Relevant bibliographies by topics / Devising Theater for Youth

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Devising Theater for Youth'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Devising Theater for Youth"

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Hallewas, Anita. "Researching and devising youth theatre: Loss of voice and agency through parachute theatre." Youth Theatre Journal 33, no. 2 (July 3, 2019): 153–62. http://dx.doi.org/10.1080/08929092.2019.1688745.

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Turner-King, Rachel. "Questioning collaborative devising in a post-truth era: Crafting theatre with youth." Youth Theatre Journal 33, no. 2 (July 3, 2019): 94–106. http://dx.doi.org/10.1080/08929092.2019.1688212.

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Weltsek, Gustave. "Devising in the Pandemic: Trauma and a Dramatic Redesign of a Youth Theatre Tour." International Journal of Designs for Learning 12, no. 1 (April 12, 2021): 171–80. http://dx.doi.org/10.14434/ijdl.v12i1.31291.

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Z402 Youth Theatre Tour was designed from a critical performative pedagogical positioning (Weltsek, 2019). Here learning emerges from how individuals and communities perform their emergent identities as they cross literal and metaphorical socio-cultural borders. Z402 resulted in a 100% student created new play, parallel workshop, and study guide. This new play was based solely upon the students’ perspectives, voices, and ways of being. The design used devised theatre, the use of improvisation and games, to create a new play versus a solely written approach. The new play dealt with healing in the face of suicidal thoughts. The course addressed four Indiana educational licensing requirements; student technical, artistic, educational, and class practicum experiences. In March 2020, due to the novel coronavirus (COVID-19) pandemic, the University instituted obligatory Online instruction. Students redesigned their stage play into a virtual experience using Zoom and integrated their emotional struggles due to pandemic isolation. The live play, slated for three schools, is now accessible to a large virtual audience
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Woodhouse, Fionn. "A Passion for the Arts." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 2 (July 1, 2017): 92–93. http://dx.doi.org/10.33178/scenario.11.2.6.

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I first met Stefanie Preissner when she signed up as a volunteer leader with Lightbulb Youth Theatre in Mallow, Cork. Having recently begun a BA in Drama and Theatre Studies in University College Cork, Stefanie had the interest in the work that allowed her to quickly become integral to Lightbulb, facilitating workshops and directing performances. We established a good working relationship, devising, writing and directing within the youth theatre before forming our own theatre company, ‘With an F Productions’, allowing us to take on different projects. Stefanie’s move to Dublin, after graduating from Drama and Theatre Studies, allowed her to develop her playwriting skills leading to the writing of ‘Solpadine is My Boyfriend’. This play was subsequently produced by the company enjoying a sell-out run in Dublin before touring internationally to Bucharest, Edinburgh and Australia, and – as a radio play – becoming RTE’s most downloaded podcast. Stefanie has gone on to write for RTE, with the successful series ‘Can’t Cope, Won’t Cope’ now in its second season and is also writing for Channel 4 in the UK and First Look Media in the US. Last year, I hosted Stefanie in the renamed ‘Department of Theatre’ to talk with students ...
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Streeter, Joshua Rashon. "Devising Critically Engaged Theatre with Youth: The Performing Justice Project by Megan Alrutz and Lynn Hoare." Theatre Topics 31, no. 1 (2021): 66–67. http://dx.doi.org/10.1353/tt.2021.0013.

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Brown, Rich. "Moment Work: Tectonic Theater Project’s Process of Devising Theater by Moisés Kaufman and Barbara Pitts McAdams." Theatre Topics 29, no. 1 (2019): 80–81. http://dx.doi.org/10.1353/tt.2019.0008.

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Dangl, Benjamin. "Teatro Trono: Youth Theater in Bolivia." NACLA Report on the Americas 40, no. 3 (May 2007): 48. http://dx.doi.org/10.1080/10714839.2007.11725367.

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Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.

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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.
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Sautter, Richard. "Moment Work: Tectonic Theater Project's Process of Devising Theater by Moisés Kaufman and Barbara Pitts McAdams et al." Theatre History Studies 38, no. 1 (2019): 244–46. http://dx.doi.org/10.1353/ths.2019.0026.

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Mirabito, Lucas A., and Nicholas C. Heck. "Bringing LGBTQ youth theater into the spotlight." Psychology of Sexual Orientation and Gender Diversity 3, no. 4 (December 2016): 499–500. http://dx.doi.org/10.1037/sgd0000205.

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Dissertations / Theses on the topic "Devising Theater for Youth"

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Bazo, Nicholas. "Sharing the True Colors: An Exploration of Theatre Created by Gay, Lesbian, Bisexual, and Transgender Youth." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3469.

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True Colors: Out Youth Theater at The Theater Offensive is a Boston based program that focuses its theatrical and social mission on engaging Gay, Lesbian, Bisexual, and Transgendered (GLBT) at-risk, youth and the community that surrounds them. Through the process of generating an original touring production, True Colors employs theatre as a tool for personal, social, and artistic expression, empowerment, and activism. The program's balance of both process and product focused goals creates an environment of multifaceted engagement and provides an example of how art can thrive in a structure of youth outreach. Though directors and facilitators guide the process and final product, a fundamental mission of True Colors is to provide a student or youth-centered experience where inspiration, decisions, discussions, and leadership generates directly from participants. By observing and participating in the creation of one of these productions, I explore the impact of this student-centered structure on the personal perspectives and artistic growth of the GLBT participants and the artistic process of creating the production. My goal is to discover True Colors' effectiveness of achieving its mission to both create an impactful and positive process for the youth and also develop a final product that is artful and evokes social change. Additionally, by studying similar programs, I establish a basis of comparison against True Colors in order to develop a broader view of the field and evaluate the variances in methodology and the impact on youth and communities.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Jackson, Jonathan. "interACTionZ: Engaging LGBTQ+ Youth Using Theatre For Social Change." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5950.

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Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition&"174;. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.

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Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /." Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.

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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.
Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves
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Pugh, Ian Bradford Ngongotoha. "“Devoted & Disgruntled”: Improbable’s Devising, Eldership, and Open Space Technology." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366467614.

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Hunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.

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A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.

Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.

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Manvich, Jennifer Harley. "Hearing Margery Eyre: Devising Strategies to Overcome Central 'Auditory Processing Deficit in Rehearsal and Performance of Thomas Dekker's The Shoemaker's Holiday." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392816405.

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Adams, Jennifer. "Writes of spring a study of communication within collective devising." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4835.

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Communication is a pivotal element in creating theatre with other artists, with audiences, and with the outside world. Theatre artists are required to collaborate at nearly every step of the process. Despite the necessity of highly developed collaboration skills, communication in the creation of theatre is an often-underdeveloped curriculum area. As a Director and Teaching Artist I am particularly interested in how to find new ways of collaborating so I may model and pass these skills to my students. Through a qualitative research survey of communication used in collaborative devising, this research analyzes environments that improve communication and allow for maximum creativity in an effort to develop critical communication pedagogy. This study examines my approach in working through a devising process as the Coordinator of a collaborative group of adults creating an original play. I examine our process and make connections as to how devising influenced my future work as a Director and Teaching Artist. By examining the theatres that make extensive use of ensemble devising as a tool for creating theatre, I gained insight into more collaborative ways of working. This research found support through examination of group communication theories and methods in which they promote collaborative spirit. Finally, critical pedagogy offered a lens through which I can impart these discoveries to young artists. I discovered ways to use the model of devising to open the possibilities for my students to take ownership over their processes and the art they create. I also gained insight into the role of facilitator in order to develop ways of modeling and teaching these communications. Communication pedagogy in the theatre allows me the tools to identify, question, and transform my experiences in creating theatre as a director and teaching artist.
ID: 029809827; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 58-61).
M.F.A.
Masters
Theatre
Arts and Humanities
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Jorgensen, Luke. "Boal and youth theater in the United States /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2000.

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Thesis (Ph.D.)--Tufts University, 2000.
Adviser: Downing Cless. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 216-223). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.

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Books on the topic "Devising Theater for Youth"

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Devising in process. Basingstoke, Hampshire [England]: Palgrave Macmillan, 2010.

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1967-, Milling Jane, ed. Devising performance: A critical history. New York: Palgrave Macmillan, 2005.

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Heddon, Deirdre. Devising performance: A critical history. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2006.

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Devising theatre: A practical and theoretical handbook. London: Routledge, 1994.

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Govan, Emma. Making a performance: Devising histories and contemporary practices. Abingdon: Routledge, 2007.

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Dijk, Bert Van. Devised theatre: A practical guide to the devising process. Plimmerton, N.Z: Bert van Dijk, 2011.

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1971-, Hoggett Steven, ed. The Frantic Assembly: Book of devising theatre. New York, NY: Routledge, 2009.

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Staging youth theatre. Ramsbury, Marlborough, Wiltshire: Crowood, 2003.

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Wolfgang, Schneider, and Stefan Keim. Westwind: Kinder- und Jugendtheater in Nordrhein-Westfalen. Berlin: Theater der Zeit, 2010.

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Young people, new theatre: A practical guide to an intercultural process. New York, NY: Routledge, 2007.

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Book chapters on the topic "Devising Theater for Youth"

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Lam, Kevin D. "“Theater of the Oppressed”: Vietnamese and Asian American Youth Violence." In Youth Gangs, Racism, and Schooling, 67–83. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137475596_4.

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Turner-King, Rachel. "“Listen! We Have Something to Say!” Researching Collaborative Co-creation with Youth Using Oral History and Devising in a Disunited Kingdom." In Global Youth Citizenry and Radical Hope, 47–66. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-1282-7_3.

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Feinstein, Aaron. "We Don’t Want to Fit in: A Reflection on the Revolutionary Inclusive Theater Practices of The Miracle Project and Actionplay for Adolescents on the Autism Spectrum." In Creativity and Community among Autism-Spectrum Youth, 129–51. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54797-2_6.

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

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AbstractThis chapter will highlight the use of role-playing, especially sociodramaand role trainingin community empowerment and social activist movements. Historical context will be provided for the traditions of using drama, theater, and role-play in social work and social activismincluding Jacob Moreno’s vision of the theater as a modality for societal change. The sociodramatic approach will be outlined with focus on its utility in community settings as an experiential and communal experience of social action. Multiple examples of sociodrama or role training in communities are depicted with an emphasis on its adaptability for different settings and its effectiveness at empowering people. Examples include its application with youth, law enforcement, intergenerational dialogues, domestic violence response teams, undocumented immigrant communities, social work students, and to empower advocacy with employers, insurance providers, funders, or policy makers.
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Levine, Roberta Faith. "Devising Theater." In The Role of the Arts in Learning, 68–83. Routledge, 2018. http://dx.doi.org/10.4324/9781315207643-5.

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Dollinger, Bernd. "Devising juvenile criminal law." In Changing Narratives of Youth Crime, 27–58. Routledge, 2019. http://dx.doi.org/10.4324/9780429020957-2.

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"Generation on Trial: Arthur Miller’s Theater of Judgment." In Cold War American Literature and the Rise of Youth Culture, 87–98. Routledge, 2014. http://dx.doi.org/10.4324/9781315762838-10.

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"Life as primary text: Youth Speaks through the new world." In Theater and Cultural Politics for a New World, 134–46. Routledge, 2016. http://dx.doi.org/10.4324/9781315680989-19.

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"Junebug Productions and Roadside Theater." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 467–75. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0068.

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Junebug/Jack is a joint theatrical production of Junebug Productions of New Orleans and the Roadside Theater of Whitesburg, Kentucky, professional, community-based theaters whose mission is to speak for the historically marginalized and exploited communities in which they are located. Junebug Productions was founded in 1963 under the name Southern Free Theater as part of the cultural wing of the Student Nonviolent Coordinating Committee (SNCC), the influential civil rights organization. Roadside Theater was founded in 1975 as a component of Appalshop, a media production company in the Kentucky coalfields that was begun as a youth job-training program in film and a way for Appalachian people to take control of their own story. Junebug and Roadside began performing in each other’s communities in response to an increase in Ku Klux Klan activity in 1981. The companies have also partnered with grassroots theatrical groups such as Teatro Pregones from the Bronx (1993–2018) and, independently, with traditional artists from Native American communities and theater ensembles from the Czech Republic and elsewhere....
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Khansa, Lara, Tabitha James, and Deborah F. Cook. "Acceptance, Use, and Influence of Political Technologies among Youth Voters in the 2008 US Presidential Election." In E-Politics and Organizational Implications of the Internet, 133–55. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0966-2.ch009.

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The visibility of network-based technologies in the 2008 U.S. presidential election is indicative of their importance as tools to inform and motivate a populace. By explaining what factors impact usage behaviors with respect to these technologies, their use can be better encouraged. In this paper, the authors examine the constructs influencing usage behaviors for political technologies using the unified theory of acceptance and use of technology (UTAUT) model. The authors also explore the impact of the use of political technologies on political interest and activism in organized movements. The model was tested on a large sample of youth voters, and results suggest that performance and effort expectancy, along with social influences, impact the use of political technology. Evidence was also found suggesting that the usage of political technologies positively impacts political interest and political activism. Findings suggest that room for growth exists in devising novel ways to use political technologies to motivate active participation.
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Reports on the topic "Devising Theater for Youth"

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

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