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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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Wood, Margot. "Children's theatre : in search of an approach to theatre by children, for children." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50296.
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Thesis (MA)--Stellenbosch University, 2005.ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once.
AFRIKAASNE OPSOMMING: Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer, selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm en 'n stortingsterrein vir hulpbronne van volwasse teater. Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is gebaseer op die idee dat spel 'n belangrike en voordelige aspek van kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander area, wat die fokusarea van hierdie studie is, is gemoeid met verhoogaanbiedings vir kinders, dus Kinderteater. Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore as gevolg van swak metodologie. Histories het die waardes en oogmerke rondom Kinderteater onwikkeling ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die kwaliteit van beide die finale produk en die proses waardeur die eindproduk bereik is. 'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en probleme wat spesifiek handeloor die proses van regie vir kinders as spelers. Moontlike oplossing vir hierdie probleme salondersoek word. 'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese projekte sal gebruik word om die menings van praktisyns op die gebied te ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in Kinderteater is altyd beide onderwyser en regisseur.
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Tsurumaki, Megan Wiley. "You can't stop the beat bringing musical theatre to underprivileged youth." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4692.
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In an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating today's youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students. The thesis will chronicle the development of a script with the intent of producing it in Title I elementary schools located in lower socio-economic areas of Orlando, Florida. The script will be based on Hans Christian Anderson's fairy tale "The Ugly Duckling." The final product will be a musical theatre piece to take into the school system to be performed by the students. The body of the thesis will contain my prior experiences of bringing musical theatre to underprivileged youth. The document will also include chapters detailing the process of creating the script and composing the music. Research will determine the socio-economic challenges prevalent in the under-represented cultures in the urban schools of Orlando. Finally, the thesis will contain a section of the actual script and will conclude with a chapter summarizing the reactions to the first reading of the play.ID: 029050200; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 54).
M.F.A.
Masters
Department of Theatre
Arts and Humanities
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Neumann, Aubrey Helene. "Co-Creating Capital: Rural Youth, Stigma, and Applied Theatre Practice." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618766734832468.
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Mayo, Megan E. "Building a workable model for youth theatre an exploration into a courageous and complex field." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4798.
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As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults. Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field.ID: 030646248; 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. 109).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences Track
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Van, Schalkwyk Marèth. "Using theatre techniques as a tool to enable active learning : searching for a pedagogy to transform spectators into spect-actors /." Link to the online version, 2005. http://hdl.handle.net/10019/1763.
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Seagraves, David. "A theatrical take on educational self-esteem." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
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Mouton, Pierre Le Fras. "Developing a potential youth festival model to aid and develop the theatre for young people industry in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95840.
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Thesis (MDram)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained.
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmensebedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word.
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Brandenburg, Rachel Lynn. "Ceremonials: A Reclamation of the Witch Through Devised Ritual Theatre." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1556854180665756.
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Ferdinand, Laura Jeanne. "IMAGINING CHILDHOOD: CONSTRUCTIONS OF YOUTH, GENDER, AND IDENTITY AS PARTICIPANTS IN THE CULTURAL TRANSMISSION OF J.M. BARRIE'S PETER PAN." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1407511599.
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Laissle, Kate M. "An Examination of the History and Practices of Children's Theater Culminating in a Touring Production of Thumbelina: The Story of a Brave Little Girl." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275666975.
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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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Lawlace, Margaret. "Minority Stressors as Predictors of Suicidality in Racially Diverse Sexual and Gender Minority Youth Assigned Female at Birth." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623166905896966.
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Conway, Mary Suzanne. "Achieving Catharsis: The Impact of Theatre on Lesbian, Gay, Bisexual, and Transgendered Youth." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302459493.
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Hart, Natalie. "In-between zones : the impact of class and ethnicity on engagement with the Birmingham Repertory Theatre's youth theatre (The Young REP)." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58914/.
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The aim of this collaborative doctoral research project, funded by the Arts and Humanities Research Council (AHRC), is to explore the interrelationships of internationalism and multiculturalism and how they impact upon the aesthetic and ethical practices of the youth theatre groups (The Young REP) fostered by The Birmingham Repertory Theatre. Examining spatial dynamics, this research explores the hypothesis that there are ‘inbetween zones’ generated by internationalism and multiculturalism which may provide ethical as well as aesthetic space for promoting community based theatre projects with young people of varied ethnicities. I focus on three of nine youth theatre groups organised by the theatre and explore their relationship with the theatre and each other. The groups had differing access to the theatre building - occasional audience members (case study one), occasional performers (case study two), and regularly rehearsing/performing at the theatre (case study three). The study discovered that the more insider access a young person has to a theatre the deeper the levels of meaning they ascribe to it. Case study one is based in a community with a majority Muslim Pakistani population. Highlighting the specific realities of being young and Muslim in 2011, the research explores the role that ethnicity has on engagement with the theatre and the youth theatre. Case study two is based in a working class community. Interrogating the young people’s own assessment of their area as ‘chavy’, the research highlights the impact of class on accessing The REP and its youth theatre. The final study explores the relationship to the theatre of a youth theatre group which rehearsed inside the building and the consequences of the theatre closing for refurbishment for two years. It also examines why this centrally based youth theatre group was unrepresentative of city demographics. I conclude by reflecting on the effectiveness of the strategies implemented by the theatre. This study should be relevant to other theatres, youth theatres and organisations seeking to increase their accessibility and cultural representation.
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Koekemoer, Kaye. ""... we must not hold our fears..." : a case study exploring the use of group dramatherapy as a therapeutic intervention with children and adolescents living in poverty /." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1758.
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Wolgast, Amanda. "EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002172.
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Horn, Elizabeth Georgia Brendel. "Developing the individual to strengthen the whole the application of viewpoints training to impact the social cognitive development of actors in a high school ensemble /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002996.
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Van, Schalkwyk Mareth. "Using theatre techniques as a tool to enable active learning : searching for a pedagogy to transform spectators into spect-actors." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2534.
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Thesis (MDram (Drama))--University of Stellenbosch, 2005.In Britain provision is made for students with a low Basic Skills level (literacy and numeracy) to continue with their post-GCSE education in a low level vocational course. These low level courses aim to teach students basic, life and vocational skills necessary to progress to the next level. This study aims to find a pedagogy which is suited to the needs of these marginalised students and transforms them from spectators into spect-actors. Two programmes were designed, implemented, managed and measured by this study in order to find the pedagogy best suited to the needs of these students. Programme 1 was based on ideas by the educationalists Kolb, Petty, Honey and Mumford; and aimed to empower students with the basic and life skills necessary for progression. Programme 1 failed as the mostly narrative pedagogy was associated with a similar pedagogy used in schools. Assessment methods were unsuitable and the course paid more attention to the needs of the group than the needs of the individual. Programme 2 aimed to actively involve students in the learning of skills essential to progression and was based on theatrical techniques. Augusto Boal’s Theatre of the Oppressed techniques, especially Forum Theatre, formed the basis of the student-centred programme. Boal’s interactive theatre techniques, together with ideas taken from Aristotle, Artaud, Brecht, Heathcote and Freire formed the pedagogy of an interactive course where the focus fell on the needs of the individual student. This study found that Programme 2 was successful. Students took to the taskbased interactive course where all solutions to problems were found by means of active investigation, no theorem was learned without application and no action took place without a purpose. Students changed from spectators into spectactors with a view that the world is not stagnant but transformable. Achievement and success rates back up the findings. The interactive pedagogy using theatre techniques to teach can be applied across the curriculum and it is suggested that such courses should run alongside main stream academic courses to accommodate the learning of all students.
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Pretorius, Louis. "An analysis and proposed expansion of the market for theatre for young people in the Western Cape." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/1552.
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Popova, Vlada. "Youth development through intercultural performance: A case study from Wesbank Arts and Culture Group, South Africa." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&.
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The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the "Cape Coloured"
and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.
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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." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2149.
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Thesis (MPhil (School of Public Management and Planning))--University of Stellenbosch, 2007.In the present chaos surrounding society, youth are in dire need of tools that will enable them to navigate life’s tests and help them understand their role in building a new world civilisation. It is not enough though merely to hear and profess grand ideals, action needs to accompany words. Action happens when ethics and spiritual principles are integrated at a deep level and become part of an individual’s character. The following mini thesis is a project proposal for the formation of a Drama Workshop called People’s Theatre. People’s Theatre aims to help youth become of service to humanity through the internalization of morals and through the realization of their spiritual identity and their oneness with the entire human race. The project proposal begins with an explanation of why the project is being implemented on a local level and where it fits in on a global level. The project utilises three component parts that are seen as necessary if the project is to be sustainable. There are dramatic, moral education and service component parts to the project. The dramatic component will focus particularly on the ZIPoPo method which has been chosen due to it being a powerful medium of expression as well as its focus on positive decision making and moral development. Following this, the project proposal goes into detail concerning the necessary steps needed to be taken in order to practically implement the project and make it a success. The format follows a typical project proposal format. Another factor that was decided upon in order to help make the project more sustainable was that the project would be divided into three main phases. These phases are talked about throughout the proposal. There is also an analysis about why certain activities were chosen and how to take advantage of any opportunities that may arise and lead to the further success of the project. Particular attention was paid to how to make the project truly sustainable and participatory and in this way enable it to succeed. Empowerment begins by teaching people how to walk their own path to development. The following project proposal provides a detailed plan on how to help youth to do just that.
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Niederdeppe, Nicole Noelle. "The impact of a theatre arts intervention on underachieving gifted Latinos." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1723135561&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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LaRocque, Jeffrey. "The Fragmented Artist: Representations of Tennessee Williams in Biographical Solo-Performance." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277059458.
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Richardson, John M. "The Blue Glow From the Back Row: The Impact of New Technologies on the Adolescent Experience of Live Theatre." Thesis, Université d'Ottawa / University of Ottawa, 2010. http://hdl.handle.net/10393/19609.
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This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.
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Diba, Denise. "De ponto de drogas à Ponto de Cultura: juventude, teatro e promoção da saúde - o grupo Pombas Urbanas em Cidade Tiradentes." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/5/5137/tde-25102012-164958/.
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A presente dissertação é fruto do interesse da pesquisadora pela linguagem teatral e suas conexões com o campo da saúde. Neste recorte, objetivamos conhecer de que maneira as atividades de teatro têm sido compreendidas e operacionalizadas no trabalho realizado nos últimos anos pelo Instituto Pombas Urbanas no Centro Cultural Arte em Construção, distrito de Cidade Tiradentes, analisando se e como elas podem estar relacionadas com a Promoção da Saúde de jovens participantes do projeto. Trata-se de uma pesquisa qualitativa, do tipo etnográfica, onde acompanhamos durante um ano o trabalho realizado pelo grupo de teatro Pombas Urbanas nesta Organização da Sociedade Civil de Interesse Público (OSCIP) que volta seus trabalhos para a comunidade. Foi realizada observação etnográfica composta por observação participante, dezessete entrevistas semi-estruturadas com os atores do grupo Pombas Urbanas, jovens do Núcleo Teatral Filhos da Dita, da Turma Jovem e da Turma Iniciante, além de análise documental. Analisamos qual a relação existente entre a participação nestas atividades, a redução da vulnerabilidade e o empowerment considerados como componentes importantes da Promoção da Saúde. Como resultados apontamos que, no caso estudado, a vivência teatral tem contribuído para a promoção da saúde dos participantes, especialmente através da metodologia de teatro comunitário utilizada pelo grupo, com ênfase na escuta, estímulo ao diálogo e relações não hierárquicas ou competitivas entre os participantes. Esta vivência tem possibilitado que eles considerem estar aumentando seu autoconhecimento e sintam-se protegidos e apoiados uma vez que consideram que a vivência teatral tem possibilitado uma sólida ampliação de sua rede de apoio social. Também tem permitido a valorização de suas origens, o desenvolvimento de habilidades sociais e que tenham maior consciência crítica em relação a questões como consumismo, trabalho/lazer, uso de álcool e/ou drogas e questões relacionadas à sexualidade, como o uso de preservativos e a escolha de parceiros. Toda essa vivência tem gerado saúde porque, integradamente às questões já expostas, tem permitido que os jovens reflitam e optem por seus projetos de vida de forma que se sintam mais realizados e satisfeitos, além de realizarem importantes intervenções e ações políticas na comunidade em que vivemThe present dissertation is fruit of the researcher interest for the theatrical language and connections in healthcare field. In this clipping, we aim to know how the theater activities have been understood and operated through recent years in the work carried by the Instituto Pombas Urbanas in the Centro Cultural Arte em Construção, district of Cidade Tiradentes, analyzing if and as they can be related with the Health Promotion of young project participants. It is a qualitative research, of ethnography type, that we followed during one year the work carried through by the theatres group Pombas Urbanas in this Organization of the Civil Society of Public Interest (OSCIP) that returns its works toward the community. It was made an ethnography observation that included observation, participant comments, seventeen interviews half-structuralized with the actors from group Pombas Urbanas and juveniles from Núcleo Teatral Filhos da Dita, Turma Jovem and of the Turma Iniciante, beyond documentary analysis. We have analyzed which the preexisting relation between the participation in these activities, the reduction of the vulnerability and empowerment considered as important components of Health Promotion. As results we point in the studied case, the theatrical experience has contributed to participants health promotion, specially through the group communitarian theater, highlighting the listening, stimulating the dialogue and relations without hierarchy or competition among participants. Those life experiences have been making possible that they are considering an increase in their self-knowledge and feel themselves protected and supported once that they consider that the theatrical experience has been empower a solid increase of their social support net. It has also allowed the origins valorization, the social abilities development and have greater critical conscience concern at consumerism, work/ leisure and use of alcohol and/or drugs and questions related to sexuality, as the use of condoms and the choice of partners. All this experience has generated health because, jointly the previous mentioned questions, it has allowed the juveniles reflect and choose their life projects in a way that they feel accomplished and more satisfied, beyond achieving important interventions and politic actions in the community where they live
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Tang, Hans. "Kulturstråket." Thesis, KTH, Arkitektur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-168438.
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Älvsjö är stark trafikknytpunkt med goda pendeltåg- och bussförbindelser och en målpunkt för alla besökare till populära Stockholmsmässan. En Kulturskola i Älvsjö skulle förstärka och utveckla platsen ytterligare som en mötesplats och koppla ihop Älvsjö centrum, Älvsjö station med Stockholmsmässan. En kulturell mötesplats där barn och ungdomar mellan 6-22 år kan mötas i samband med kulturella aktiviteter såsom dans, musik, teater och bild. Konceptet är att skapa ett tydligt publikt stråk genom byggnaden som tar besökaren från stationen ner till parken och eventuellt vidare till Stockholmsmässan. Kulturstråket är publikt och tillgänglig för alla och skall synliggöra aktiviteterna som sker i byggnaden. Låta folk ta del av det som sker på kulturskolan i form av utställningar och framträdanden i anslutning till kulturstråket. Kulturstråket är navet i kulturskolan där barn, ungdomar och deras föräldrar samlas i väntan på lektionerna. Kulturstråket är själva foajén och huvudrummet i kulturskolan där även andra besökare kan använda det som passage och beskåda det som sker i byggnaden med alla dess kulturella aktiviteter. Skymta rörelser och suddiga siluetter i den semitransparenta kanalplasten som beklär delar av de interiöra rummen och den exteriöra fasaden.Älvsjö is a strong traffic hub with good rail and bus connections and a destination for all visitors to the popular Stockholmsmässan. A cultural school would strengthen and develop the site further as a meeting place and connect Älvsjö center, Älvsjö station with Stockholmsmässan. A cultural meeting place where children and young people between 6-22 years can meet in conjunction with cultural activities such as dance, music, theater and art. The concept is to create a distinct public way through the building that takes the visitor from the Älvsjö station down to the park and possibly further on to Stockholmsmässan. The Cultural highway is public and accessible for everybody. Let people take note of what is happening in the cultural school and be part of the exhibitions and performances taking place. The Cultural highway is the hub of the cultural school where childrens, teenagers and their parents gathers in anticipation of the lessons. The Cultural highway is the foyer and the main room in the school where other visitors can use it as a passage and take part of what happens in the building with all its cultural activities. Glimpse of movements and blurry silhouettes behind the semi-transparent polycarbonate panels which covers parts of the interior spaces and most of the exterior facade.
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Ahumada, Zuaza Luis. "El Teatro Infantil y Juvenil de Carmen Conde." Doctoral thesis, Universidad de Murcia, 2011. http://hdl.handle.net/10803/94519.
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In this research work addresses the question of the status of children´s theater and youth Carmen Conde. In turn is made a thorough study of historical-biographical which meant that literary Spain. Other aspects are addressed as: analysis of dramatic texts child, pedadoficus aspects thereof,subject index, etc. Accompany this study a wide and rich literature on the author and her child and youth drama.En el presente trabajo de investigación se aborda el estado de la cuestión del teatro infantil y juvenil de Carmen Conde. a su vez se realiza un profundo estudio histórico-biográfico de lo que supuso dicho género literario en la producción literaria de la autora y la España del siglo XX. Se abordan otros aspectos como: Análisis de sus textos dramáticos infantiles, aspectos pedagógicos de los mismos, índice temático, etc. Acompaña a dicho estudio una amplia y rica bibliografía sobre la autora y su dramaturgia infantil.
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Jackson, Jeanette. "Culturally-Responsive Dance: Building Community One Step at a Time." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1356091805.
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"Creating Flashback: A Community Service Learning Project For Actor's Youth Theatre." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.15953.
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abstract: In this document I detail the inception of the community service learning program, Flashback, that I created for Actor's Youth Theatre of Mesa Arizona. I first provide the organization's history and then expound upon my beliefs and how the ASU theatre for youth program, along with the needs of AYT, led me to create the program. I then describe the goals and processes of implementing the community based project. I also define service learning and why the program was designed around its principles. Finally, I describe the program's curriculum, devising process and Flashback's first trial run, and then continue, evaluating the performance and reflecting upon the process. The appendix includes the devised script, photos of the performance and interaction with the community, some of the planned curriculum and portions of my journals written during the process.Dissertation/Thesis
M.A. Theatre 2012
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"But Now You Can See Me: Devising Theatre With Youth Artist-Researchers in Search of Revelations and Docutheatricality." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.24958.
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abstract: Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of Phoenix, AZ experience collectively creating and performing original documentary theatre. I pay attention to the ways youth participants--also known as artist-researchers--construct, perform, and/or perceive their identities as they practice drama techniques including improvisation, physical theatre, and Theatre of the Oppressed for the purposes of making docutheatre for social justice. First the artist-researchers chose the topics for their play. Next, they learned and applied drama and research skills to gather and examine data sources used to construct a script that explores hiding and exposure. In the process of sharing and gathering true stories our unique docutheatre-making culture was created. This multimodal qualitative research case study draws upon the genres of arts-based research and visual ethnography as primary modes of data collection and interpretation. Narrative description and the ethnodramatic mode of representation are used in conjunction with still images and this study's companion website (www.meant2see.com) to report research findings. Primary data sources include participant observation fieldnotes, over twenty hours of recorded video footage, photographs, and the project's original script and performance of To Be What's Not Meant to See . Further data include journal entries, drawings, and social media. All data were coded using In Vivo and Process Coding methods and analyzed through a cultural studies lens. Codes were sorted into phenomenological categories representative of recurring ideas and themes. Assertions were then solidified once specific key linkages were constructed. This study's key assertions are: Key Assertion 1: Participation in devising documentary social justice theatre influences and affects the construction, perception, and/or performance of urban youth identities through profound connections made with interviewees during the interview process and through the collection of true stories that provide new information and rare opportunities for self-reflection and self-realization; Key Assertion 2: Portions of the roles urban youth play in their identity narratives are disguised or hidden--purposefully, reluctantly, and/or subconsciously--in order to appeal to friends, families, or the codes of dominant culture.Dissertation/Thesis
Ph.D. Theatre 2014
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LI, FEI, and 黎霏. "Reflections on My Praxis of Committing Drama Education to Youth Theatre-The Case of” Home” Project from Devising to Performing by Flying Horse Dance Theatre." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/m5xp4w.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
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Inspired by drama education, the researcher guided some teenagers to establish an out-of-school performance group “Flying Horse Dance Theatre”. Through the practical process of organization, training, curation and rehearsal of theatre, the researcher developed the way of leadership and integrated the creation methods such as “reminiscence theatre”, “process drama” and “collective improvisation”, and the team accomplished the first performance “Home”. Taking the performance “Home” of the group as the “field of practice” of youth theatre while bearing the ideal of drama education to be implemented, this study aims to reflect on the process and to make sense of the effects of drama education on practice of youth theatre. The researcher is also the practitioner, and this study is the reflection on the action. According to the findings, youth theatre under the guidance of drama education may help the teenagers obtain multi-dimensional self-growth opportunities and inspiration, which convinces the researcher as a reflective practitioner of the value and the commitment to cultivate youth theatre. However, out-of-school youth theatre will inevitably encounter various challenges. As an experimental and practical case, this study is hoped to serve as a reference for future practice and research.
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"Putting Culture to Work: Building Community with Youth through Community-Based Theater Practice." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8733.
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abstract: The purpose of this study is to examine how community-based youth theater ensembles create conditions for youth to practice cultural agency and to develop a sense of themselves as valuable resources in a broader community development process. The researcher employed a qualitative methodology, using a critical and interpretive case study approach which enabled her to document and analyze three community-based youth theaters in New York City: Find Your Light, a playwriting/performance program for youth associated with the NYC shelter system; viBeStages, an all-girl youth ensemble (part of viBe Theater Experience or "viBe"); and Ifetayo Youth Ensemble (IYE), a multi-age ensemble for youth of African descent living in Flatbush and its surrounding neighborhoods (part of Ifetayo Cultural Arts Academy). All three programs are youth-based performing arts ensembles with a mission-driven focus on positive youth development and community building; they are long-term engagements, active in their communities for at least three years; and they are all part of arts organizations that value artistry as their principle means of impacting communities. All of the young artists involved in these programs participated in a sustained process of creating original performance pieces based on stories relevant to their lives and/or the lives of their communities. This dissertation examines how, through their playmaking processes, they began to identify, critique and experiment with commonly held beliefs about human agency and interaction, to activate and embellish the symbolic systems and repertoires that make up their communities, and to practice new ways of coming together. Through their use of artistic practices, the youth developed a sense of themselves as viable shapers of their communities and, in varying degrees, also used other aspects of culture (values, rituals, traditions, aspirations and the arts) to make meaning, contribute, and shape their cultural locations, offering new forms, symbols, structural models and imaginings.Dissertation/Thesis
Ph.D. Theatre 2010
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Sproston, Ronald Leslie. "What a difference a play makes an examination of factors influencing personal development benefits through involvement in extracurricular theatre /." 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp89.09042006/index.html.
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Thesis (EdD) Australian Catholic University, 2005.Submitted as a partial fulfilment of the requirements of the degree of Doctor of Education. Bibliography: p. 213-229. Also available in an electronic version via the internet.
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Myers, Sarah Lynn 1976. "(Re)embodying girlhood : collective autobiography and identity performance in Rude Mechanicals' Grrl action." 2009. http://hdl.handle.net/2152/18453.
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In 1999, Austin-based Rude Mechanicals theatre ensemble created Grrl Action, an autobiographical writing and performance program for teenage girls, one of many advocacy and empowerment programs focused on female youth nationwide. Still today, Austin-area girls come together each summer to generate original performances based on their own life experiences. Their final collaborative production, which combines solo work with group pieces and covers topics as disparate as body image and illegal immigration, illuminates the ways that girls perform different, multiple, and shifting identities, both collectively and individually. This dissertation posits Grrl Action--part of a more general trend towards collective autobiography in girls' cultural production--as an ideal lens through which to examine the complexity of teenage girls' identity performance(s) in the United States today. I situate Grrl Action as an embodied site where girls deliberately play with (and among) multiple selves onstage and, in effect, challenge commercial constructions of female adolescence and expand the very definition of girlhood. As a former Program Director and Instructor for Grrl Action, I build on what Dwight Conquergood might call my role as ethnographic "co-performer" to examine not only live theatre events, but also the material circumstances that create them. My introduction provides an overview of identity performance discourse outside of theatre settings and posits my study of Grrl Action as a means of borrowing back the language of performativity for girls exploring their identities in theatrical settings. Chapter One focuses on girls' performances of non-normative sexuality to examine how Grrl Action might be considered a new kind of feminist theatre collective. Chapter Two looks at girls' I- and you-statements to analyze the ways that female youth cast both themselves and their audiences in nuanced "definitional ceremonies." Chapter Three centers on girls' tears and traumatic testimony to situate Grrl Action as a site of affective transference between girl-performers and women-spectators. My conclusion is self-reflexive, as I suggest ways that women who work with girls might put their own identity performances on the line both inside and outside programs like Grrl Action.text
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"Constructing the Youth in Commercial Musical Theatre: An Intersectional Case Study." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15824.
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abstract: This dissertation considers how adolescent identity is constructed and represented in commercial musical theatre for youth (e.g. Broadway and Disney Theatrical Group) by examining two commercial productions with adolescents in lead roles--Spring Awakening and Disney's High School Musical. My theoretical framework is intersectionality which creates a foundation for my research within the field of childhood studies, gender studies, and performance studies to illuminate current US American trends in youth oriented art and research. My framework extends into a case study methodology exploring the world of childhood and youth sexuality through a close read of the popular Broadway musical adaptation, Spring Awakening. In addition, a second investigation chronicles the world of Disney's High School Musical through my own intersectional tool, the Disney Industrial Complex. I claim that adolescence, as a constructed identity, exists as a multi-faceted intersectional category composed of multiple and conflicting intersections such as gender, race, sex, ethnicity, and so on. These intersections develop over the course of the period known as "adolescence" and "youth." The goal of this dissertation is to serve as a reference for other theatre educators and their work with young people creating art.Dissertation/Thesis
Ph.D. Theatre 2012
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"Performing New Afrikan Childhood: Agency, Conformity, And The Spaces In Between." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25033.
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abstract: This dissertation employs an ethnographic methodological approach. It explores young people's performance of a New Afrikan subjectivity, their negotiation of a multiple consciousness (American, African-American, New Afrikan and Pan-Afrikan) and the social and cultural implications for rearing children of African descent in the US within a New Afrikan ideology. Young people who are members of the New Afrikan Scouts, attendees of Camp Pumziko and/or students enrolled at Kilombo Academic and Cultural Institute were observed and interviewed. Through interviews young people shared their perceptions and experiences of New Afrikan childhood. The findings of this study discuss the ways in which agency, conformity and the spaces in between are enacted and experienced by New Afrikan children. The findings particularly reveal that in one sense New Afrikan adults aid young people in examining their racial and cultural subjectivity in US America. In another sense New Afrikan adults manipulate young people into performing prescribed roles that are seemingly uncritical of the implications of these performances beyond an adult agenda.Dissertation/Thesis
Ph.D. Theatre 2014
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Freeman, Emily Rachael. "Feminist performance pedagogy : theatre for youth and social justice." 2013. http://hdl.handle.net/2152/21652.
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This thesis describes the use of feminist performance pedagogy in working toward a Theatre for Young Audiences (TYA) practice that engages youth in social justice. Drawing on feminist and pedagogical theories, this document explores the processes of writing, rehearsing, and touring a new social justice play for youth called 'And Then Came Tango.' The qualitative study outlined in this MFA thesis uses feminist research methodologies to analyze the engagement of the playwright, the artistic team working on the production of 'And Then Came Tango,' and the second and third grade audiences that participated in the touring production and post-show workshops. The author weaves personal story throughout the document in order to create new meaning around the research experiences as well as to illustrate the personal dimensions of engaging in the struggle around LGBTQ injustice. The discussion invites future artists, educators, and activists to imagine how theory, aesthetics, artists, and communities collaborate in order to work toward socially just and interactive TYA.text
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"Identity Spectrums, Analytic Adolescents, and “Gays in Space!”: A Qualitative Investigation of Youth Queer Narrative Reception." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49413.
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abstract: This research study examines the interaction between youth queer narratives and young people through examining my core research question, How do young people engage, interpret, and respond to queer narratives? Applying a feminist narrative analysis to examine the qualitative data, I propose a methodological research shift where the voices of youth are valued as content experts; an artistic shift that moves content-creation away from a top down traditional media model and towards a youth-centered new media approach for art making; an aesthetic shift away from over-used stereotypes, tropes, and stale representations and instead innovate to represent intersectional, spectrum-based diversity of the LGBTQ+ experience.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.Dissertation/Thesis
Doctoral Dissertation Theatre 2018
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Shawyer, Susanne Elizabeth. "Radical street theatre and the yippie legacy : a performance history of the Youth International Party, 1967-1968." 2008. http://hdl.handle.net/2152/17999.
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In 1967 and 1968, members of the Youth International Party, also known as Yippies, created several mass street demonstrations to protest President Lyndon Baines Johnson’s handling of the United States’ military involvement in the war in Vietnam. The Yippies were a loose network of hippies, anti-war activists, and left-wing radicals committed to cultural and political change. This dissertation investigates how the Yippies used avant-garde theories of theatre and performance in their year of demonstrating against the Johnson administration. The Yippies receive little attention in most histories of American performance, and theatre remains on the margins of political and social histories of the 1960s; therefore this dissertation places performance and political archives side by side to create a new historical narrative of the Yippies and performance. The Yippies created their own networked participatory street performance form by drawing on the political philosophy of the New Left student movement, the organizational strategies of the anti-war movement, and the countercultural values of the hippies. They modified this performance form, which they termed “revolutionary actiontheater,” with performance theories drawn from New York’s avant-garde art world, the concept of guerrilla theatre outlined by R. G. Davis of the San Francisco Mime Troupe, and the notion of Theater of Cruelty created by Antonin Artaud. Using performance theory and cultural history as primary methodologies, this project traces the Yippies’ adoption of revolutionary action-theater with three examples: the 1967 “March on the Pentagon” where future Yippie leaders performed an exorcism ritual at the Pentagon; the 1968 “Grand Central Station Yip-In” event that advertised for the Yippie movement; and the 1968 “Festival of Life” at the National Democratic Convention in Chicago where the Yippies nominated a pig as presidential candidate. The final chapter on the recent phenomenon of flash mobs argues that the Yippies’ legacy lives on in this participatory street performance form, and suggests that revolutionary action-theater can still serve as a model for political action.text
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CHANG, HAI-WEI, and 張海威. "Research of A Youth Theater blend in School of Collaboration Transition : An Example of Student from Sunfloewr School in Changhua Country." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/p96w84.
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碩士國立臺灣藝術大學
戲劇學系
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This research was investigated that how the youth theater to blend in with students who is lack of learning. Fourteen dropouts of collaboration transition in Changhua county as the object, the purpose of research is helping teens get to know more and join the youth theater. In the main study of youth theater, to observe students’ s learning status through interaction between teacher and students, explore the students ‘s emotional development and conversion of thinking model before, during and after the course. To understanding the effect of youth theater with dropouts learning drama, regard with metal change after students touched the course, this practiced was taken 22 weeks and assisted by other teacher to record the dialog with students during the practice. The main focus of research: 1. This teaching model is helping dropout who is lack of learning get to know more the youth theater 2. The change of dropout for the contecnt of theater teaching (1) Self-Examine→Self-Regulation→Self-Acceptance→Self-Recpect (2) Selecting the suitable role to instead of messy role in the past. (3) To control self sentiment and positivie commnuication to be with others 3. The students easy to get influence by peer of personality difference, it will be inconsistent between the internal school study and external environment touch.