blurred boundaries in safe and creative ways, this study draws on relevant therapeutic theory and practice to re-connect therapy and theatre and promote best practice in the theatre of personal stories. In order to promote best practice in the theatre of personal stories (a term I will use to cover the myriad forms of theatre that make use of people’s personal stories), I describe a new framework that synthesises theory and practice from the fields of psychodrama, attachment narrative therapy, and theatre and performance studies. The benefits of this integrative framework for the theatre practitioner are that it promotes safer, more ethical and purposeful practice with personal stories, and encourages more confident and creative artistic expression. The framework provides these benefits because it offers a structured model for decision-making by theatre practitioners who work with personal stories, and suggests ways that the practitioner can explore fresh artistic possibilities with clear intentions and confidence about the boundaries and ethics of the work. The integrated framework has been developed through the grounded theory process of reflective inquiry, using in particular the models of action research, the Kolb experiential learning cycle and applied phronesis. The framework has four elements, which are explored respectively in chapters one to four: 1) History: understanding the roots of the theatre of personal stories in traditions of art, oral history, social activism, theatre and therapy; 2) Ethics: incorporating wide-ranging ethical issues inherent in staging personal stories; 3) Praxis: structuring participatory theatre processes to regulate the level of personal disclosure among participants (a model for structuring practice and regulating personal disclosure is offered — called the Drama Spiral); and 4) Intentions: working with a clear focus on specific intentions — especially bio-psycho-social integration — when working with personal stories. The study concludes, in chapter five, with a critical analysis of two exemplars of practice, examined through the lens of the Drama Spiral.
9
Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.
Full textAbstract:
This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.
10
Kirschner, Bennett A. "Do We Make a Sound? An American Morality Play." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2615.
Full text
11
Parkinson, John. "Teaching creatively in prison education : an autoethnography of the ground." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/teaching-creatively-in-prison-education-an-autoethnography-of-the-ground(a6b8be1e-8758-4961-8135-8e38e946a894).html.
Full textAbstract:
This thesis portfolio presents an autoethnographic account of a prison educator engaged in a research project that explores creative approaches to arts, prison education, work and training in custodial settings. The position of the researcher is located in-between and across professional practices including arts in prisons, prison education, work and training environments, which have conflicting agendas that, nevertheless, share the same institutional space. Policymakers and management bodies regulating these professional practices expect education and training to contribute to reducing reoffending. Procedurally, the research process was precariously balanced between, on the one hand, performing to measures of quality based on the requirement to reduce recidivism, and on the other, crude outcome measures driven by a utilitarian marketization of prison education that includes course completion rates calculated on the basis of minimum contact time. This broader context created an uncertain and constantly shifting context for the research, which began with my search for an effective creative practice in a Performing Arts Department (PAD) and ends in a Functional English classroom (FEC). Conceptually, the research draws on the What Works debate (McGuire, 1995; Brayford et al. 2010), which continues to create a disjuncture between policy and implementation resulting from unrealistic assumptions that arts and education programmes in prison might prevent reoffending, with evidence relying solely upon randomisation, reductive causation and numerical calculation. It also draws on desistance theory (Maruna, 2001; McNeil, 2006), which argues that desistance from crime can be understood as an indirect process, rather than an event. From an examination of my efforts to implement and develop creative approaches to education via autoethnographic tools, including fictional performative writing, I argue two main points. Firstly, the autonomy required by the creative prison educator engaged in an advanced research project re-positions the professional in a particular relationship with the bewildering processes of power, protectionism and performance management in the criminal justice system. Secondly, and as demonstrated through fictional performative writing, I argue that research methods engaging voices from the frontline of educational environments, can reveal seemingly small details relating to the challenges and possibilities of creative education in prisons that, nonetheless, have significant implications for developing productive and innovative approaches to desistance from crime. Moreover, from this grounded, yet restricted position, I speculate how such approaches might extend both creativity and creatively beyond the validation of this doctorate qualification.
12
Litwak, Jessica. "My Heart is in the East: Exploring Theater as a Vehicle for Change, Inspired by the Poetic Performances of Ancient Andalucía." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1432152428.
Full text
13
Walsh, Alwyn Mae. "Performing (for) survival : performance tactics of incarcerated women." Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/8889/.
Full textAbstract:
In an era characterised by impacts of cuts and austerity in the UK, this study is positioned at the interface between two socio-cultural institutions against which societies are judged: the arts and criminal justice. Within this field, the thesis investigates the ways women in prison are positioned in a carceral performance that is cyclical and inevitably ‘tragic’. The argument considers the tactics women use in order to firstly, survive their incarceration, and sometimes, resist, the institution. The theoretical frame is drawn from feminist criminology and Bourdieu’s ‘habitus’ to examine everyday performances as well as theatrical works by and about incarcerated women. This project adds to the field by locating performance practices in and of prison within wider social contexts of the politics of carceral spaces. The main questions posed by this project were ‘what does theatre/ performance offer to challenge stereotypes of ‘the cage’?; and to what extent and in what ways does performance in (and of) prison challenge/ subvert/ augment/ transform the site itself’? The research sought to understand to what extent women’s articulations of subjectivity could be a radical alternative to the logocentric and discursive prisons of sentences and prison records. The study was developed as an ethnographic examination of performance in and of prison, alongside exploring how contemporary performance modes are implicated in defining, containing, and correcting (criminal) women’s everyday performances. The thesis is primarily concerned with a critical reflection on theatre practices in prison, with particular emphasis on the political implications of the effects of prison as/and performance. The study makes claims for a radical practice in and about prisons that is distanced from current applied theatre practices, and as such points towards a more troubled rehearsal of how punishment is performed.
14
"Mobilizing Hope: An Applied Drama Approach Toward Building Protective Factors in Behavioral Health." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49354.
Full textAbstract:
abstract: The purpose of this mixed methods case study was to evaluate a dramatic arts curriculum focused on building protective factors including resiliency, cognitive flexibility, self-efficacy, and hope in eight to ten adolescent male sex offenders undergoing treatment at a residential behavioral health facility in Mesa, Arizona. The impetus for this research was suicide prevention efforts. Suicide is the second leading cause of death for ages 15-24 in the United States (CDC 2013), and prevention efforts demand complex approaches targeting major risk factors like lack of belonging and hopelessness. Arts-based prevention efforts have shown promise for building pro-social preventative factors.Dissertation/Thesis
Doctoral Dissertation Theatre 2018
15
Fisher, Ruth Meryl. "Finding your voice : a collaborative, dialogic ethnographic playmaking process offering middle school girls a space to consider the multifaceted views of leadership." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1511.
Full textAbstract:
This thesis examines the transformative potential of applied theatre, specifically through a study of the playmaking process, and the embodiment and performance of stories, as a tool for middle school girls to articulate ideas about and personalize the notion of leadership. This study documents the theory and practitioners who informed my work in the creation and implementation of an applied theatre program piloted in the fall of 2009. Through a process of qualitative, reflective practitioner research, I examined the participants’ perceptions of, and relationship to, leadership throughout the project, while simultaneously analyzing my own changing perceptions of what it means to lead and facilitate an applied theatre process and performance. The resulting discussion offers a need for a balance between the process and the product in applied theatre, and most importantly the need for practitioners to continuously reexamine their intentions and practices throughout an applied theatre project.text
16
Lefevre, Theo F. "TRANSgressive Acts: Adapting Applied Theatre Techniques For A Transgender Community." 2017. https://scholarworks.umass.edu/masters_theses_2/581.
Full textAbstract:
This MFA Thesis traces my work as a joker (a la Theatre of the Oppressed) and facilitator through a three-year-long project with a trans applied theatre troupe. The troupe explored several techniques, including Image Theatre, Playback Theatre, storytelling exercises, and somatic movement. In three semester-long workshops, the troupe focused work around three sets of techniques. In the first workshop, the troupe explored the community-based interview process of Undesirable Elements, as designed by Ping Chong in collaboration with Talvin Wilks and Sara Zatz. These techniques were interrogated using queer and trans temporalities. In the second unit, the troupe practiced Augusto Boal’s “Cops in the Head” techniques from The Rainbow of Desire, utilizing a sociological perspective to examine the “ghosts” these techniques produce. In the final semester, I devised techniques specifically for and about transgender people, invoking trans theory and queer theory to explore issues of naming, trauma, and trans possibilities. Through this work I argue that techniques designed for cisgender bodies require adaptation to find success in transgender communities. I argue that the future of this work is not transforming existing techniques to suit our needs, rather it is creating techniques with transgender bodies and identities at the core.
17
Genshaft, Lindsay Michelle. "Bridging theatre and visual art : the role of an applied theatre practitioner in a fine art museum." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3485.
Full textAbstract:
This thesis document details the theoretical and practical implications of using theatrical techniques and drama-based instruction in the visual art museum setting. Presented are four diverse museum theatre programs created and implemented at The Blanton Museum of Art at the University of Texas at Austin. These programs support the argument that drama-based instruction and theatrical techniques can help deepen and/or complicate the notion of visitor engagement in a visual art museum. The theoretical underpinnings of museum theatre are investigated by examining elements of applied theatre and museum learning and the progressive education theory which shapes their practice. The belief is put forth that creative participation in museum education is essential for personal and critical connection with visual art. Theatre is a dynamic and powerful tool to support this creative participation. Findings include recommendations for utilizing museum theatre programming implemented by an applied theatre practitioner as it promotes the use of critical thinking and problem-solving skills, engages the senses, and stimulates meaningful dialogue.text
18
Gupa, Dennis D. "Applied theatre as post-disaster response: re-futuring climate change, performing disasters, and Indigenous ecological knowledge." Thesis, 2021. http://hdl.handle.net/1828/13371.
Full textAbstract:
In this dissertation, I foreground local elders’ epistemology and ontology embedded in sea rituals and traditional fishing methods in a typhoon-battered community in the Philippines. I do this through the practice of applied theatre to explore agency, relationality, and creativity in the aftermath of a disaster. By locating this dissertation within the intercultural, interdisciplinary, and intersectional applied theatre, I mobilize local disaster narratives by using auto-ethnography, Practice-as-Research, and Participatory Action Research towards the co-creation of local/transnational community-based-theatre performances. These applied theatre performances underscore the solidarity and collective creativity of community members, elders, local government officials, local artists in the Philippines and diasporic Filipinos in Canada. The dissertation engages in personal narrative inquiry, reflective memoir, oral stories, ritual performances, collective creations, archives, and in reclaimed objects to address the existing colonial mode of theorizing theatre and organized post-disaster recovery programs in a local island community decimated by Super Typhoon Yolanda (international name: Haiyan).
Cognizant of the complex networks of post-disaster reconstruction, recovery, and planning in local and international spheres of development work, I formulate an applied theatre performance method as a post-disaster mitigative approach stemming from the specter of Super Typhoon Yolanda and other disastrous events wrought by climate crises. This collective and emancipative method emerges from an affective, hybrid, and cross-cultural mode of inquiry to tackle climate change and bring Indigenous ways of knowing into the center of the climate change conversation. I use this method in co-creating performances on local climate crises that critically examines coloniality and cultural misappropriation in an intercultural milieu. I discuss Indigenous ecological epistemology against the backdrop of climate change processes through autoethnographic inquiry and multi-narrative discourse on agentic, performative, and collective performance creations. I argue that Indigenizing the performance method mobilizes a decolonial theatre that broadens, equalizes, and diversifies the climate change dialogue. Informed by the vernacular concepts of affective and intersubjective criticality (Abat), relational collaboration (Pakiki-pagpulso, Pakiki-pagkapwa, Pagmamalasakit), and shared improvisation (Pintigan), this performance method deploys emancipative subjectivities and considers possible futures. By using applied theatre as a practice of post-disaster recovery, I channel its artistic practice and tools in engaging the local and transnational communities in collective acts of re-centering marginalized narratives and peripheralized bodies of knowledge. Stemming from the wounding memories of disasters, traumatic stories of a super typhoon, and political disjuncture, my collaborators and I mobilized communities, deployed diverse voices, and engaged with non-human subjectivities in sites with histories of environmental destruction and colonization both in local and diasporic communities. Driven by principles of decolonial theatre and emancipated dramaturgy, I aim to offer an ethical inquiry and practice of applied theatre that tackles climate crises in sites with a long history of disasters. These performance principles valorize the Indigenization of theatre’s capacity for social, political, and cultural intervention to re-future climate crises.
Finally, this dissertation emphasizes the persistence of Indigenous knowledge, social relationality, and local creativity beyond the incursion of modernity and colonialism.Graduate
19
Hung, Hsiao-ho, and 洪曉荷. "Exploration on the Devising and Performance of Two Applied Theatre Projects Collaborating with Institutions." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/wje7rs.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
101
Taiwan’s applied theatre is the result formed by the interaction of the attempt and the operation of different fields. Different institutions collaborate with applied theatres one after another to achieve their special goals through the way that theatre workers lead participants to conduct drama creation and aesthetic performances. This research explores the specialties and the devising characteristics of applied theatres, and it also views different models of the collaboration with institutions from the experiences of Taiwan’s local applied theatres. It analyzes two theatre projects collaborating with institutions, finding out the devising processes and models and the characteristics of performances, to explain how the collaboration brings the meaning and the value of social participation for institutions and participants. The result of this research shows that there are four stages of the devising processes of the drama creation of the applied theatre collaborating with institutions. First, the workers of applied theatres along with the institution must focus on their collaborating goals and methods, and thus launch into the devising stage with participants. Then the workers start to create the drama, but simultaneously keep communicating with the institution to refocus. After the workers finish the drama and enter the rehearsal stage, the drama would still need revising under all sorts of cicumstances. The performance running through this devising process carries the main idea which is centered on the institution’s goals. In addition, the explanation of the text develops according to the participants’ lives and styles, and directly expresses and interacts plainly while the stage elements are publicly close to daily lives. Institutions use applied theatre to be the medium of social participation, devising works become the medium’s primary method to interact and the way to empower the participants. On top of this, participants can practice social participation by devising and performance.
20
Dahlenburg, Michelle Hope. "“The ghosts of Waller Creek” : an exploration of the use of applied theatre and site-specific performance as methods for public participation in a city planning process." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4148.
Full textAbstract:
In this thesis, I explore applied theatre and site-specific performance workshops as methods for public participation in city planning. “The Ghosts of Waller Creek” program worked to foster interest in and facilitate dialogue around the redevelopment of an abandoned urban creek area in Austin, TX. I explore three guiding questions: How does an applied theatre practitioner foster collaboration with non-theatre artists on a creative project that achieves common goals? How can applied theatre and site-specific performance workshops and events foster place attachment and engage citizens in city planning? How does an applied theatre practitioner translate participatory, applied theatre workshops into an artifact that is useful to city planners? Using reflective practitioner research processes and qualitative coding methods, I examine these questions through an analysis of surveys, interviews, performances, discussions, field notes, and observations.
I first explore the role that goals, communication, and reflection played in my partnership with an urban designer. I then use place attachment theory to examine how the workshops and events shifted participants’ interest in, and engagement with, Waller Creek and city planning. Next, I investigate how performative artifacts such as audio maps and interactive performances can communicate participants’ opinions about Waller Creek to city planners and to the general public. Finally I discuss how the project situates in the field of arts-based civic dialogue and address guidelines for future projects. This thesis invites applied theatre practitioners to consider how their work can contribute to arts-based civic dialogue in their own communities.text
21
Chang, Wen-Hsin, and 張文心. "The Performance of Leader：Training Leadership By Applied Theatre Mode ─ Take Wan Hua Junior High School for Example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6rk3ut.
Full textAbstract:
碩士國立臺灣藝術大學
戲劇學系
106
It has been many years that west business college and coporate training have used applied theatre to develop leadership, management, communication and presentation, diversity and ethical awarencess. However, it’s not common in Taiwan. Researcher tried to analyse the traits of leader in the society from the point of performance studies, and prove that applied theatre can train leadership. According to transformationl leadership is seen as the best style of improving performance and innovation, as a result, researcher focused on elevating the traits of transformational leadership to train the character of leader by using the way of training actors and elevate the ability of transformational leadership. The subject of this research is 8 classes of Wan Hua Junior High School. Researcher take cases studies as reseach method to interview them and do questionnaire surveys. This research makes conclusions as following: A. Cretive drama can elevate Self-concept, Interpersonal Intelligence, and Creativity. B. Cretive drama can elevate the traits of leadership. C. The role of transformational leadership, innovative organization and missionary organization, deliberately emergent strategy are high correlated and promote innovation and effectiveness. D. Applied Theatre Mode can elevate the traits of leadership.
22
Mangenda, Hannah. "(Per)forming answers : using applied theatre techniques as a tool for qualitative research." Thesis, 2011. http://hdl.handle.net/10413/7786.
Full textAbstract:
From the 1970s onwards Applied Theatre (AT) has become an ever more popular tool for communication in fields as varied as education, development, therapy, social action, business and others (see for example Blatner (ed.), 2007; Prentki & Preston (eds.), 2009). Over the same time period there has been a continuous questioning amongst academics not only of the most effective research methods but increasingly also of the philosophy underlying research efforts (Narayan & Srinivasan, 1994; Parks et al, 2005; Wilkins, 2000).
There are therefore more and more researchers who, in their attempts to 'democratise‘ the research process, are beginning to use arts-based inquiry methods (Sanders, 2006). These generally allow a more inclusive, creative and in-depth approach to research, allowing the participants (the researched‘) more control over the process and the issues discussed and often benefiting them by imparting skills through the process (Belliveau, 2006; Peseta, 2007). Applied Theatre based research is part of this relatively new development (Conrad, 2004; Nelson, 2009) and it is at this junction of academic inquiry and AT where this research is situated.
The major objective of this dissertation is to investigate the possible usage and value of Applied Theatre techniques as a tool for qualitative research, specifically when working with participants not familiar with drama and theatre exercises over a short period of time (a few hours). In partnership with the student society Students Against Rape And Hate (S.A.R.A.H.), a once-off Applied Theatre workshop was conducted in a UKZN residence in September 2009. The aim of this workshop was to establish some answers to the questions provided by S.A.R.A.H. about students‘ views of relationships in general and in residences specifically and the society‘s possible work there.
To be able to compare the outcome of the workshop with the outcome of a more common research tool, a questionnaire asking the same questions was given out among other students in the same residence. Research subjects from both groups as well as S.A.R.A.H. members were later interviewed about their experiences and impressions.
Comparing the data obtained through the different research methods described above, this dissertation not only evaluates whether the data collected with AT was useful and whether the process was practical for the researchers, but it also looks at the benefits the process itself had for all stakeholders involved. Indeed, it is this comparison of the 'product outcomes‘ and the 'process outcomes‘ that forms the backbone of the conclusions drawn.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.
23
Williams, Sidney Monroe. "Queer pedagogy : performing outside the lines." Thesis, 2014. http://hdl.handle.net/2152/28515.
Full textAbstract:
This qualitative study reflects on my experiences as a queer pedagogue developing a Lesbian, Gay, Bisexual, Transgendered/Transsexual, Questioning/Queer, and Ally (LGBTQA) youth theatre ensemble, Outside the Lines. Through the analysis of my pedagogy and the pedagogy of three practitioners affiliated with the Pride Youth Theatre Alliance, I explore how my queer culture, language, expression and politics influence my Applied Drama & Theatre practice within educational and community spaces. It is hoped that by inviting other practitioners and allies into my process this document will generate constructive dialogue around queer pedagogy and its fluid performance. Furthermore, this document aims to serve as a reference for future practitioners that work with queer youth and in queer spaces.text
24
Afolabi, Taiwo. "A re-consideration of participation and ethics in applied theatre projects with internally displaced and internationally displaced persons in Africa and beyond." Thesis, 2020. http://hdl.handle.net/1828/11692.
Full textAbstract:
This research started as a quest to understand better the ethics of doing Theatre for Development/Applied Theatre with under-served, marginalized and vulnerable populations especially in post-conflict zones in the Global South. As a theatre practitioner-researcher from Africa who has lived and worked in post-conflict zones, I was interested in fostering appropriate ethical protocols for arts-based practices for social engagement, advocacy and social justice. Thus, in this dissertation, I focus on two concepts in applied theatre practice: participation and ethics. I examine how participation can be re-conceptualized in applied theatre practice and focus on the ethics around conducting research among vulnerable populations especially on refugees and internally displaced persons.
On participation, I use existing case studies from various fields to argue that participation in community engagement and socially-engaged art practices can become a tool to reposition voices on the margin to the centre in order to unsettle centres of power. However, for this to happen, participation needs to engage a communicative action that is both epistemic and ontic in its approach. An epistemic discourse provides a way of seeing the world while an ontic discourse provides people with a way of being in the world. The former is a ‘theoretical’ discursive practice that is fundamentally epistemological, and the latter is an ‘embodied’ praxis that is fundamentally ontological. I examine the famous Ngugi wa Thiongo’s Kamiriithu Community Theatre project in Kenya and Michael Balfour et al’s refugee project in Australia to foreground this new thinking on verb-oriented and noun-oriented notions of participation.
On ethics, I raise a series of critical questions around interventionist or humanitarian performances. It is hoped that these questions will deepen discourses in applied theatre practice and further challenge practitioners to rethink why we do what we do. Using narrative inquiry, I glean lessons from my field research facilitating drama workshop among secondary school students who have been internally displaced due to an ongoing socio-political crisis in Nigeria. I also reflect on my other applied theatre experiences in Canada and Sudan. I propose an ethical practice that is built on relational interaction. In the context of working in post-conflict zones or in places of war, I argue that precarity becomes a determining factor in framing the ethics of practice. The questions around ethics are raised to also draw attention to decolonizing ethical practices.
Finally, I articulate the connection between participation and ethics in that participation becomes a tactic to ensure that applied theatre researchers/practitioners conduct their work in ethical ways. This is because through participation, concerned communities can challenge unethical practices and transform the research to create outcomes that are beneficial. Thus, as an example of reflective practitioner research, the projects in this dissertation offer opportunities to examine critically how participation has been conceptualized and the need for a decolonizing understanding towards ethics in applied theatre practice especially in post-conflict zones.Graduate
25
Chung, Chialing, and 鍾佳玲. "The Influence of Creative Drama Applied in Youth Theatre: An Example for the Performance "The Transformation" of Juvenile Delinquents Correctional High School." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/9ugf78.
Full textAbstract:
碩士國立臺灣藝術大學
表演藝術教學碩士學位班
101
This research focuses on the influence of Creative Drama teaching and youth theatre performance on the juvenile delinquents in the Correction High School. Through Creative Drama teaching, students’ performing ability improves, and the creating process influences the growth of their personality. The main study method used in this research is case study, supported by the CBPI and qualitative research. Hopefully, the result of this research can serve as an example of the planning and practicing of performing arts curriculums in correction schools. Conclusions are stated as the following: 1. After the teaching of Creative Drama, the students’ abilities of the Youth Theatre Performance improve greatly. 2. Creative Drama Teaching and Youth Theatre Performance make great influence on the juvenile delinquents on artistic creations. 3. After the teaching and the performing of Creative Drama, the juvenile delinquents' personalities have an obvious progress towards maturity. 4. Creative drama teaching and performing can help teachers of performing arts improve their teaching and result of curriculum. The results of the study can serve as a valuable reference for future curriculum design of drama.
26
Dhaliwal, Manpreet (Preeti) Kaur. "Re-embodying jurisprudence: using theatre and multimedia arts-based methods to support critical thinking, feeling and transformation in law." Thesis, 2017. http://hdl.handle.net/1828/8025.
Full textAbstract:
This thesis offers theoretical and practical explorations of how multimedia arts-based methods and embodied storytelling support critical and transformative understandings of law. Using theatre as both subject and method, the author demonstrates how laws live in bodies, with a focus on race, whiteness, migration and the Komagata Maru. Drawing on various theatre practices as well as critical race, feminist and performance scholarship, the author calls for a new way of interacting with law: jurisprudential theatre. Jurisprudential theatre is a method that employs autobiography, utopian visioning, legal research and audience involvement to create plays that examine existing law while filling affective spaces that existing law neglects. This method builds an alternate archive that supplements existing laws but can also be used to study them. The author explains the method through a performance art piece titled Re-embodying. She then uses jurisprudential theatre to examine the legal history of the Komagata Maru through case law and two play texts, all of which lay the groundwork for the method’s application in the first draft of a play titled Eustitia.
“Rather than laying my life and research out in a chronological, linear fashion with smooth transitions, this thesis blends scholarly, autobiographical, episodic and creative writing – sometimes abrupt, sometimes guided. This framework takes you on a journey to the Komagata Maru through my experiences and understandings of race, whiteness, law and trauma. This thesis asks you to bear witness while offering you life stories, performance art, the draft of a play, images and academic prose. I invite you to join me in a creative and performative process that will move you beyond the confines of the page to online worlds and internal realms. Why? To study and experience (as best we can in a text-based relationship) the internal and embodied consequences of law alongside its external, material and relational impacts.”Graduate
0465
0398
0631
dhaliwal.preeti@gmail.com
27
Luck, Jennifer Hartmann. "Identity, intentionality, transformation : one teaching artist’s journey through an applied theatre process." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3474.
Full textAbstract:
What does it mean to be a Teaching Artist and how does the creation and facilitation of an applied theatre program with youth shape a Teaching Artist’s identity? This thesis follows the journey of one Teaching Artist and the applied theatre project she created and facilitated at The Ann Richards School for Young Women Leaders in Austin, Texas, surrounding the issues of self esteem and body acceptance. This applied theatre project combined drama-based strategies and creative writing strategies with public performance opportunities to encourage young girls to find their voices in order to promote positive self esteem. The semester long, after-school project was initially entered into by the Teaching Artist as a form of interactive dramaturgy and research, with the intention of developing a one woman play for young audiences about the same issues. But once submerged in the project, the Teaching Artist began to question the ethics of her process; she began to struggle with her identity, her intentionality and the reciprocity found within her work. All educators hope to transform their students; to observe growth and positive change among their pupils, to witness a successful performance event or to behold young people reveling in art making. But this thesis also considers the possibility that some of the greatest transformation in an arts education/applied theatre setting may be found within the educator themselvestext
28
"It’s Not That Simple: A Complex Journey of an MFA Applied Project." Master's thesis, 2016. http://hdl.handle.net/2286/R.I.38785.
Full textAbstract:
abstract: It’s Not That Simple: A Complex Journey of an MFA Applied Project discusses the experience of graduate student, Molly W. Schenck. Schenck’s applied project, It’s Not That Simple, was an interdisciplinary dance theatre performance piece that challenges rape culture on college campuses. While the focus of the applied project was this performance, it was the obstacles and highlights that were related to the project that made the journey memorable. This paper will discuss the history and evolution of It’s Not That Simple, the creative process, the research, the trajectory of the project, and reflections on the journey.Dissertation/Thesis
Masters Thesis Dance 2016