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Dissertations / Theses on the topic 'Drama theory'
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Warner, Kathleen Marie. "Historical theory, popular culture and television drama /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.
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Cheung, Man-hon Michael, and 張文瀚. "Toward a theory of Chinese comedy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31949393.
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Cheung, Man-hon Michael. "Toward a theory of Chinese comedy." [Hong Kong : University of Hong Kong], 1989. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12754493.
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Swart, Rufus. "Towards an integrated theory of actor training : conjunctio oppositorum and the importance of dual consciousness." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95983.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: The proliferation of Western actor training methods in the past century had mainly been derived from the groundbreaking research undertaken by Vladimir Nemirovich-Danchenko and Constantin Stanislavski at the Moscow Art Theatre, as well as their students Michael Chekhov, Vsevolod Meyerhold and Evgeny Vakhtangov. Poor translations of their original Russian texts have however meant that many of the principles they discovered were compromised due to misinterpretations. Yet, the ‘system’ of Stanislavski, a veritable repository of these theories, served as a template for acting teachers ranging from former American Group Theatre members such as Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner and Lee Strasberg, and the Polish director Jerzy Grotowski, to formulate their own distinctive techniques. The result has been a challenge to traditional notions of actors as impersonators to a more holistic view of actor-performers; versatile, multi-skilled artists willing to reveal themselves through sincere disclosures to an audience, as the theatre poet Antonin Artaud advocated they should. Although this interrogation of the essential nature of the 2,600 year old art of Thespis was necessary, there is a danger that its core tenets may have been marginalised in the process, a setback which might further delay the formulation of its own science. This research was undertaken to identify the core principles of the actor’s art that distinguish it from the other performing arts, as well as to determine how these might best be conveyed to student actors in a contemporary context. Employing the ‘system’ as a guide, in particular its ‘work on oneself’ process, which refers to an actor’s personal training, as opposed to ‘work on a role’, which relates to characterisation and performance, the theories of the abovementioned practitioners were examined and compared to Stanislavski’s to ascertain if they contributed to the further evolution of the art. Once an integrated theory of training emerged it was then tested in praxis, working with different groups of students during a three year period. This thesis documents the findings of both the literary research, based on an analysis of texts related to actor training, and those derived from ‘real-world’ applications of these theories in an Higher Education environment. A key aim of the study was thus to determine whether a ‘work on oneself’ form of training could be offered in the formal education sector, despite its psychological implications, and how this might be approached in a ‘healthy’ manner. A selection of audio-video recordings done during the empirical investigation accompanies the thesis in order to substantiate its theory.
AFRIKAANSE OPSOMMING: Die verspreiding van opleidingsmetodes vir Westerste akteurs in die afgelope eeu het hoofsaaklik ontstaan uit die baanbrekers-navorsing van Vladimir Nemirovich-Danchenko en Constantin Stanislavski aan die Moskou Kunsteater, sowel as dié van hul studente Michael Tsjechov, Vsevolod Meyerhold en Evgeny Vakhtangov. Swak vertalings van die oorspronklike Russiese tekste beteken egter dat van die beginsels wat hulle ontdek het weens misverstande gekompromiteer is. Tog het die 'stelsel' van Stanislavski, as neerslag van hierdie teorieë, as 'n templaat vir toneelspelopleiders gedien wat wissel van voormalige lede van die Amerikaanse Groep Teater soos Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner en Lee Strasberg, sowel as die Poolse regisseur Jerzy Grotowski, om hul eie kenmerkende tegnieke te formuleer. Die gevolg was 'n uitdaging van tradisionele sienswyses van akteurs as nabootsers tot 'n meer holistiese sienswyse van akteurs as veelsydige, multi-bekwame kunstenaars wat gewillig is om hulself opreg te onthul voor 'n gehoor, soos die teater-digter Antonin Artaud voorgestel het hul moet. Alhoewel hierdie bevraagtekening van die essensiele aard van die 2,600 jaar oue kuns van Thespis nodig was, is daar 'n gevaar dat sy kern-beginsels in die proses gemarginaliseer is, 'n terugslag wat die formulering van die kunsvorm se eie wetenskap verder mag vertraag. Hierdie navorsing is onderneem om hierdie kernbeginsels van die akteur se kuns te identifiseer wat dit van die ander uitvoerende kunste onderskei, asook om te bepaal hoe hulle die beste oorgedra kan word aan student-akteurs in 'n kontemporêre konteks. Deur die 'stelsel' as 'n gids aan te wend, in besonder die ‘werk aan jouself’ proses wat verwys na 'n akteur se persoonlike opleiding in teenstelling met ‘werk aan 'n rol’ wat verwys na karakterisering en performance, is die teorieë van die bogenoemde praktisyns ondersoek en vergelyk met Stanislavski s’n om te bepaal of hul bygedra het tot die kunsvorm se verdere ontwikkeling. Toe 'n geïntegreerde teorie van opleiding te voorskyn gekom het, is dit prakties getoets met verskeie groepe studente oor 'n tydperk van drie jaar. Hierdie tesis dokumenteer die bevindinge van beide die literêre navorsing, gebaseer op 'n ontleding van tekste wat verband hou met akteuropleiding, en die bevindinge wat uit die toepassing van die teorieë in 'n Hoër Onderwys omgewing gegroei het. 'n Belangrike doel van die studie was dus om te bepaal of 'werk aan jouself’ as opleiding in die formele onderwys sektor aangebied kan word, ten spyte van die sielkundige implikasies, en hoe dit dalk op 'n ‘gesonde’ wyse benader kan word. 'n Seleksie van klank-en-video opnames wat tydens die empiriese ondersoek gedoen is, word dus by die tesis ingesluit om sekere teorieë te ondersteun.
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Fraser, Jemima W. "Museums, drama, ritual and power : a theory of the museum experience." Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/4223.
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This thesis presents a new model of the museum visitor experience. My model analyses the dynamic interplay of visually powerful objects in authoritative institutions with the power of visitors to draw upon the knowledge, values and ideals of their own life experience and use the displays as a resource to make and take ownership of meaning. The model shows that the key factors affecting how people make meaning of displays are transaction, ritual, identity and power. I investigate the museum experience through the varied roles visitors adopt, as revealed in written comments made by visitors to my case study museum. I analyse these through a wide range of theory and through using drama as a metaphor for the visitor experience. The museum arranges the objects and spaces in a symbolic performance, leading visitors to engage in aesthetic and social rituals. Through the frames of their interpretive communities, visitors engage intellectually, emotionally and aesthetically in transactions with the objects which modify or reinforce their identities. Visitors' meaning-making is influenced, but not wholly determined, by how well the museum drama works for them. This depends largely not just on the quality of the museum but on how comfortable and familiar visitors are with museum rituals. At its best, the museum drama can engage visitors' emotions and imagination and enable them to experience intellectual, psychological, emotional and perhaps spiritual growth. At its worst, visitors' negative experiences alienate them not just from the museum but from trying such experiences again in the future. In my model, authority, power and the task of creating knowledge are shared between visitors and curators. If the museum embraces this epistemological shift, and recognises the complex transactions of ritua', drama and power, it could enable visitors to experience not just learning but growth, and greatly increase the educational and cultural value of museums.
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Alzoubi, Najah Ahmad Fayiz. "Bowen family systems theory and family disintegration in Tennessee Williams's drama." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37096.
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The thesis examines the American psychiatrist Murray Bowen’s major contribution to his profession, Bowen Family Systems Theory, as a literary-critical tool to interrogate the theme of family disintegration in Tennessee Williams’s early and middle plays written between 1945 and 1962. Both Williams and Bowen were writing in a specific intellectual and cultural context in terms of post-World War II attitudes towards the American family and its social function. Bowen theory understands family as an interrelated emotional system, in which a change in the functioning of one part of the system directly relates to changes in the whole system. I argue that we find a parallel to this in Williams’s plays: members of the family do not function separately, but within the context of the system that shapes their feelings, thoughts, and behaviour. The four chapters of the thesis pair eight of Williams’s major works using the eight interlocking concepts that form the basis of Bowen theory: chapter 1 examines differentiation of self and triangles in The Glass Menagerie (1945) and A Streetcar Named Desire (1947); in chapter 2, nuclear family emotional system and family projection process in Summer and Smoke (1948) and Period of Adjustment (1961); in chapter 3, multigenerational emotional process and sibling position in Cat on a Hot Tin Roof (1955) and Sweet Bird of Youth (1959); and, in chapter 4, emotional cutoff and societal emotional process in Suddenly Last Summer (1958) and The Night of the Iguana (1962). Not only does Bowen help to elucidate a central theme of Williams’s writing, but the psychodynamics of therapy are reflected in Williams’s dramatic accounts of the plight of the mid-twentieth century family. In the introduction I argue that Bowen theory is a useful tool for the analysis of modern American literature, developing the ways in which psychoanalytical theory has been used by literary critics to gain a broader understanding of the group context of family life in the postwar period. This will be demonstrated through the four chapters, while the conclusion considers what Bowen offers to literary studies more broadly, and what the limitations of his theory might be.
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Barboza, Katherine Ann. "TV Dads: A Grounded Theory Analysis of Viewer Perceptions of Fathers in Television Dramas." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6926.
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The present study aims to identify what viewer perceptions individuals have regarding fathers in television dramas. Framed through uses and gratifications theory and executed through the grounded theory method, 12 participants were interviewed. After analysis, findings revealed that although participants say that general perceptions of fathers on TV are negative, they have seen personally the diversity and variety of father portrayals in their favorite television dramas. Additionally, the realism of the TV dramas and characters influence the relatability to both the father figures and other characters in the show. This relatability, in turn, influences the likeability and loyalty to the TV drama. Such findings imply that negative portrayals are more often and more strongly remembered among television viewers. Likewise, because of the popularity in relatable characters, television networks and producers could have the chance to increase their viewership by including a variety of identifiable characters, especially fathers, within their TV dramas. Four major perceptions emerged from the data and inform the significance of this study. These four perceptions were that fathers in TV dramas were perceived more positively than TV sitcom fathers, fathers in TV dramas are perceived as the "flawed hero," fathers in TV dramas are perceived as a prompt for discussion, and lastly, fathers from TV dramas are perceived as someone who is worthy of emulation.
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Finneran, Michael J. "Critical myths in drama as education." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1987/.
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Drama as education is a relatively young concern, which has been primarily occupied with developing a strong tradition of practice. As a result it has suffered from a dearth of theoretical and critical engagement. This situation has led to the existence of a range of unquestioned beliefs and practices that underpin much of the governance, traditions, knowledge and operation of drama in educational settings. The thesis examines the existence and location of the community of drama as education, reviews the discourse of the community, and seeks to understand previous attempts at demythologising. This thesis proposes a critical understanding of the idea of myth in order that it can be used in a positive and beneficial manner. Utilising a post-modern critical research methodology, it constructs a bricolage of theoretical perspectives that collectively are used to locate, identify and interrogate areas of myth. A new typography of myth reveals four dominant areas of operation, and examines the manner in which myths impact upon the educational and cultural institutions in which they occur. The forces that conceive of, operate and perpetuate myth are understood to be language, power and ideology. These elements operate in conjunction with each other, with human agency at the helm. The thesis is in nine chapters. Chapter 1 sets the scene and introduces the range of the research. It is followed by Chapter 2 which seeks to put in place a range of theoretical perspectives upon which the methodology is constructed. Chapter 3 provides further theoretical insight into the location of the research, and Chapter 4 constructs a critical mythic bricolage, defines its usage, and proposes a contemporary typology of myth. Chapter 5 identifies the ‘Point of Entry Text’ – the primary school drama curriculum in the Republic of Ireland, and deals with the category of governing myths. Chapter 6 is concerned with traditional myths, Chapter 7 examines epistemological myths, and Chapter 8 teases out operational myths. Finally, Chapter 9 looks to the future of myth after demythologising, and seeks to begin engaging with the inevitable process of remythologising.
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Huismans, Anja. ""A just and lively image" - performance in Neo-classic theatre criticism and theory." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1756.
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Adiseshiah, Sian Helen. "Theory, politics and cultural practice in the plays of Caryl Churchill." Thesis, Online version, 2003. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.274420.
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Amoiropolulos, Konstantinos. "Balancing gaps : an investigation of Edward Bond's theory and practice for drama." Thesis, Birmingham City University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.631671.
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This thesis presents a case study of the process involved in the staging of a Theatre in Education programme for students in secondary education, focusing on the production by Theatre in Education Company Big Brum of the play A Window, written by Edward Bond especially for the company. The main aim of the study is to clarify and illustrate the theory and practice of Edward Bond through the practice of Big Brum, in order to analyse how the working model might be developed in Drama in Education. Edward Bond is a playwright deeply concerned with finding ways to engage his audiences imaginatively, so that they can seek reason, claiming drama and imagination to have the same basis: they both address questions and provoke change, and inform values and judgments. In fact the playwright argues that drama structures can accommodate the essential need of children to ask questions and challenge culture. The theory of Edward Bond is examined and illustrated through the practice of the TIE Company Big Brum, which identifies its work in the same terms. The critical framework for examining the company’s practice is set by the theoretical arguments of the playwright as they are presented in nine basic elements of Bondian drama, defined in the process of literature review and during the field work. These elements are the Site, Story, Drama Event, Invisible Object, Cathexis, Enactment, Accident Time, Extreme and Centre. The findings of this research suggest that all these elements could be said to constitute the heart of Bond’s approach, but only if seen in light of a paradigm of questioning and of ‘imagination seeking reason’.
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Paul, Joseph Gavin. "The imprints of performance : editorial mediations of Shakespeare's drama." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2853.
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The Imprints of Performance is motivated by a longstanding interest in the fundamental
interpretive challenges that face readers of printed plays. Reading a playtext is a means of
dramatic realization that is absolutely unlike live performance, and it is not without good
reason that theoretical formulations of page and stage tend to stress the incompatibility of the two modes. Without denying that printed plays distort and fragment performance practice, my dissertation negotiates an intractable debate by shifting attention to points of intersection in the rich printed and performance histories of Shakespeare's plays. I detail how editors of Shakespeare encode for information that could otherwise only be communicated in performance, how, via ancillaries such as critical introductions, emended stage directions, and performance commentary, editors facilitate a reader's ability to imagine performances.
Central to my engagements with the informational structures of the edited page is the term performancescape, a textual representation of performance potential that gives relative shape and stability to what is dynamic and multifarious. I deploy performancescape in relation to editions ranging from the earliest extant quartos and folios to digital editions powered by hypertext. In analyzing formative editions from Shakespeare's long textual history, I highlight instances where the malleability of the printed page renders awareness of performance an integral, and in some ways unavoidable, condition of the reading experience.
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Wikström, Hannah. "Reading Drama in the EFL Classroom : An Analysis of the Potentials in Using Drama in the Swedish EFL Classroom." Thesis, Högskolan för lärande och kommunikation, Jönköping University, HLK, Ämnesforskning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49983.
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This study aims to examine the potential of reading dramatic scripts in the Swedish EFL classroom, using the play Top Girls by Carol Churchill as an example. In particular, it focuses on how literary theory and different aspects of feminism can be taught through the use of the play. The study is conducted through a textual analysis of the play’s main characters and the Swedish National Syllabus. The results show that there is a great potential in working with dramatic literature in the EFL classrooms. Using drama is effective in the way it covers several aspects of the core content of English in upper secondary school, and may be used to develop language skills, cultural understanding and critical thinking. The play contains complex ideas about different types of feminism, and the two main characters Joyce and Marlene represent two ways of striving for equality between men and women. These ideas are, in other words, represented by and embodied in the two main characters, which could make the ideas easier for students to understand.
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Grainger, Clemson Hannah. "The social drama of a learning experience : how is drama appropriated as a pedagogical toolkit in secondary classrooms?" Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:0d142ed9-9fe3-4185-86bc-05fc01d22582.
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The thesis presents a qualitative study which examines teachers’ and pupils’ experiences of drama tasks in secondary school subject lessons other than Drama, where the tasks are incorporated in pursuit of curriculum-defined teaching and learning goals. I take a cultural-historical perspective in my analysis, interrogating the possibilities for meaningful appropriations of drama as a pedagogical toolkit by examining social interaction and communication within the cultural context of the classroom and how these practices may have developed over time. Set in four secondary school classrooms in the UK, the study focused on the experiences of teachers, (who are not trained drama specialists), and their pupils as they undertook drama tasks as part of curriculum lessons. I carried out a series of lesson observations, supplemented by interviews with participants. Using Cultural Historical Activity Theory (Cole 1996, Engeström 1987, Engeström 1999) as a heuristic tool, I created an analytical framework that explored the tensions between communicative tools, rules of the classroom space, and teacher-pupil and peer relations. This theoretical stance appreciates both the dynamic nature of classrooms and the possibilities for pedagogies of choice. The emphasis on tool-mediated action offers a fresh perspective in that it creates a structured and detailed framework for exploring the subtle and complex process of empathetic thought. This study reveals some of the ways in which tensions occur and existing and historically-embedded cultural practices are brought to the surface, and reinforced or challenged. I provide extracts from the data to illustrate a concern for an assessment-driven acquisition of curriculum content is a particular constraint, along with varying opportunities for both teacher and pupils to construct a framework for spontaneous in-role action within the dramatic form. The appropriation of communicative tools, although influential in achieving goals, does not always preclude emotional investment in the tasks. Although there are shifts from teacher authority to increased pupil decision-making, the way in which the teacher and pupils operate in these drama tasks reveals as much about the established and reinforced learning and social practices of the classroom, as the way these practices are changed. The research considers how drama as a pedagogical toolkit has developed historically, and it reveals implications for future study and practice relating to the understanding of drama-as-toolkit within formal educational settings.
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Acheson, James. "Samuel Beckett's early fiction and drama: A study of artistic theory and practice." Thesis, University of Canterbury. English, 1988. http://hdl.handle.net/10092/4761.
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Though Beckett is best known for Waiting for Godot, his first
published work was not a play but a critical essay. That essay,
"Dante • • • Bruno • Vico • • Joyce" (1929), a defence of Joyce's
"Work in Progress," was the first of a number of occasional essays
and reviews he was to write over the next quarter century. Beckett's
main ambition during this period was to establish himself as a
creative writer; he did not set out to develop a literary aesthetic.
Nevertheless, there emerges from these occasional pieces a consistent
theory about the relationship between art and the limits of human
knowledge, a theory he puts into practice in his early fiction and
drama.
What Beckett argues in the essays, in essence, is that absolute
knowledge lies beyond human reach, and that art must reflect this.
If the human artist were possessed of the omniscience and omnipotence
of God, he would be able not only to mirror in art the infinite
complexity of the world at large, but to devise a succession of works
independent of anything previously created. It is because the
artist's knowledge and power are limited that he is able only to hint
at the world's complexity in works that derive, inevitably, from
earlier art.
Thus, in his first (as yet unpublished) novel, "Dream of Fair to
Middling Women," Beckett uses Chaucer's The Legend of Good Women,
Tennyson's "A Dream of Fair Women," and Henry Williamson's The Dream
of Fair Women: a Tale of Youth After the Great war as points of
departure for the creation of an original novel concerned with the
impossibility of making sense of the complexity of life. Similarly,
in the novel that follows it, More Pricks Than Kicks. he draws on the
comic epic form pioneered by Fielding to present us with a modern
innovation: a comic epic of relativism designed to demonstrate that
absolute knowledge is unattainable. Subsequently, in Murphy, Hatt,
the Nouvelles and Mercier and Camier, Beckett makes it clear that
there can be no definitive answers to either metaphysical or
epistemological questions; while in his trilogy of novels, Molloy,
Malone Dies and The Unnamable, he demonstrates that it is impossible
to know anything with absolute certainty about the human mind.
Between Malone Dies and The Unnamable, Beckett wrote his first
major play, Waiting for Godot, which focuses, like the novels that
precede and the stage plays that follow it, on the relationship
between art and the limits of human knowledge. As we read the novels
in the order in which Beckett wrote them, we become aware of his
increasing sophistication in respect of artistic form. This is also
the case when we read the plays, and what is especially interesting
about them is his experimentation with what can be done not only on
stage, but on radio, television and film, to demonstrate the
implications of the fact that human knowledge is limited.
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White, Graham. "The drama of everyday life : situationist theory in the theatre of counter-culture." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307297.
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Valente, Lucília Maria Oliveira Rodrigues. "Therapeutique drama and psychological health: An examination of theory and practice in dramatherapy." Doctoral thesis, University of Wales College of Cardiff, 1991. http://hdl.handle.net/10400.12/1681.
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Tese de Doutoramento apresentada à University of Wales College of CardiffThe Study investigated the role that dramatic processes can play in the development of psychological health, focusing specifically upon dramatherapy, the medium which intentionally employs drama for psychotherapeutic and personal developmental ends. In the first stage of the investigation an extensive survey of the literature vas carried out to formalise present thinking on dramatherapy, on its historical origins, and on its links respectively with drama, psychological theory and practice, psychotherapeutic techniques, and children's play. The next stage involved semi-structured interviews with a panel of dramatherapy experts to ascertain their views on the current theory and practice of dramatherapy in the UK. After transcription, the interviews yielded an extensive Item Bank of statements which, after suhmission to the panel of experts for approval and comment, was allowed to yield a questionnaire designed to establish the relative values which dramatherapists attach to the theoretical and practical issues defined by the panel of experts. With the support of the British Association for Dramatherapists, this questionnaire was then circulated to all its full and associate members, and also to students following the five U.K. courses of professional dramatherapy training. An overall response rate of 5 6 per cent was obtained from the full and associate members, with a rate of 86 per cent from those actively engaged in dramatherapy practice. The resulting data were then analyzed to identify mean levels of importance, frequency of use etc, attached by respondents to the variables concerned. The result was the first comprehensive survey of current dramatherapy theory and practice as recognized and applied by dramatherapists in the UK. The survey reveals for example the major importance of psychodynamic and client-centred theories and practices in underpinning and informing dramatherapy, and also sheds light on client variables, assessment, therapeutic methodology and process, the role and qualities of the dramatherapist, and the relationship between dramatherapy and other important variables. The se result s and many others relating to dramatherapy theory and practice are discussed fully, and the current condition of dramatherapy and of its links with psychology and with special needs children are examined. Finally, a range of suggestions is made both for the further development of dramatherapy and for future research.
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Li, Siu-leung. "Toward a theory of dramatic adaptation : with special reference to Shakespearean and Ming Qing adaptations /." [Hong Kong : University of Hong Kong], 1986. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12324322.
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Wang, Hsiao-Ting. "Introducing drama education in Taiwan : a case study in professional development." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/90067/.
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Researchers of drama education and literacy learning in Taiwan or the majority of western countries have suggested that the application of drama strategies in literacy teaching has a significant effect on students’ capacities for literacy learning. However, most research in Taiwan has been focused on the results and effects on the learner and not the teachers’ thoughts, problems, concerns and behaviours and there is an absence of research in Taiwan dealing with the problems and difficulties of implementation that the teacher who is new to using drama might face. Hence, one important consideration in this research is to investigate what kinds of factors or difficulties might impede or assist the motivation of teachers who are willing to bring new ideas and new materials, specifically the application of drama and picture books, to their literacy teaching. Another aim of this research, therefore, is to investigate the various dynamics and difficulties that might affect the success or otherwise of in-service education in drama for elementary teachers. This research explores five situations of experienced teachers Grade 3 teachers in four elementary schools in Taiwan while applying drama strategies and picture books in their literacy teaching. The data collection procedure was divided into two phases: the first phase of three interviews with the teachers I worked with and classroom observations made while they applied three teaching schemes in their classes; the second phase moving from the classroom level to the school level, and interviews with not only the teachers but also section administrators of the curriculum in each case school. The results of this study show that fear of the new application already had a negative effect which could reduce teachers’ commitments and motivation for change; especially when they were overloaded with their existing duties. In addition, the new application also indicated that there is a need to ensure that short courses are integrated within an overall framework for in-service development in drama education if there are to be positive outcomes of in-service work. Moreover, in this study, the school culture also affected the teachers’ practice and further professional development in these schools. In conclusion, although the results of this study cannot be generalised for the greater population of the elementary school teaching in Taiwan, it has provided valuable insights that might shape future professional development in this area. Ideally, this study will enable me to help develop effective, additional innovative programmes in Taiwan and provide other researchers with a framework for carrying out further research intended to improve the standard of teachers’ professional development.
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LAW, Yuen Fun Muriel. "Drama as method : recontextualizing project learning for HK secondary schools." Digital Commons @ Lingnan University, 2012. https://commons.ln.edu.hk/cs_etd/16.
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This doctoral study is grounded in the work of cultural studies and its concern for pedagogy and education. The study investigated a local pedagogical issue— Independent Enquiry Study (IES)—a specific form of social inquiry in the core subject Liberal Studies (LS) in Hong Kong senior secondary schools. It took a designated IES classroom as the point of intervention and as the basis for exploring transformed pedagogical practices in Hong Kong secondary school education. My vantage point of the intervention rested on participant-observation through action research and critical contextual analysis of the action-research site and its relations to the wider social contexts. With a conceptual-analytical framework of drama and the performative, developed from William’ notion of drama and Schechner’s notion of make-belief and make-believe performances, this study examined how the method of drama could mediate a group of senior secondary students’ extended process of inquiry into social issues in contemporary Hong Kong society.
Findings reveal that IES in Hong Kong senior secondary schools is almost already performative in nature and IES students were almost already performers eager to present themselves to their teacher-assessors as knowledge builders capable of reflective thinking. In fact, these students subscribed to the positivistic and cynical practices of reproducing existing curricular (and media) discourses and applying them to understanding the social. In performing seeming acts of inquiry, these IES students would re-enact the prescribed curricular (and media) discourses of understanding and reproducing the existing social order.
Research findings indicate that drama can be a method of work that supports student inquirers socially as a group. Liminal dramatic spaces and the use of dramatic role and real-life image afforded the participant-students the opportunity to create, experience, and interpret an imaginary world, promoting social inquiry. The spaces helped give shape to students’ diverse roles including those of IES co-informant, member of society, and peer IES learner-assessor. By activating these roles, students momentarily suspended self-other relations and the mechanically induced perceptions of social realities typified by conventional IES method. Drama also functions as a lens. It reflects how the method of IES typifies students’ roles as performers and sustains their dependence on templates of work and on the teachers’ assessment guides. Research findings further show that the performative make-belief schooling practices encompassed the everyday school life of the participating students and their teachers, and indeed subsumed and contained the effects of my dramatic interventions within the action-research context. The IES students at this specific research site were subjected to a process of cynical subject formation. When it comes to social inquiry, these students’ cynical IES practices, including cynical IES reasoning, is partly the result of the teachers’ instructional needs. Hence, dramatic and academic interventions in IES processes will be ineffective if wider school and social contextual elements are not reworked. The study calls for collective efforts from academics and scholars to intervene in all levels of educational practices, with the aim of remaking the vast contextual sweep of teaching and learning in Hong Kong as a way out of these cynical and positivistic inquiry-learning practices.
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Ferreira, de Mendonça Guilherme Abel. "Acting theory as poetic of drama : a study of the emergence of the concept of 'motivated action' in playwriting theory." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7331.
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Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and techniques centred on Stanislavsky’s ideas rely heavily on rehearsal methods that carefully establish the sequence of actions of the characters in a play as a result of psychological motivations. This method was described by Stanislavsky in An Actor’s Work on a Role, published in 1938, and is known as the Method of Physical Actions. This thesis reassesses the definition of playwriting as consisting essentially in the creation of a plot populated by suitable characters. Rather than discussing playwriting theory in isolation it attempts a bridge between acting theory and playwriting theory by using the Method of Physical Actions as an equivalent to plot. Acting theory is thus considered as a theoretical justification for the centrality of plot. The method used is hermeneutic — a systematic interpretation of poetics, unveiling in almost an archaeological manner the relevance of the essential definitions of drama, such as character, source, genre, and language to the concept of plot. The chronological path of development of dramatic theories is shown to be gradual: from the strict obedience to the narrative line imposed by the mythic sources, in classical treatises; through to an interest in the lyrical expression of the predicament of specific characters, in neoclassical theory; to an awareness of specific social types in the eighteenth century; and, finally, to the conception of the plot as a product of the mental life of individual characters in modern theory.
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Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.
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Baird, Rachel A. "String Theory." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1273803256.
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Martinsson, Malin. "I ett hörn av ett hörn i en annan del av Köping : En diskursiv studie av tidskriften DramaForum." Thesis, Högskolan i Gävle, Avdelningen för utbildningsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22142.
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In this essay, I examine whether the journal Drama Forum constitutes presupposed perceptions of people with intellectual disabilities. The aim is to examine the discourse of intellectual disability in the Swedish drama teacher’s industry magazine DramaForum. The method I use is discourse analysis and the approach is poststructuralist. The results are analyzed on the basis of Crip Theory, and three themes based on stereotypical assumptions. My conclusion is that Drama Forum visualize intellectual disabilities mostly from one of these themes. I analyze the parent discourse relation to underlying discourses and discuss its relationship to the social practice that is its origin.I denna uppsats undersöker jag om tidskriften DramaForum konstituerar förgivet tagna uppfattningar av personer med intellektuell funktionsnedsättning. Syftet är att granska diskursen kring intellektuell funktionsnedsättning i de svenska dramapedagogernas branschtidskrift DramaForum. Den metod jag använder mig av är diskursanalys och ansatsen är poststrukturalistisk. Resultatet är analyserat med utgångspunkt i Crip Theory, och tre teman som bygger på stereotypa antaganden. Min slutsats är att DramaForum framställer intellektuell funktionsnedsättning till största del utifrån ett av dessa teman. Jag analyserarar den överordnade diskursens förhållande till underliggande diskurser samt diskuterar dess relation till den sociala praktik som är dess ursprung.
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Vladimirou, Irene E. "The civic emotions and participatory drama : children's perspectives on compassion, empathy and justice." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/69309/.
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This research project primarily focuses on the civic emotions and their relation with educational drama. Emotion and Reason are not always at odds and when combined contribute in the upgrade of our awareness of the world and the intelligence of our decision making processes. Emotions that are beneficial towards others and seem to cherish social solidarity are considered virtues, which are ‘other’-oriented. The practice of such virtues in social life can be regarded as a precious characteristic of a vigorous civic identity. Civic emotions are inextricable from the concept of citizenship, when seen as a bond that unites all citizens in their common space and fate. This thesis explores specifically the fundamental ‘other-regarding’ emotion of compassion, as a natural inclination of human kind which needs to be educated to be expressed appositively. Empathy can be strongly connected to the expression of compassion and becomes the way in which participatory drama works towards the direction of the cultivation of the civic emotions. Justice is viewed as the core essence of every healthy society and should become an irreplaceable trait of each citizen. It is closely related to compassion as the power that triggers the relevant thoughts and motivates kindness in public life. This research venture investigates how educational drama may provide opportunities for the cultivation of the civic emotions but also for the way children perceive the notions of civic emotions as they emerge in the space of educational drama or in real life. My ethnographic study involved a series of drama workshops in a class of students. The data gathered in this case study illustrate the way children face the issue of compassion, portraying the elements that encourage the expression of kind behaviour and also the factors that inhibit the practice of acts of care.
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Record, Rachael A. "CULTIVATING MIRACLE PERCEPTIONS: CULTIVATION THEORY AND MEDICAL DRAMAS." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_theses/148.
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This thesis reports the results of a study designed to investigate the influence of exposure to televised medical dramas on perceptions of medical miracles. Four hundred and eighty-one college students participated in a survey in which they responded to different questions about their medical drama viewership and their different beliefs with regard to medical miracles. Results found that heavy medical drama viewers perceived belief in medical miracles to be less normal than non-viewers. Similarly, heavy viewers perceived medical miracles to occur less often than non-viewers. Interestingly, heavy viewers perceived medical dramas to be less credible than non-viewers. In addition, this study found that personal experience with medical miracles affected responses across all three measured viewership levels. The study concludes that, when compared to no exposure to medical dramas, heavy exposure has the potential for creating a more realistic view of medical miracles. Future research should continue to study genre-specific cultivation effects with regard to health perceptions.
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Pfeiffer, Kerstin. "Passionate encounters : emotion in early English Biblical drama." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3575.
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This thesis seeks to investigate the ways in which late medieval English drama produces and theorises emotions, in order to engage with the complex nexus of ideas about the links between sensation, emotion, and cognition in contemporary philosophical and theologial thought. It contributes to broader considerations of the cultural work that religious drama performed in fifteenth- and early sixteenth-century England in the context of the ongoing debates concerning its theological and social relevance. Drawing on recent research in the cognitive sciences and the history of emotion, this thesis conceives of dramatic performances as passionate encounters between actors and audiences – encounters which do not only re-create biblical history as a sensual reality, but in which emotion becomes attached to signs and bodies through theatrical means. It suggests that the attention paid to the processes through which audiences become emotionally invested in a play challenges assumptions about biblical drama of the English towns as a negligible contribution to philosophical and theological thinking in the vernacular. The analysis is conducted against the background of medieval and modern conceptions of emotions as ethically and morally relevant phenomena at the intersection between body and reason, which is outlined in chapter one. Each of the four main chapters presents a detailed examination of a series of pageants or plays drawn mainly from the Chester and York cycles and the Towneley and N-Town collections. These are supplemented, on occasion, with analysis of individual plays from fragmentary cycles and collections. The examinations undertaken are placed against the devotional and intellectual backdrop of late medieval England, in order to demonstrate how dramatic performances of biblical subject matter engage with some of the central issues in the wider debate about the human body, soul, and intellect. The second chapter focuses on the creation of living images on the stage, and specifically on didactically relevant stage images, in the Towneley Processus Prophetarum, the Chester Moses and the Law, and the N-Town Moses. The third chapter shifts the focus to the performance of the Passion in the N-Town second Passion play and the York Crucifixio Christi, concentrating on the potential effects of the perception of physical violence on audience response. The subject of chapter four is the emotional behaviours and expressions accorded to the Virgin Mary in the Towneley and N-Town Crucifixion scenes, and those of her precursors, the mothers of the innocents, in the Digby and Coventry plays of the Massacre of the Inncocents. In chapter five, the analysis finally turns to dramatisations of the Resurrection, examining its realisation on stage in the Chester Skinners’ play, as well as staged responses to the event by the apostles and the Marys in the N-Town The Announcement to the Three Marys; Peter and John at the Sepulchre and the Towneley Thomas of India. These four central chapters pave the way for a summary, in the conclusion, of the central problematic underpinning this thesis: how the evocation of emotion in an audience is linked to embodiment in theatrical performance, and tied to a certain awareness, on the part of playwrights, of the popular biblical drama’s potential as a locus of philosophical-theological debate.
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Schwartzman, Beth. "Rereading festive drama : an investigation of theory, theme and politics in five late Elizabethan plays." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416216.
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Pinkney, Michael L. "African-American dramatic theory as subject of cultural studies : an historical overview and analysis /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109869644.
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Weiss, Katherine. "Exploding Bombs: Masculinity and War Trauma in Sam Shepard’s Drama." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2298.
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This paper examines violence and masculinity in Sam Shepard's work as a symptom of war trauma, apparent in his characterization of several of his male characters as war veterans and the violent language accompanying his other characters. War becomes a cultural disease infesting and destroying the family on Shepard's stage.
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Eldridge, Elizabeth Jane. "An analysis of the inter-relationship between the theatricalist drama of Jean Anouilh and dramaturgical theory." Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357169.
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Muirhead, Rachael. "Johann von Rist (1607-77) and the theory and performance of drama in seventeenth century Germany." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11227/.
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Receiving Rist’s theatre – a literary-historical challenge A claim in Die AllerEdelste Belustigung Kunsst- und Tugenliebender Gemüther (1666) indicates that Rist may have composed as many as 30 dramas. There are now only five dramatic works attributed to him: Irenaromachia (1630), Perseus (1634), Das Friedewünschende Teutschland (1647), Das Friedejauchtzende Teutschland (1653), Depositio Cornuti Typographici. The best estimate claims that only a further two had been published, a Herodes and a Wallenstein. The others have since been lost, perhaps even destroyed during Rist’s lifetime as his home was sacked twice by invading troops. Of the five that remain, Irenaromachia does not bear Rist’s name, while the Depositio differs greatly in conception and execution from the others and may not have numbered among the 30 claimed theatrical compostions. Thus the surviving dramas do not constitute a more or less unified body of works challenges German literary studies to engage with these discontinuities – a task which it consistently avoids. The problematic nature of the surviving corpus is compounded by the fact that this was only a fraction of what was produced, a situation which invites an (albeit speculative) attempt to contextualise the surviving dramas in a wider sphere of literary-theatrical activity. This leads to the next difficulty, considering that the composition of dramas, even when these number 30 rather than four or five, was just one area of Rist’s prolific activity as a writer. This presents the problem of how to relate Rist’s dramas to his other writings and activities. This task is itself complicated by the tendency to focus on Rist’s verse compositions, which in the twentieth century emphasised his secular compositions. The current focus of much of Rist scholarship lies in his religious songs, from a theological, hymnological,and musicological perspective. He has also maintained a presence in the lay imagination, as several of his songs have been included in Protestant hymnbooks since the 18th century. Scholarship is now, however, turning its attention again to Rist as a dramatist and this thesis is part of this renewed attention. It is difficult to know what to do with Rist’s dramas. The problems they present are considerable, but this thesis will show that Rist’s dramas exist in the context of a concept of dramaturgy and a theory of acting that is much more sophisticated than has often been thought and that goes beyond the narrowly poetic into performance practice.
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Charalambous, Chryso. "Drama/theatre education for democracy : the role of aesthetic communities." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57066/.
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This research project focuses on the body and examines drama/theatre education as a site where politics and aesthetics can be brought together to promote democracy. Specifically, I explore the possibility of forming a way of doing within drama/theatre educational contexts that might influence a way of coming to understand - and potentially in its turn - a way of being. I am especially concerned with democracy as a living practice and I investigate whether students, through an aesthetic communicative nexus that they are encouraged to form within the drama class, and through their artistic actions within that nexus, can explore the possibilities of being ‘political bodies’, meaning the extent to which this allows democratic possibilities to flourish. I see democracy as conditioned by aesthetics and I focus on the power of the aesthetic to distance us from our ordinariness and everydayness and qualify us with a sensibility with which to reflect and think on our ideas and actions. I seek to promote the idea of a democratic culture and the formation of the democratic self that can create and sustain a culture of democracy. In terms of methodology, this project follows action research and an artsinfused methodology. Four groups participated in this research project. The analysis of the data collected from the fieldwork provides information to illustrate the beginnings of a pedagogy that aims to put these ideas into practice.
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Clark, Shanoiya S. "Framing Female Leadership in a Television Drama." UNF Digital Commons, 2019. https://digitalcommons.unf.edu/etd/868.
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Stereotypes play a vital role in the perception of gender roles in American society. This concept is illustrated through low representation of female leadership in the U.S. Women are overrepresented in roles that are communal, which causes backlash when they display agentic traits (Arnold & Loughlin, 2019). Olivia Pope, the main character in the television series Scandal, was a leader who displayed an agentic leadership style and was revered for doing so. Agentic leadership traits are competitiveness, independence, and assertiveness (Arnold & Loughlin, 2019). This study analyzes how Olivia Pope was framed and the potential impact of those frames. Using frame analysis, Olivia Pope’s character in each episode of the television series Scandalwas analyzed. The analysis revealed that Olivia Pope’s character was framed using themes such as power, reverence, fixer, conflicted, sexualized and dysfunctional family dynamics. The framing of a character as rare as Olivia Pope is significant. Though Olivia Pope’s character is based on the life of an African-American woman who owned her own crisis management firm, many viewers would have never known this type of woman existed without the development of this show. Oliva Pope is a complicated character whose role in American television is progressive and has the power to expand its viewers’ perception of leadership.
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Quash, Jonathan Ben. "A critique of Hans Urs von Balthasar's theological dramatic theory : with special reference to the thought of Hegel." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272693.
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Sensarma, Suman Ranjan. "Modeling and Analysis of the Process of Resolving Regional Conflicts under Disaster and Development Risks: Case Studies from Japan and India." 京都大学 (Kyoto University), 2007. http://hdl.handle.net/2433/49137.
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学位授与大学：京都大学 ; 取得学位: 博士(工学) ; 学位授与年月日: 2007-09-25 ; 学位の種類: 新制・課程博士 ; 学位記番号: 工博第2847号 ; 請求記号: 新制/工/1419 ; 整理番号: 25532Kyoto University (京都大学)
0048
新制・課程博士
博士(工学)
甲第13376号
工博第2847号
新制||工||1419(附属図書館)
25532
UT51-2007-Q777
京都大学大学院工学研究科都市社会工学専攻
(主査)教授 岡田 憲夫, 教授 小林 潔司, 教授 多々納 裕一
学位規則第4条第1項該当
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Myers, Katie. "Affect, Abuse, Transgression: Orienting Ambiguity in Early Modern Texts." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20691.
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This dissertation seeks to articulate how early modern texts formalize their affective qualities in instances of ambiguity. Positioned within the recent turn away from humoral theories of the passions and toward the rhetorical underpinnings of affect in early modern criticism, my project offers an interpretive strategy that privileges the perspective of the text by attending to the vulnerabilities of first-person perspectives in ambiguous rhetorical structures and figures. I argue that these forms signal more than sites of critical debate encoded in the text, as Shoshanna Feldman has suggested; they also privilege textual perspective and reveal affect to be a feature of form. I argue that textual ambivalence may be approached through the logic of catachresis in order to examine how these instances may be read in ways that maintain the strangeness of their didactic and disruptive capability. Reorienting how one approaches ambiguity, I suggest, exposes the potential of often ignored textual elements and suggests that early modern literature models an interpretive agenda dependent upon vulnerable perspectives.
Reconceiving the interpretive strategies solicited by each text, I argue that early modern literature embraces the benefits of individual and collective vulnerability. I examine how Marlowe’s Edward II disrupts the binary structure of the king’s two bodies in order to turn an accusation of weakness against authority itself. I turn to Donne’s poetry and prose to argue that it models a hospitable interpretive method that uses form to manage ambiguity from the perspectives of his textual voices while orienting readers to welcome the strangeness of his contradictions. I then pursue an analysis of Shakespeare’s Henry IV, Part I that reorients Falstaff’s function in the play as its unlikely focal perspective, a position that stages a resistance to the play’s power structures. Finally, I briefly consider how my analysis bears on familial and rhetorical conventions in Shakespeare’s Tempest and Webster’s Duchess of Malfi.
Attending to the formal practices that construct literary affect, this project reconsiders the ways in which early modern English literature navigates the intersections of vulnerability that articulate a text’s orientation to the cultural networks in which it was produced.
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Mumma, Opiyo John. "In search of a Kenyan theatre: the theory and practice of educational drama and its potential for Kenya." Thesis, University of Manchester, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571357.
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This thesis is concerned with educational drama practices and the British form of Theatre in Education (TIE). The research has been undertaken with special regard to the potential of educational drama for Kenya and how the participatory nature of those practices offers new paradigms in education. Educational drama practices include forms such as dance, music, instrumentation, mime and story telling. The participatory research approach provided opportunities for these art forms into a public expression through the process of their performances. Section One is concerned with current theory and different practices in educational drama. It begins by tracing the wider theoretical issues and puts in perspective terms used in drama and theatre work within the educational spectrum. The areas of culture, education and contemporary theatre practices in Kenya are surveyed and the basis for their existence is established. within the main chronological thrust the study develops along generic lines: the state of educational drama in Kenya is explored; Oral Literature as a major intervention in performance forms is discussed and the Drama Festival as a major cultural and educational occurance over the past forty years is given as a prime example. TIE theory and practice has had a seminal influence on theatre writing and performances in Kenya. This part of the thesis evaluates the nature and function of TIE and provides case studies of TIE programmes that examine concepts, techniques, and TIE critical methodology. It is suggested that TIE strategies and dramatic devices have parallels with the story telling tradition which is viewed as a participatory and performance mode. At the end of this section it is pointed out that the relevance of these dramatic devices are manifested as elements of educational drama. section Two focuses on performances observed which illustrate how Drama functions as a mode of Creative learning and as an instrument for social change. Case studies of programmes devised to develop language skills, create social awareness, and change attitudes are provided. They point to the need for a more creative approach to education and make apparent in the programmes the impact of a synthesis of education and the creative arts. The Drama Festival Performances are illustrations of emerging forms of writing, performance techniques, audience developments and a cul,tural intervention within the educational establishment that locates the cutting edge for the future prospect of Kenyan Theatre.
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Coston, Micah Keith. "The dramatic role of astronomy in early modern drama." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:09da8bf1-cf3e-4df6-816b-be7fb13f1753.
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By examining five types of astronomical and celestial phenomenaâcomets, constellations, the zodiac, planets, and the music of the spheresâthis thesis posits not only that early modern dramatists were influenced by established and emerging natural philosophy as habits of thought that manifested in their writing, but also that astronomical phenomena operate within the drama, performance, and in the theatre as elements for creating and developing a distinctly spatial dramaturgy. Using theories from the spatial turn, this thesis maps the positions, edges, disturbances, and motions of celestial properties within the imaginary and physical space of early modern drama and theatre. It argues that the case study plays examined within this thesis demonstrate a period-wide engagement, rather than an authorial-, company-, theatre-, or even genre-specific practice. Dramatists developed techniques using astronomical phenomena as dramatic methods that occasionally underscored early modern astronomical thought. However, in many cases constructed plots, characters, visual and sound effects, and movements transgressed astronomical expectations. Dramatists broke down constellations, inserted new stars in the heavens, created zodiacal females, launched pyrotechnical comets, moved planets unexpectedly across the stage, and played (and refrained from playing) celestial "music" for the audience. Recognising composite and often contradictory astronomical constructions within the drama, this thesis moves the critical discussion away from an intellectual history of natural philosophy and gravitates toward an active astronomical dramaturgy.
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Matos, Ivan Delmanto Franklin de. "A dramaturgia negativa: dialética trágica e formação do teatro brasileiro." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-14092016-114027/.
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Esta tese sobre a história da dramaturgia no Brasil tomou como pressuposto a ideia de formação, inspirada na obra de Antonio Candido, Formação da Literatura Brasileira, que é caracterizada por definir, no campo das letras nacionais, a ambivalência que marca nosso processo de constituição cultural, marcado pelo empréstimo de formas artísticas importadas em desajuste com a realidade histórica local. Procuramos traçar o percurso de formação de uma dramaturgia nacional identificando os limites e avanços deste processo de aclimatação das formas e gêneros de origem europeia, escolhendo objetos de análise específicos, a saber, obras e autores considerados como \"momentos decisivos\". Partimos da hipótese de que, no âmbito teatral, os \"momentos decisivos\" desta formação são aqueles influenciados pelos conceitos europeus (formulados pelo crítico Peter Szondi) de drama burguês, drama moderno e de teatro épico, que, no entanto, ao serem incorporados pelos autores teatrais brasileiros geraram formas híbridas, \"arruinadas\" e desajustadas em relação aos modelos originais. Consideramos que tal importação, assolada por um processo histórico também ele altamente contraditório e desigual, gerou entre nós diversas manifestações teatrais fraturadas, que poderiam ser contempladas por um conceito ampliado de tragédia. Procuraremos identificar, nestes momentos decisivos, diversas manifestações de uma certa dialética trágica que, não obstante sua diversidade, poderia caracterizar esse processo de formação como capaz de gerar obras tão dilaceradas quanto o tecido social que lhes corresponde.This thesis on the history of dramaturgy in Brazil explores the idea of formation, inspired by Antonio Candido\'s work Formação da Literatura Brasileira (Brazilian\'s Literature Formation), which is known in the national literary field for defining the ambivalence that exists in our cultural constitution process, and is characterized by the influence of imported artistic forms imbalanced with local historical realities. We seek to trace the development of a national dramaturgy, identifying the boundaries and advances in the acclimation process of European forms and genres, by selecting key analytical pieces, namely works and authors considered to be \"turning points\". We hypothesize that these decisive moments are the ones influenced by the European concepts of bourgeois drama, modern drama and epictheater formulated by the critic Peter Szondi; by incorporating such concepts, Brazilian playwrights have generated hybrid forms, \"ruined\" and misfits of the original models. This thesis considers how such importation - coupled with a highly contradictory and uneven historical background - has generated amongst us several fractured theatrical manifestations that could be categorized under a broader concept of tragedy. We will seek to identify, from these decisive moments, indications of a certain tragic dialectic and how it, not withstanding its own diversity, could characterize this formation process capable of generating new works as lacerated as the social fabric to which they correspond.
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Grace, Patricia Elizabeth. "The Effects of Storytelling on Worldview and Attitudes toward Sustainable Agriculture." Diss., Virginia Tech, 2011. http://hdl.handle.net/10919/27700.
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There is evidence that the American agrifood system is a significant contributor to environmental, economic, social, and ethical-animal welfare damage to the earth and to society and is unsustainable, yet the worldview of a substantial percentage of the population conflicts with this assessment. A significant number of researchers, non-governmental organizations, and government entities assert that the detrimental effects of industrial agriculture must be addressed without delay and sustainable agricultural practices implemented. The transition from industrial to sustainable agriculture will not be a simple one. Attempting to change a worldview is not an easy task. A growing body of research in other disciplinary areas suggests that storytelling can serve as an effective method of fostering change. This mixed-methods study examines the role of storytelling in effecting positive change in worldview and attitudes toward sustainable agriculture. A review of the related literature revealed that no instrument was available to measure attitudes toward sustainable agriculture with consideration of economic, environmental, social, and ethical-animal welfare dimensions. The first objective of the study, therefore, was to design such an instrument. The instrument is called The Sustainable Agriculture Paradigm Scale and is used as a pre and post-test in the study. A number of open-ended questions were added to the post-test to solicit qualitative data. The study explores the effects of Story-based, that is, a told story and a read story, versus Information-based treatments, that is, a lecture and a read factsheet, on effecting positive change in attitudes toward sustainable agriculture. The qualitative data provides a secondary, supportive role exploring what characteristics of a story are associated with change. The hypothesis of the study is that Story-based treatments will be more effective in promoting positive change than will Information-based treatments. The findings of the study provide evidence supporting this hypothesis. The story characteristics found to be associated with positive change included: first-hand personal view, vivid description, and identification with the narrator.Ph. D.
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Lamb, Sara Valoise. "A Content Analysis of Relationships and Intimacy in Teen Dramas on Television." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6923.
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Television programs continue to play a significant role in a teenager's life as they become involved in dating relationships. Adolescence is a pivotal period of life. Teenagers' usage of media, especially television, provides a source of norms and scripts of what a relationship looks like. The portrayals of sexual content in teen programs has become a source of sexual information instead of parents and peers. Many parents are unaware of the sexual content teen programs deliver to their audiences. This study analyzes how teen dramas create expectations through their portrayal of relationships and intimacy on television. Five teen television programs were gathered to analyze the frequency of sexual behaviors depicted to a teen audience. This study investigates the ages, genders, types of relationships, and sexual behaviors shown and implied. The findings show all five programs consisted of high amounts of sexual behavior throughout their first seasons, which suggest that the entertainment industry for teen viewers is a powerful tool that plays a significant role in a teenager's sexual socialization.
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Hida, Norifumi. "Reconsidering hyogen education in Japan : drama for the whole person in the twenty-first century." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58270/.
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Hyogen (expression) education, which I received at elementary school and later university, has been one of major drama activities in the Japanese field of drama in schools. It originates in the Taisho Liberal Education Movement (the first progressive education movement in Japan) in the 1920s and 1930s and has been strengthened by Creative Drama in the U.S.A. and Drama-in-Education in England. Similarly to Winifred Ward (1930), Peter Slade (1954) and Brian Way (1967), specialists of hyogen education, such as Akira Okada (1985), believe that drama contributes to the development of a whole person, self-expression and individuality. However, I will argue that a concept of whole person has been re-conceptualised as a result of the emergence of new generations of drama teachers, and consequently hyogen education has become a limited dramatic method and has failed to achieve the development of a whole person. Therefore, in my PhD thesis, I reconsider hyogen education, or drama for a whole person, through the following three questions: 1. What different positions of drama are there in the Japanese field of drama in schools? (And how have they been genetically and historically constructed?) 2. How, and for what purposes do Japanese drama teachers use drama in their classrooms today? 3. How has the philosophy of education developed in the field of education? Each of the questions uses hyogen education as a starting point, while exploring the field from a different angle. Hopefully, this will provide Japanese drama teachers with three different, theoretical frameworks to look at the field objectively and understand issues and problems within it. This study adopts bricolage (Kincheloe & Berry, 2004) and cross-cultural comparison (Ember & Ember, 1998) as main research methods, and explores each of the three questions with additional research methods. Above all, with Pierre Bourdieu's (1993) theory of field, the study emphases that there is the field called 'drama in schools' and it is influenced by wider fields (the field of theatre and the field of education), especially the field of power (politics).
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Herrerias, Priscilla. "A poética dramática de Tchékhov: um olhar sobre os problemas de comunicação." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-13072011-143257/.
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As lacunas nos processos de comunicação entre as personagens dramáticas de Anton Tchékhov (1860-1904) apresentam-se como um traço básico e definitivo de sua poética. A análise dos processos comunicativos entre as personagens das quatro principais peças do autor - A gaivota (1896), O tio Vânia (1897), As três irmãs (1900) e O jardim das cerejeiras (1904) - elucida a criação de um novo paradigma artístico em seu sistema dramático, cujas inovações marcaram profundamente todo o teatro do século XX e exercem enorme influência até os dias de hoje. O presente trabalho apresenta um recorte das obras selecionadas em relação ao contexto russo da época, evidenciando inquietações que anunciavam transformações profundas na sociedade. Neste intuito, retoma a teoria dos gêneros literários e suas principais críticas, que realçaram a importância da relação entre os gêneros e o momento histórico em que se consolidavam; assim, adquire relevo nas análises o conceito de \"romantização\" dos gêneros proposto pelo filósofo e teórico literário russo Mikhail Bakhtin (1895-1975), a partir da ideia de \"supremacia\" do único gênero em devir. Com a emersão de elementos épicos e líricos na dramaturgia tchekhoviana, observa-se como o diálogo, forma do gênero dramático por excelência, motor das ações que impulsionam o avanço do enredo no sistema dramático tradicional, tem sua unidade enfraquecida, fazendo com que o drama tchekhoviano necessite da encenação para realizar-se plenamente. O \"invisível\" e o \"indizível\", aquilo que subjaz às réplicas, que está latente justamente nas lacunas dos processos comunicativos entre as personagens, torna-se vital a este novo teatro, que acolhe e conta com a imaginação de leitores/espectadores.The gaps in the communication processes between the dramatic characters of Anton Chekhov (1869-1904) consist on a basic and definite trait of the author\'s dramatic poetics. The analysis of the communication processes of four of Chekhov\'s major plays - The seagull (1896), Uncle Vanya (1897), Three sisters (1900) and The cherry orchard (1904) - elucidate the creation of a new artistic paradigm in the author\'s dramatic system, the innovations of which deeply affected the twentieth century theatre and have exerted a major influence until today. The study approaches the selected plays firstly considering the Russian context of the period, highlighting historical transformations that were already on course. Secondly, it examines the literary genres theory, as well as the most important criticism it suffered. The concepts developed by the Russian philosopher and literary critic Mikhail Bakhtin (1895-1975), which took into account the relationship between the literary genres and the historical moments when they were being shaped, acquire great importance in our analysis. Specially the notion of the novel as a contemporary genre, which embraces and affects all the other genres. After clarifying this influence by identifying the presence of epic and lyric elements in Chekhov\'s plays, we observe how the dialogue, the traditional form of the dramatic genre, motor of the actions that push the plot forward, has its unit weakened. As a consequence, chekhovian drama needs staging to be fully achieved: what is not visible and cannot be reduced to words, what is latent in the gaps of communication, underlying the characters\' speeches, become vital to this new theatre, which welcomes and counts on the imagination of its audience.
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Ferris, Amber L. "Examining the “CSI Effect”: The Impact of Crime Drama Viewership on Perceptions of Forensics and Science." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1311000932.
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Kanira, Eleni. "The contribution of drama in education to discourse-making and language development in the Foundation Stage curriculum." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1297/.
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The importance of early childhood education in children's social, emotional, cognitive, physical and spiritual development is only recently gaining coinage in the formal education system in the UK, despite the fact that extensive research has been conducted in the fields of child development and child psychology for many years. Such studies reveal the importance of a child centred, humanising education in the development of the young child, and pay particular attention to the role and value of language acquisition and meaningful language use in the holistic education of young children. Against the background of a newly introduced early years curriculum in the UK (2000), this study traces the historical origin of early childhood education and the socio-cultural, political and economic factors that impact upon its delivery and implementation in various curricula, both nationally and internationally. The recent Foundation Stage curriculum document (2000) identifies language, play and human interaction as tools not only for the development of personal, social and linguistic skills but also as key processes of learning and teaching in early childhood education. However, in the absence of a well developed methodology and with insufficient Early Years training for the Foundation Stage Curriculum (2000), language teaching and learning is generally regarded more as a preparation for the formal school curriculum rather than in the context of discourse and communication for the development of personal and social skills. This situation has led to a considerable degree of professional conflict and insecurity amongst Early Years practitioners about the aims of the new curriculum and its implementation. The thesis argues that young children develop holistically (cognitively, personally and socially) through the medium of 'speech' and 'discourse', and that language is a social construct and a product of human culture. Therefore in early years, language and literacy development cannot be separated from the child's social world and the focus, in terms of teaching and learning, should be on discourse-making: the making, negotiation and development of rules, terms and conditions of the child's social world. This can offer children the linguistic resources they need to be confident and secure in familiar and unfamiliar environments and to problem-solve, organise and maintain their social worlds. The thesis argues that play and well structured Drama in Education activities can provide opportunities for meaningful communication and discourse. Drawing from the research findings, a model to structure and develop children's play for personal, social and linguistic development through Drama in Education is proposed. It will be shown that drama contains interactive tools and meaningful forms of learning which can assist teachers to create living contexts and fictitious worlds with the children within which the different functions of language can be identified and developed.
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Rådelius, Elias. "Songs of an epidemic : responding to HIV/AIDS through song, poetry and drama in Nakuru, Kenya." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18248.
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This study examines the use of songs, poems and drama to raise awareness of, and respond to the HIV/AIDS epidemic in Nakuru, Kenya. The primary focus is that of youth-oriented interventions, but additional examples are also examined and analyzed. A qualitative approach is used and the study is based on semi-structured interviews with teachers, performers, students, NGO-representatives and former students conducted during four weeks in November and December 2012. Additionally, songs, poems and dramas have been collected and observed and finally analyzed using a theoretical framework that combines the Health Belief Model, the Social Cognitive Theory as well as principles of the research discipline of Medical Ethnomusicology. The study shows that songs, poems and drama are important methods to communicate messages and play an important role in shaping the local HIV/AIDS discourse. Due to its effectiveness, it is vital that the messages promoted are culturally appropriate as well as correct since the study shows that false information through these methods can hamper a desired behavior change.
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Frimberger, Katja. "Towards a Brechtian research pedagogy for intercultural education : cultivating intercultural spaces of experiment through drama." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4593/.
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This PhD thesis develops a Brechtian research pedagogy for intercultural education. Taking its lead from progressive intercultural educators and researchers who conceptualise intercultural experiences as being ‘radically embodied’, this thesis is underpinned by a concept of culture as fluid and constantly ‘in the making’. In order to give ethical and pedagogical consideration to such a performative view of culture, Brechtian thinking and theatre practice is employed and translated into the intercultural education research space. Placing Brechtian Verfremdung – ‘estrangement’ - at the heart of methodology, such research pedagogy works from within the precarity of intercultural spaces. Based on an immanent ethics that emerges from and shapes within the relationships built in the research space, the researcher’s role is that of the facilitator and co-producer of data. A Brechtian research pedagogy is thus considered a mode of production; one that does not conceptually presuppose ethics and pedagogy, but considers them as ‘becoming’ and integrated within its methods. It asks two questions i) can a Brechtian informed approach to pedagogy create and change experiences of ‘strangeness’ and ii) if so, how is this achieved and manifested? The focus of this thesis is international students’ dynamic and in flux experiences of strangeness. During four half-day workshops in consecutive weeks, a group of ten international postgraduate students encounter a Brechtian research space, where, using drama, creative writing and filming methods, they engage in an open, embodied conversation on ‘intercultural experiences’. I trace participants’ process of intercultural learning and ‘intercultural making’ through the embodied methods used in the drama research workshops. These embodied methods stimulate a variety of reflective modes and produce multilayered data for analysis: pictures, conversations, creative writing pieces and even non-verbal gestures. In order to prevent an early reification of these ‘texts’ into academic ‘strangeness knowledge’, they are in turn estranged and used in a mode of artistic production. This allows for active thinking about the research question as well as aids reflection on the modes of encounter within the research space. ‘Estrangement’ draws attention not only to the content of intercultural stories used, but to their inherent discursive structures and the effects these can have on participants’ well-being. The research project’s main emphasis, then, is on the process of research and starts to work towards a respective Brechtian representational practice by developing the term ‘dialogic aesthetic framing’. It is suggested that representations should be equally seen as modes of production, dependent on an audience’s active reading between the research’s ‘metaphoric gaps’. Future research would seek to develop this more product-oriented focus further, so as to test and develop concrete artistic, representational practices for a Brechtian research pedagogy.
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Winston, Joe. "An inquiry into the relationship between drama, traditional stories and the moral education of children in primary schools." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/59524/.
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This thesis is an inquiry into the relationship between drama and traditional stories and their potential contributions, when used together, to the moral education of young children. The stimulus for this inquiry has stemmed from my own academic interests and professional practice as a teacher educator for the primary age range. It is underpinned by a belief that this is an area which has been both under-researched and under-theorised but that it is nonetheless of interest and importance for drama teachers, primary teachers and others who share an interest in the moral development of young children. The research has proceeded with two parallel but closely related forms of inquiry. The one has been an academic investigation into those theoretical issues which underpin the project and the other has consisted of fieldwork within primary classrooms, centred upon my own teaching. In its final form, the thesis is presented in two parts of roughly equal length, the one concentrating on theoretical concerns, the other consisting of a critical analysis of my own classroom practice, where issues of theory are investigated as they directly impinge upon it. However, it has been a key aim throughout this project to relate theory closely to practice, so that the one might continually inform the other as the research progressed. In the introduction, I give an account of the genesis of the inquiry, provide an argument for its significance to the contemporary educational debate and give a clear exposition of its parameters. In Part I, I begin with a discussion of current developments in moral educational theory and make the case for the importance of narrative and narrative literature in the development of moral understanding. In applying these theories to literary versions of traditional tales, however, it becomes quickly clear that the area is problematic and informed by contradictory theories and profound disagreement. I propose that the narrative form of these tales is inappropriate to didactic moral teaching and argue that a perspective which is informed by their mythic and oral origins is best placed to help our understanding of how they can be harnessed for the purposes of moral learning. I argue that there are historical and artistic reasons for seeing an important role for drama. in this process and examine how moral processes are engaged and informed by the dramatic event. In Part IT, I introduce the fieldwork with a critical look at how the practices of drama in education can be used to engage children in ethical exploration as defined within the parameters of this inquiry. I provide a detailed account of the research methodology followed by three case studies, each of which recounts and analyses a series of lessons with three separate classes of children, centred around three distinct traditional tales. These case studies are discursive in nature, each focusing upon issues and questions generated by the particular stories and lessons. They are informed by the theoretical exposition in Part I but generate their own theoretical perspectives and hypotheses which I propose to have implications for general classroom practice within this area. In the concluding chapter, I propose that the theoretical thrust and practical findings of the project signal an important role for drama in a school's moral education policy and suggest particular areas of inquiry which would further inform this argument.
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Templin, Lisa Marie. ""I'le Tell My Sorrowes Unto Heaven, My Curse to Hell": Cursing Women in Early Modern Drama." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31832.
Full textAbstract:
The female characters in Shakespeare’s 2 Henry VI and Richard III; Rowley’s All’s Lost by Lust; Fletcher’s The Tragedy of Valentinian; Rowley, Dekker, and Ford’s The Witch of Edmonton; and Brome and Heywood’s The Late Witches of Lancashire curse their enemies because, as women, they have no other way to fight against the injustices they experience. At once an extension of the early modern belief that words are “women’s weapons,” and dangerously beyond the feminine ideal of silence, the curse, as a performative speech act, resembles the physical weapons wielded by men in its potential to cause serious harm. Using Judith Butler’s theory of gender as performative and J. L. Austin’s theory of performative utterances, this thesis argues that curses function as part of the cursing woman’s performative identity, and by using speech as a weapon, the cursing woman gains a measure of social agency within the social order even if she cannot change her place within it.