Relevant bibliographies by topics / Drama collaboration

Contents

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

Academic literature on the topic 'Drama collaboration'

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

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Journal articles on the topic "Drama collaboration"

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Hallsworth, Djuna. "National broadcasting, international audiences: How cultural difference is represented in the Danish television dramas Ride upon the Storm, Liberty and Greyzone." Journal of Scandinavian Cinema 10, no. 2 (June 1, 2020): 121–36. http://dx.doi.org/10.1386/jsca_00018_1.

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Denmark represents a noteworthy ‐ and rather successful ‐ example of where state-funded public service broadcasters have retained strong branding locally while asserting an online streaming presence and negotiating sustainable transnational partnerships for future collaboration, thus consolidating domestic and international markets. This article analyses the impact of the shift away from national broadcasting towards transnational production cultures on the Danish domestic market, historically dominated by local public service broadcasters: Danmarks Radio and TV2. Using the television dramas Ride upon the Storm, Liberty and Greyzone as case studies, the article examines the idea that trends towards harnessing global audiences and fostering transnational production collaborations may partially undermine the distinctive cultural and linguistic features of Danish television drama.
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Simatupang, Togar M., and Ramaswami Sridharan. "A drama theory analysis of supply chain collaboration." International Journal of Collaborative Enterprise 2, no. 2/3 (2011): 129. http://dx.doi.org/10.1504/ijcent.2011.042964.

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Dean, Paul. "Shakespeare and Manuscript Drama: Canon, Collaboration and Text." English Studies 98, no. 6 (May 17, 2017): 649–50. http://dx.doi.org/10.1080/0013838x.2017.1322392.

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Appleby, Ellen. "Mrs Blue Gum, Some Puppets and a Remnant Forest: Towards Sustainability Education through Drama Pedagogy." Australian Journal of Environmental Education 21 (2005): 1–10. http://dx.doi.org/10.1017/s0814062600000902.

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AbstractThis paper focuses on a case study of the collaborative development of an environmental education unit involving the use of puppetry and drama. The collaboration was between an experienced classroom teacher beginning to use drama, and a drama/environmental educator and researcher. The critical lens for the analysis was sustainability education, including how this aligns with some recent theory on multiplist and evaluativist meaning-making. It is argued that these modes of meaning-making are necessary pedagogical goals of an eco-connected pedagogy. This case study showed that collaborative planning, implementation and reflection of drama pedagogy was not only a catalyst for more complex and deeper levels of meaning-making for the classroom teacher, but also prompted discussion about other important issues such as the quality of student engagement, classroom power dynamics and authentic assessment. In addition the teacher observed a range of outcomes achieved by her students that align with sustainability education as they became immersed in a dramatic world. In particular she observed that the students, through role-playing and writing about points of view not necessarily their own, developed deeper understandings demonstrating multiplist and evaluativist meaning creation.
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Siopsi, Anastasia. "Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk." Muzikologija, no. 5 (2005): 257–67. http://dx.doi.org/10.2298/muz0505257s.

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The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.
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MacLean, Sally-Beth. "Records of Early English Drama: A Retrospective." Renaissance and Reformation 37, no. 4 (April 30, 2015): 235–51. http://dx.doi.org/10.33137/rr.v37i4.22649.

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The Records of Early English Drama, founded in 1976, remains a productive humanities research project, with thirty-three volumes in print and two open access research and educational websites to date. This retrospective essay reflects on the individuals who contributed to its founding and evolution; the establishment of systematic research and editorial principles for an international team of contributors; the challenges of funding a collaborative enterprise with long term goals; some of its key contributions to the field of theatre history; and the transition from a print-based series to REED Online, a multi-faceted digital enterprise. In summary, while the re-envisioning of REED as an interoperable research and educational online resource represents a major shift in editorial and publication processes, the core values of the project remain intact: to work together in interdisciplinary collaboration with like-minded partners to deliver the results of systematic research in early theatre to as wide an audience as possible in the twenty-first century. Le Records of Early English Drama, fondé en 1976, consiste toujours en un projet fructueux de recherche en sciences humaines, totalisant à ce jour 33 volumes imprimés et deux sites web ouverts de recherche et d’éducation. Cet article rétrospectif se penche sur les personnes ayant contribué à sa fondation et son évolution, l’établissement d’une systématique de recherche et de principes éditoriaux à l’intention d’une équipe internationale de contributeurs, les défis de financer un projet collectif avec des objectifs à long terme, quelques unes de ses principales contributions dans le domaine de l’histoire du théâtre, et la transition d’une publication imprimée vers le format REED Online, un projet numérique polyvalent. En effet, bien que la transformation du projet en une ressource collaborative REED de recherche et d’enseignement en ligne représente un changement majeur dans les processus éditoriaux et de publication, les valeurs centrales du projet demeurent inchangées : le projet vise toujours la collaboration interdisciplinaire avec des partenaires ayant la même approche afin d’obtenir des résultats de recherche systématique en histoire du théâtre, et à les rendre disponibles à un public aussi large que possible en ce vingt-et-unième siècle.
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Aspinall, Dana E., and Jeffrey Masten. "Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama." Sixteenth Century Journal 29, no. 3 (1998): 816. http://dx.doi.org/10.2307/2543705.

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Zhang, Hao, Wu-Yuin Hwang, Shih-Ying Tseng, and Holly S. L. Chen. "Collaborative Drama-Based EFL Learning in Familiar Contexts." Journal of Educational Computing Research 57, no. 3 (April 9, 2018): 697–722. http://dx.doi.org/10.1177/0735633118757731.

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Contextual learning has been recognized as an important method for English as a Foreign Language (EFL) learning and drama was also usually employed to be a good activity for EFL learning which guided learners to interact and use body language to practice English. However, there were few studies to consider both drama and authentic contexts together with mobile devices to facilitate EFL learning. In this research, we developed a contextual drama (CD) system in mobile devices for EFL learning. Students can use CD system to prepare, make, and conduct drama with voices, photos, and texts in authentic contexts to improve English learning. Our goal is to examine how CD system and collaborative CD influences students' learning behaviors and achievement. One quasi-experiment design was conducted with 78 participants, who were the fifth-grade elementary school students during a 5-week experimental period. The results demonstrated that drama-based learning in authentic contexts resulted in better learning achievements than traditional methods. Moreover, we found that collaboration, as key in drama-based EFL learning, could promote peer discussion and therefore help students improve students' storytelling and writing abilities. Students' improved abilities were demonstrated in their sentence complexity and diversity. Additional analysis results derived from the interviews and observations also revealed that students' body languages usage and their engagement in drama activities have significant effect on their learning achievement.
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Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (December 10, 2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.

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This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes which were implemented longitudinally over two academic terms (20 weeks): self-standing play excerpts combined with drama games in the second term followed by a full-scale performance of a single play in the third term. Data were collected through a semi-structured questionnaire, follow-up interviews and researcher’s field notes. Findings revealed that learners perceived that collaboration and interaction through drama were important elements for promoting a positive attitude towards learning a foreign language and their oral production despite the challenges that a full-scale production may pose when subjected to the various constraints of time and the syllabus requirements of a compulsory curriculum.
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Coleman, Claire Marie, and Tim Lind. "Calculating for creativity: Maths joins the circus." Waikato Journal of Education 25 (November 24, 2020): 85–99. http://dx.doi.org/10.15663/wje.v25i0.717.

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Following recent increases in the diversity of students, technologies, pedagogies and environments, New Zealand classrooms are sites of growing complexity. Tasked with covering a broad range of disciplines within each school day, opportunities for subject integration are of increasing value to busy teachers. Developing upon a previous piece of research (Coleman & Davies, 2018), this project sought to gain student engagement in mathematics through a dramatic framework. A key factor in developing adaptable, responsive and capable learners, creativity is an area of intense educational interest and yet substantial confusion (Jefferson & Anderson, 2017). Focusing upon the activation of students’ creative capacities through drama, this project offers suggestions for future praxis and the development of classrooms that invite creativity. We began by establishing a fictional pre-text closely related to their earlier studies of insects. Recruited to assist Professor Lee—a flea circus owner, with the redesign of her circus, this pretext deliberately offered opportunities for mathematics integration. When planning we predicted the need for students to engage with numbers and measurement, yet remained responsive to opportunities arising from the drama or instigated by the students themselves. Over the five drama-maths sessions, we collaborated with students both in and out of role, to design, plan and prepare a new cockroach circus extravaganza. We generated data for the research through reflective journal entries, student work, drama based research and focus groups. Our findings indicate an enthusiasm for the use of drama to engage students and make mathematics meaningful and highlight the vital elements for collaboration and creativity. Three distinct elements appear crucial to engaging in an effective drama-maths unit: a sense of unity in pursuing a common goal, the value of the affective and embodied elements associated with drama, and cultivation of skills for collaboration. While this project bolsters existing rhetoric surrounding STEAM integration, it advocates for further development around existing notions of collaboration for 21st century learning.
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Dissertations / Theses on the topic "Drama collaboration"

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Young, Jennifer. "Reading Shakespeare through collaboration : agency, authority and textual space in Shakespearean drama." Thesis, King's College London (University of London), 2013. http://kclpure.kcl.ac.uk/portal/en/theses/reading-shakespeare-through-collaboration(ae995ee8-9941-4da3-9577-3c79c665d36f).html.

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While recent scholarship understands early modern play production as a collaborative process between multiple playhouse agents, the contributions of those stationers responsible for the rise of Shakespeare in print are often dismissed as acts of textual corruption. Particularly in the case of Shakespeare, who was not directly involved in the publication of his plays, the interaction of printers and publishers with his texts is central to the more inclusive understanding of the printing and publishing of Shakespeare in his time proposed in this dissertation. Each chapter explores largely neglected textual interactions between Shakespeare and his stationers in order to demonstrate how the group of play quartos discussed in it are products of thoroughly collaborative publishing ventures. Examining collections of commercial drama in print produced by playwright and stationer partnerships in London between 1594-1632, my research shows that collaboration was a recurrent phenomenon in early modern dramatic publication and instrumental to Shakespeare’s presentation in print. Key to this approach is my understanding of dramatic publications not simply as material artefacts but as complex textual spaces within which all agents, though not necessarily in the same place or at the same time, contributed in distinctive and significant ways to the production of Shakespeare’s plays in print. Considering playtexts as the product of textual collaboration, the printing and the publication process become sites of textual production, rather than contamination by non-authorial agents. This thesis also offers a new methodology for identifying non-authorial intervention in early printed playbooks, positioning the work of such agents as integral to their textual and bibliographic make-up.
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.

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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Rodgers, Adrian R. "Teacher and Teacher-Researcher Classroom Collaboration: Planning and Teaching in a Secondary English Classroom using Process-Oriented Drama Approaches." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1216227342.

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Thesis (Ph. D.)--Ohio State University, 1999.
Advisors: Kenneth Howey and George Newell, College of Education. Includes bibliographical references (leaves 221-228). Available online via OhioLINK's ETD Center
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Hill, Leslie Anne. "Theatres and friendships : the spheres and strategies of Elizabeth Robins." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17879.

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Victorian women used strategies that allowed them to not only work as actresses but also as directors, producers, translators, and playwrights, thus transforming theatre at the cusp of the New Drama. Female friendships were particularly integral to these strategies as women employed secretiveness and anonymity, charm and shrewdness, networking and collaborating in small and large groups to meet their creative and professional goals. Through these means of sociability women enlarged their spheres of influence beyond the stage. Elizabeth Robins is a superb example of these strategies, particularly when theatrical realism was her primary focus. Though she also collaborated well with men, William Archer and Henry James among them, it was Robins’s female friends who helped her to establish a London career. This project shows how Robins and her women friends contributed to the New Drama in dynamic, critical, and often-secret ways. Marion Lea and Robins finagled the rights to Hedda Gabler in 1891. Lea and Florence Bell helped Robins to translate plays for production and to develop new acting techniques suited to realism. After Lea left England, Robins and Bell joined Grein’s Independent Theatre Society to present their anonymously written protest play Alan’s Wife. These efforts illustrate the adaptive functions of female friendships. Through closer examination of their relationships, particularly the one Robins and Bell called a sisterhood, we see the nurturing functions of female friendships. This project explains some of the reasons why, despite being famous in their day, these women disappeared from history. It was not just because of male control of the theatre, but was also a product of their own desires to protect themselves. Secrecy had served them well in the 1890s, but their fame faded as even friends forgot them. Yet, since female socialization taught them to be group-focused, these women’s stories are highly pertinent to the history of the theatre, an art form that is collaborative by its nature. Through study of their work and their relationships, we can fill some gaps in theatre history, women’s history, and nineteenth-century history, adding resonance to their voices that may carry to coming generations.
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Lang, Linda L. "Teaching with drama, a collaborative study in innovation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34870.pdf.

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Salvador, Francisca Nunes da Mota. "Da lousa ao palco: teatro como possibilidade de desenvolvimento de agência." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/13699.

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Made available in DSpace on 2016-04-28T18:22:57Z (GMT). No. of bitstreams: 1 Francisca Nunes da Mota Salvador.pdf: 29148648 bytes, checksum: 860931329684636d5c1f101faa35481e (MD5) Previous issue date: 2014-10-17
Conselho Nacional de Desenvolvimento Científico e Tecnológico
The aim of this research is to investigate, critically, the development of creative agency in chain activity system on a drama project for teenagers at elementary school (7th grade). The project is developed at Instituto Dinâmico Alfredo Chaves (ES), where proposals aimed at reading and production of speech genres for elementary and high school are promoted. The question that organizes this research is: How do chain activity system enable the development of agency? Two sub questions were proposed: What types of collaboration were constituted in the meetings? What types of agency flourished? This study finds itself within the context of Applied Linguistics and is supported by the Social Historical and Cultural Activity Theory, with focus on agency. It is designed as a Critical Research on Collaboration (MAGALHÃES, 2010; 2011), whose goal is to create the context of negotiation in which the subjects learn from each other, generating shared knowledge. The corpus of this research consisted of four meetings held during the process of production of a play as well as testimonials, written by the students who were involved in the project in the year of 2013. Data were analyzed prioritizing enunciation, discursive and linguistic aspects, based on studies on argumentation. The results show that the process, which was carried out by the subjects of research, promotes collaborative relationships, enabling the development of agency. However, it is important that the teacher acts intentionally and responsively so that there is critical collaboration in a way that subjects take part in relational and transformative agency
O objetivo desta pesquisa é investigar, de forma crítica, o desenvolvimento de agência no sistema de atividades em cadeia, que se propõe criativa, em um projeto de teatro para adolescentes em fase de escolaridade do segmento Ensino Fundamental, 7º ano. Trata‐se de um projeto desenvolvido no Instituto Dinâmico Alfredo Chaves (ES), local em que são promovidas propostas voltadas à leitura e à produção de gêneros discursivos para o Ensino Fundamental e Médio. A pergunta que organiza esta pesquisa é: Como o sistema de atividades em cadeia possibilita o desenvolvimento de agência? Duas subperguntas foram organizadas: Que tipos de colaboração foram constituídos nos encontros? Que tipos de agência foram decorrentes? Este estudo está inserido no contexto da Linguística Aplicada e apoiado na Teoria da Atividade Sócio‐Histórico‐Cultural, com foco em agência. Está delineado como uma Pesquisa Crítica de Colaboração (MAGALHÃES, 2010; 2011), cujo objetivo é criar contexto de negociação, em que os sujeitos aprendam, uns com os outros, a produzir conhecimento compartilhado. O corpus desta pesquisa foi constituído de quatro encontros ocorridos durante o processo de produção de uma peça de teatro e depoimentos escritos por alunos do projeto, em 2013. Os dados foram analisados priorizando os aspectos enunciativos, discursivos e linguísticos, com base nos estudos sobre argumentação. Os resultados mostram que o processo percorrido pelos sujeitos da pesquisa promove relações colaborativas, possibilitando o desenvolvimento de agência. No entanto, é importante um agir intencional e responsivo do professor para que haja a colaboração crítica, de modo a mobilizar os sujeitos a uma agência relacional e transformativa
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Yu, Hong. "A data-driven approach for personalized drama management." Diss., Georgia Institute of Technology, 2015. http://hdl.handle.net/1853/53851.

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An interactive narrative is a form of digital entertainment in which players can create or influence a dramatic storyline through actions, typically by assuming the role of a character in a fictional virtual world. The interactive narrative systems usually employ a drama manager (DM), an omniscient background agent that monitors the fictional world and determines what will happen next in the players' story experience. Prevailing approaches to drama management choose successive story plot points based on a set of criteria given by the game designers. In other words, the DM is a surrogate for the game designers. In this dissertation, I create a data-driven personalized drama manager that takes into consideration players' preferences. The personalized drama manager is capable of (1) modeling the players' preference over successive plot points from the players' feedback; (2) guiding the players towards selected plot points without sacrificing players' agency; (3) choosing target successive plot points that simultaneously increase the player's story preference ratings and the probability of the players selecting the plot points. To address the first problem, I develop a collaborative filtering algorithm that takes into account the specific sequence (or history) of experienced plot points when modeling players' preferences for future plot points. Unlike the traditional collaborative filtering algorithms that make one-shot recommendations of complete story artifacts (e.g., books, movies), the collaborative filtering algorithm I develop is a sequential recommendation algorithm that makes every successive recommendation based on all previous recommendations. To address the second problem, I create a multi-option branching story graph that allows multiple options to point to each plot point. The personalized DM working in the multi-option branching story graph can influence the players to make choices that coincide with the trajectories selected by the DM, while gives the players the full agency to make any selection that leads to any plot point in their own judgement. To address the third problem, the personalized DM models the probability that the players transitioning to each full-length stories and selects target stories that achieve the highest expected preference ratings at every branching point in the story space. The personalized DM is implemented in an interactive narrative system built with choose-your-own-adventure stories. Human study results show that the personalized DM can achieve significantly higher preference ratings than non-personalized DMs or DMs with pre-defined player types, while preserve the players' sense of agency.
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González, Robert M. "The drama of collaborative creativity : a rhetorical analysis of Hollywood film making-of documentaries." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002727.

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González, Robert M. Jr. "The Drama Of Collaborative Creativity: A Rhetorical Analysis Of Hollywood Film Making-Of Documentaries." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/266.

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Current creativity research is dominated by attention to the individual, with increasingly less attention paid to creativity in its context, in groups, and in filmmaking as a collaboratively creative enterprise. This study answers the research call to explore filmmaking as an exemplar for collaborative creativity. Utilizing the stories told on DVD extras on special edition releases of feature films, this study analyzes how collaborative creativity is storied. In turn, these stories reveal specific communication forms, practices, and strategies that enrich theoretical conceptions of collaborative creativity. Following dramatistic concepts elaborated by Kenneth Burke, this rhetorical analysis finds three emergent patterns of communication--mythic, historic, and symbolic--in the discourses of making-of-documentaries (MODs) that illuminate collaborative creativity. As mythic patterns, MODs utilize the structure of the quest tale to organize the plot, drama, and rhetoric of collaborative creativity told in MODs. Audiences, then, are invited to re-experience the journey, and every MOD symbolically and ritually repeats and re-actualizes the cosmogony. As historic patterns, filmmakers converse in history with filmmaking predecessors, traditional industry practices, and present collaborators. Through their various roles as fans, critics, and memorialists, filmmakers renovate and commemorate film history, offering creativity theory criteria by which novelty is evaluated. As symbolic patterns, MOD discourse spotlights the metaphors filmmakers use to create collaborative environments and to characterize directors' performances. Together these metaphors create a guiding and habitable ideology for production work that improves upon "vision" as one guiding metaphor for creativity. This analysis enriches theoretical accounts of creativity by approaching collaborative creativity obliquely, as space-off, and rhetorically, as inducements to success stories in organizations. Taking communication as central to collaborative creativity, this study offers three counter-statements to traditional conceptions of creativity: creativity is shared, not possessed; collaborative creativity emerges within human drama; and collaborative creativity lives and finds its meaning in performance.
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Kagolobya, Richard. "Symbolic interaction and intercultural theatre performance dynamics in Uganda : the case of Makerere Universitys Intercultural Theatre Collaborations." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96034.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This dissertation investigates and examines the dynamics of intercultural theatre practice. Existing scholarship on interculturalism in theatre praxis regards intercultural theatre as a site for bridging cultures and cross-cultural performance traditions, and for investigating the performance of power between the collaborating parties, learning, cultural imperialism, cultural translation and hybridity, among other features. However, much of the existing literature does not offer a historical perspective allowing one to understand the dynamics of contemporary North-South collaborations. Moreover, most studies do not adequately weave the experiences of the participants in such collaborations into their analyses. This study contributes to filling that research gap. This research specifically seeks to investigate and examine the dynamics of intercultural theatre collaborations in Uganda, taking Makerere University‘s Department of Performing Arts and Film‘s intercultural theatre activities in recent years as case studies. The inquiry was mainly driven by the impetus to explore the North-South intercultural theatre dynamics and to examine the socio-cultural, socio-political, socio-economic features and other notions that were manifested in these intercultural theatre collaborations and performances. In order to pursue the above line of inquiry I used a multiple case study design by examining three cases: the Stanford-Makerere, New York-Makerere and the Norwegian College of Dance-Makerere collaborations. The multi-case study model was reinforced by the use of personal interviews, direct observation, focus group discussions, document analysis and emails of inquiry in order to solicit the views of individuals who had participated in the above collaborations. Theoretically, the study is hinged on a multiplicity of concepts and discourses: symbolic interaction, intercultural communication, theatre studies, postcolonial studies, international education and the discourse on globalisation. In the analysis of the different cases it was discovered that the issue of economic inequality in the contribution towards the funding of the collaborations, among the different modes of power performativity manifested in the collaboration processes, sometimes leads to an imbalance in the decision-making process. Consequently, the power imbalance contributes to the North-South intercultural theatre collaborations‘ unending crisis of identification with imperialism. The study further shows that there are cultural, linguistic, pedagogical, structural and socio-psychological aspects of difference that are negotiated during the course of the collaborations. It was found that the process of navigating the socio-cultural differences provides the participants with an experiential learning environment of living with/within and appreciating cultural differences, thus providing a bridge across the socio-cultural divide. The cultural bridge in theatrical terms, however, leads to the generation of theatrical hybridity and fusion, which again brings into play the debate on intercultural performance authenticity/inauthenticity in theatre discourse. Also, based on the view that intercultural theatre collaborations are microcosms of multifaceted global intercultural interactions, it was seen that the socio-cultural differences that are negotiated through the intercultural theatre collaborations can give one a microcosmic platform for critiquing the grand concept of the ―global village‖ and the associated notion of ―world cultural homogenisation‖. Since this study uses a novel multidisciplinary approach in the analysis of intercultural theatre phenomena, I believe it will contribute to critical theatre studies in Uganda and elsewhere. The findings will also hopefully contribute towards the assessment of intercultural theatre collaborations at Makerere University in order to improve them. The study will also advance the view that intercultural theatre‘s aesthetic and experiential processes can help in interpreting and understanding our respective multicultural environments. Broadly, it will contribute to the discourse on intercultural communication, performance and cultural studies.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die dinamika van interkulturele teaterpraktyk. Bestaande navorsing oor interkulturaliteit in die teaterpraktyk beskou interkulturele teater as ‘n forum vir die oorbrugging van kultuurgrense en interkulturele opvoeringstradisies, en vir die ondersoek na aangeleenthede soos die uitvoering van mag tussen die deelnemende partye, leer, kulturele imperialisme, kulturele vertaling en hibriditeit. Die bestaande literatuur bied egter grotendeels nie ‘n historiese perspektief waaruit die dinamika van kontemporêre Noord-na-Suid-samewerkings verstaan kan word nie. Verder verweef die meeste ondersoeke nie die ervarings van die deelnemers aan sulke samewerkings bevredigend in hul analises nie. Hierdie ondersoek dra by tot die vul van daardie navorsingsgaping. Hierdie navorsing poog spesifiek om die dinamika van interkulturele teatersamewerkings in Uganda te ondersoek deur van onlangse interkulturele teateraktiwiteite aan die Departement Uitvoerende Kuns en Film aan die Makerere Universiteit gebruik te maak as gevallestudies. Die beweegrede vir die ondersoek is hoofsaaklik die verkenning van die dinamika van interkulturele Noord-na-Suid-teatersamewerking en ‘n ondersoek na die sosio-kulturele, sosio-politiese en sosio-ekonomiese kenmerke en ander opvattinge wat in hierdie interkulturele teatersamewerkings en -opvoerings gemanifesteer het. Om hierdie ondersoek te onderneem, het ek drie gevalle in ‘n meervoudigegevallestudie-ontwerp bestudeer: die samewerkings tussen onderskeidelik Stanford en Makerere, New York en Makerere, en die Norwegian College of Dance en Makerere. Die meervoudigegevalle-ontwerp is versterk deur die gebruik van persoonlike onderhoude, direkte waarneming, fokusgroepgesprekke, dokumentanalise en e-posnavrae in ‘n poging om die opvattings van individue wat aan die bogenoemde samewerkings deelgeneem het, te verkry. Teoreties is die studie gefundeer in ‘n veelvoud konsepte en diskoerse: simboliese interaksie, interkulturele kommunikasie, teaterstudies, postkoloniale studies, internasionale opvoedkunde en die diskoers oor globalisering. In die analise van die verskillende gevalle is bevind dat die kwessie van ekonomiese ongelykheid in bydraes tot die befondsing van samewerkings, onder die verskillende modusse van magsperformatiwiteit wat in die samewerkingsprosesse gemanifesteer het, soms ‘n wanbalans in die besluitnemingsproses tot gevolg het. Gevolglik dra hierdie magswanbalans by tot die nimmereindigende krisis van identifikasie met imperialisme waaronder interkulturele Noord-na-Suid-teatersamewerkings gebuk gaan. Die ondersoek toon verder dat daar kulturele, linguistiese, pedagogiese, strukturele en sosio-psigologiese verskille is wat oorkom moet word vir suksesvolle samewerkings om plaas te vind. Daar is bevind dat die hantering van sosio-kulturele verskille die deelnemers van ‘n eksperimentele leeromgewing voorsien vir die belewing en waardering van kultuurverskille, waardeur die sosio-kulturele skeiding oorbrug word. Die kulturele brug lei egter, in toneelmatige terme, na die ontwikkeling van toneelmatige hibriditeit en versmelting, wat weer die debat oor die outentisiteit al dan nie van interkulturele opvoerings in die teaterdiskoers aktiveer. Verder is daar, gebaseer op die siening dat interkulturele teatersamewerkings mikrokosmosse van veelvlakkige globale interkulturele interaksie is, bevind dat die sosio-kulturele verskille wat deur interkulturele teatersamewerkings oorkom word, ‘n mikrokosmiese platform kan voorsien vir die kritisering van die begrip van die sogenaamde ―wêrelddorpie‖ en verwante nosies van wêreldwye kulturele homogenisering. Aangesien hierdie ondersoek ‘n nuwe multidissiplinêre benadering tot die analise van interkulturele teaterverskynsels gebruik, glo ek dit sal bydra tot die teaterkritiek in Uganda en elders. Die bevindinge sal hopelik bydra tot die assessering van interkulturele teatersamewerkings aan Makerere Universiteit om hulle te verbeter. Die ondersoek sal ook die siening voortdra dat interkulturele teater se estetiese en ervaringsprosesse kan help met die interpretasie en verstaan van ons onderskeie multikulturele omgewings. Breedweg sal dit bydra tot die diskoers oor interkulturele kommunikasie, opvoering en kultuurstudie.
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Books on the topic "Drama collaboration"

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Textual intercourse: Collaboration, authorship, and sexualities in Renaissance drama. Cambridge: Cambridge University Press, 1997.

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The six dilemmas of collaboration: Inter-organisational relationships as drama. Chichester: Wiley, 2003.

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Salter, Brent. Copyright, collaboration and the future of dramatic authorship. Strawberry Hills, N.S.W: Currency House, 2009.

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Copyright, collaboration and the future of dramatic authorship. Strawberry Hills, N.S.W: Currency House, 2009.

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Joint enterprises: Collaborative drama and the institutionalization of the English Renaissance theater. Amherst: University of Massachusetts Press, 2004.

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Theatre in pieces: Politics, poetics, and interdisciplinary collaboration : an anthology of play texts 1966 - 2010. London: Methuen Drama, 2011.

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Theatre as witness: Three testimonial plays from South Africa : in collaboration with and based on the lives of the original performers. London: Oberon Books, 2008.

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Rizk, Beatriz J. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.

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Enrique, Buenaventura, Buenaventura Enrique, and Vidal Jacqueline, eds. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.

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Rizk, Beatriz J. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.

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Book chapters on the topic "Drama collaboration"

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Farley-Hills, David. "John Fletcher and his Collaborations." In Jacobean Drama, 163–92. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19197-0_8.

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Lloyd, P. "Making a Drama out of a Process: How Television Represents Designing." In Collaborative Design, 269–78. London: Springer London, 2000. http://dx.doi.org/10.1007/978-1-4471-0779-8_26.

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Reynolds, Bryan, and Henry Turner. "Performative Transversations: Collaborations Through and Beyond Greene’s Friar Bacon and Friar Bungay." In Transversal Enterprises in the Drama of Shakespeare and his Contemporaries, 240–50. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230584570_10.

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Kloetzer, Laure, Jo Wells, Laura Seppänen, and Sarah Hean. "Mentoring in Practice: Rebuilding Dialogue with Mentees’ Stories." In Improving Interagency Collaboration, Innovation and Learning in Criminal Justice Systems, 165–92. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70661-6_7.

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AbstractThe voluntary and community sector (VCS) is a key player in the support of prisoners and ex-prisoners in the English and Welsh criminal justice system. Organisational learning and innovation is urgently required in this sector to adapt to the current political and economic environment. The chapter describes exploratory efforts to introduce participatory methods drawn from Change Laboratory Methods and Clinics of Activity within a local VCS organisation that would help (re)build dialogue between stakeholders with the aim of promoting organisational learning and innovation. The intervention comprised an ethnographic phase of observing the staff, interviews with 19 key stakeholders, and a final developmental workshop with the staff. The analysis of these data by the researcher (first author) provided insight into the experience of mentors working in the voluntary sector as well as providing a trigger for dialogue in a subsequent workshop that used these data to establish dialogue between staff. These served as dialogical artefacts, introducing micro-dramas in the form of selected user stories. These dialogical artefacts triggered diverse reactions and analyses by the various participants, highlighting different elements than those anticipated by the researcher. We discuss the different readings of our research data by the researcher and staff members, presenting these two contrasting perspectives, and the implications this has for workplace development methods.
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Sajnani, Nisha, Aileen Cho, Heidi Landis, Gary Raucher, and Nadya Trytan. "Collaborative discourse analysis on the use of drama therapy to treat depression in adults." In Arts Therapies in the Treatment of Depression, 87–101. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: International research in the arts therapies: Routledge, 2018. http://dx.doi.org/10.4324/9781315454412-6.

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Hassall, Linda. "Climate Literacy and Collaborative On-Line Landscapes: Engaging the Climate Conversation Through Drama Facilitation in Distance and e-Learning Environments." In Climate Change Management, 375–88. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70199-8_22.

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Dawson, S. W. "Note E: Collaboration." In Drama & the Dramatic, 92. Routledge, 2017. http://dx.doi.org/10.4324/9781315388700-12.

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Salmon, Phillida, and Hilary Claire. "Rachel’s second and third year Humanities (Drama) and English class." In Classroom Collaboration, 145–212. Routledge, 2020. http://dx.doi.org/10.4324/9781003003663-6.

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Redvall, Eva N. "Mainstream Trends and Masterpiece Traditions." In Transatlantic Television Drama, 131–46. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0009.

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The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” in the commissioning and production of Downton Abbey (2010–2015), and the way in which this “postheritage drama” marks a significant transatlantic encounter between different broadcasting cultures and storytelling traditions. Drawing on recent research on the special relationship between the United Kingdom and the United States in television drama, the analysis first details how this period drama became a collaboration between the commercial UK broadcaster ITV and the American PBS station WGBH and its Masterpiece series. The chapter then investigates how the long-form narrative with soap opera elements was designed to tap into the UK tradition of heritage drama, while drawing on the speed and storytelling style of US television series. The chapter closes with a discussion of Downton Abbey’s production story in relation to the series’ remarkable popularity in the United Kingdom, the United States, and beyond.
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Dossett, Kate. "Wrestling with Heroes." In Radical Black Theatre in the New Deal, 122–63. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654423.003.0004.

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This chapter and Chapters 4 and 5 consider how African Americans debated and dramatized the Black hero in Federal Theatre dramas. Chapter 3 focuses on the variant manuscripts of Theodore Browne’s John Henry drama, Natural Man. Written for and staged by the Seattle Negro Unit in 1937, it was significantly revised by the newly formed American Negro Theatre in Harlem in 1941. This chapter situates these manuscripts at the very center of a broader conversation about the problem of the hero that occupied Black writers in and beyond the Federal Theatre Project. In particular it compares the revisions made to Natural Man, with the stage adaptation of Richard Wright’s prize winning novel Native Son (1940). Running at St. James Theatre in Manhattan just as Natural Man opened in Harlem in spring 1941, the stage version was a collaboration between Wright, the white dramatist Paul Green, and the director-producer team of Orson Welles and John Houseman. While Wright had previously advocated for Green’s ‘Negro folk’ dramas when he worked on the Chicago Negro Unit, the two men came to have conflicting views about Wright’s hero, Bigger Thomas. Wright captured their troubled collaboration in a seven-page drama entitled “The Problem of the Hero.”
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Conference papers on the topic "Drama collaboration"

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Pirjo, Suvilehto. "“Puppetry and Opera Are Striking.” Students’ Experiences of Collaboration and Curiosity in Puppetry Opera as a Case Study." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.794.

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This paper will focus on the possibilities of puppetry and opera in early childhood education studies (ECE), and among children in day care in a class of twenty 4−5-year-olds. The research centres around 200 university students in the middle of a project on opera and puppetry in their ECE programme. Opera is about strong emotions (see Trevarthen 2012, 263), and puppetry is a vehicle to make feelings visible (Lintunen, 2009, Majaron 2012, 11, Scheel, 2012). Puppetry and opera can be used in collaboration, and they are combined in this ECE programme as a part of the university studies in drama and literary arts. A method called Pritney has been created to realize the project. The theoretical background consists of puppetry and literary arts. The paper will present some findings from cases in which puppetry and opera have been used experimentally with ECE students, and subsequently with kindergarten children. There is a need for collaborative encounters during the processes of puppetry and opera. Based on the observations and remarks of university students doing their puppetry and opera project, this paper considers the value of conveying puppetry and opera to a child audience as a stimulation for curiosity and emotions. All this reflection is followed by the examples of practice in ECE studies. Performing opera with puppets is beneficial. In summary, the artistic experiments created by puppetry and opera are valuable in transferring cultural heritage and creating aesthetic and pedagogical moments. There is also a short consideration of a project called “Rinnalla−Hand in Hand” (2018−2020) funded by Finnish ministry of education, in which the Pritney method is further developed (see also Suvilehto 2019).
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Celume, Macarena-Paz, and Franck Zenasni. "DRAMA GAMES PEDAGOGY AS AN INNOVATIVE PEDAGOGICAL METHOD FOR ENHANCING WELLBEING AND COLLABORATION SKILLS: A FRENCH STUDY WITH PRIMARY SCHOOL CHILDREN." In 10th annual International Conference of Education, Research and Innovation. IATED, 2017. http://dx.doi.org/10.21125/iceri.2017.0702.

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Chung, Wen-Liang, Wei-Yi Wu, Chung-Li Wu, De-Yuan Huang, Chi-Wen Huang, and Gwo-Dong Chen. "A Video Comic Drama Based Learning System for Collaborative Learning." In 2016 IEEE 16th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2016. http://dx.doi.org/10.1109/icalt.2016.12.

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Qiu, Yuming, Ping Ge, and Solomon C. Yim. "Risk-Based Resource Allocation for Collaborative System Design in Distributed Environment." In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-35478.

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Risk is becoming an important factor in facilitating the resource allocation in engineering design because of its essential role in evaluating functional reliability and mitigating system failures. In this work, we aim at expanding existing quantitative risk modeling methods to collaborative system designs regarding resource allocation in a distributed environment, where an overlapped risk item can affect multiple stakeholders, and correspondingly be examined by multiple evaluators simultaneously. Because of different perspectives and limited local information, various evaluators (responsible for same or different components of a system), though adopting the same risk definition and mathematical calculation, can still yield unsatisfying global results, such as inconsistent probability and/or confusing consequence evaluations, which can then cause potential barriers in achieving agreement or acceptable discrepancies among different evaluators involved in the collaborative system design. Built upon our existing work, a Risk-based Distributed Resource Allocation Methodology (R-DRAM) is developed to help system manager allocate limited resource to stakeholders, and further to components of the targeted system for the maximum global risk reduction. Besides probability and consequence, two additional risk properties, tolerance and hierarchy, are considered for comprehensive systematic risk design. Tolerance is introduced to indicate the effective risk reduction, and hierarchy is utilized to model the comprehensive risk hierarchy. Finally a theoretical framework based on cost-benefit measure is developed for resource allocation. A case study is demonstrated to show the implementation process. The preliminary investigation shows promise of the R-DRAM in facilitating risk-based resource allocation for collaborative system design using a systematic and quantifiable approach in distributed environment.
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Celume, Macarena-Paz, and Franck Zenasni. "THE DEVELOPMENT OF COGNITIVE EMPATHY AND COLLABORATIVE BEHAVIOUR THROUGH TRAINING IN DRAMA PEDAGOGY." In 12th International Conference on Education and New Learning Technologies. IATED, 2020. http://dx.doi.org/10.21125/edulearn.2020.1037.

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Sutton, Paul, and Max Allsup. "NETWORKED THEATRE: USING THE INTERNET AND DIGITAL TECHNOLOGY TO SHAPE GLOBAL ONLINE COLLABORATIVE LEARNING IN EDUCATIONAL DRAMA AND APPLIED THEATRE CONTEXTS." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.0324.

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