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Dissertations / Theses on the topic 'Dramatic techniques'
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Kuksa, Iryna. "Scenography and new media technologies : history, educational applications and visualization techniques." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1156/.
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The endemic presence of digital technology is responsible for numerous changes in contemporary Western societies. This study examines the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. In the cross-disciplinary literature review, I investigate such primary elements of contemporary media as interactivity, immersion, integration and hyper-textuality, and explore their characteristics in the performing arts before and during the digital epoch. I also discuss various IT applications that transformed the way we experience, learn and co-create our cultural heritage. In order to illustrate how computer-generated environments could change the way we perceive and deliver cultural values, I explore a suite of rapidly-developing communication and computer-visualization techniques, which enable reciprocal exchange between viewers, theatre performances and artefacts. I analyze novel technology-mediated teaching techniques that attempt to provide a new media platform for visually-enhanced information transfer. My findings indicate that the recent changes towards the personalization of knowledge delivery and also towards student-centered study and e-learning necessitated the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience. The analysis of questionnaires and two case studies (the THEATRON and the VA projects) demonstrate the need for further development of digital-visualization techniques, especially for studying and researching scenographic artefacts. As a practical component of this thesis, I have designed and developed the Set-SPECTRUM educational project, which aims to strengthen the visual skills of the students, ultimately enabling them to use imagery as a creative tool, and as a means to analyze theatrical performances and artefacts. The 3D reconstruction of Norman Bel Geddes' set for The Divine Comedy, first of all, enables academic research of the artefact, exposing some hitherto unknown design-limitations in the original set-model, and revealing some construction inconsistencies; secondly, it contributes to educational and creative practices, offering an innovative way to learn about scenography. And, thirdly, it fills a gap in the history of the Western theatre design. This study attempts to show that when translated into digital language, scenographic artefacts become easily retrievable and highly accessible for learning and research purposes. Therefore, the development of such digital products should be encouraged, but care should also be taken to provide the necessary training for users, in order to realize the applications' full potential.
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Burke, A. C. "Dramatic techniques in performing Aeschylus' Agamemnon : the Oresteia at the Royal National Theatre." Thesis, Queen Margaret University, 2005. https://eresearch.qmu.ac.uk/handle/20.500.12289/7332.
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This thesis explores the theoretical and dramaturgical challenges faced by modern productions of the Oresteia with particular reference to two modern Royal National Theatre productions: Sir Peter Hall's (1981) and Katie Mitchell's (1999). It argues that to appreciate these challenges requires a detailed knowledge of the theatricality of the original text. In support of this position, this thesis contains a detailed analysis of Aeschylus' Agamemnon exploring how the playwright creates the play's world in text and performance. The discussion's focus concentrates on how theatrical space (seen, implied, and diegetic) constructs the world of the play. Concomitant in this discussion is an analysis of how Aeschylus invites the audience to decode the play's theatricality through its knowledge of epic literature and its own non-theatrical spatial environments and practices. To facilitate this understanding, the text and performance are explored with reference to political, domestic and ritual space. In considering these productions, the assumption of theatre reviews that productions can be described as adhering to either modernising or archeologically inspired staging practices is challenged. It is argued that modern productions should be analysed with reference to directorial, translator, and actor intentions. Through a methodology based on interviewing theatre practitioners, the productions of Hall and Mitchell are seen to be irreducibly modern, yet still maintain a relationship with Aeschylus. Hall's use of ancient staging conventions is seen to be a modern interpretation of the theatrical past, which aimed at communicating the foreignness of Aeschylus. In contract, Mitchell's use of modern staging techniques made the Oresteia familiar to a modern audience, but, by suggesting political, domestic, and ritual equivalents, still articulated with the ancient performance.
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Blackwood, Jeremy B. "Under the Influence of Marc Blitzstein: Examining Leonard J Lehrman’s Uses of Serial Techniques for Dramatic Purposes in Karla." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700028/.
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American composer, author and conductor Leonard J. Lehrman (b. 1949) has spent a majority of his lifetime devoted to the scholarship on the music of Marc Blitzstein (1905-1964). Lehrman completed Blitzstein’s Idiots First in 1973, and finished his own one-act opera Karla in 1974. In an effort to honor Blitzstein, Lehrman included Karla along with Idiots First to begin the set of one-act operas to be titled Tales of Malamud. Lehrman coined the term “selective serialism” in reference to Blitzstein’s use of serial techniques representing something associated with death or something diabolical. Lehrman applies a similar technique in that he uses serialism to reference the presence of a handwritten notes that are tied to the dramatic context of the opera. This study examines Lehrman's use of serialism in Karla as it was directly influenced by Blitzstein’s use of serialism in Idiots First.
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Erapu, Laban Omella. "A study of Ngugi wa Thiong'o's later novels to assess his adaptation of dramatic techniques and Gikuyu oral traditions to the requirements of fiction." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002278.
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This thesis examines Ngugi wa Thiong'o's later writings in order to establish the nature of his quest for a people's literature. It illustrates how the author attempts to break the barriers between traditional oral forms and the relatively new written forms in addressing a basically "illiterate" audience. The research begins with an exploration of Gikuyu oral literature as an essential background to Ngugi's later dramatic and fictional writings as distinct from his earlier literary works in which he initiates the dominant quest for a more just society. Ngugi's return to these roots constitutes the central "homecoming" that characterizes his search for new forms. The analysis is conducted through three significant chronological stages representing Ngugi's writings over a period of about a decade from the mid-1970s to the early 1980s. Each stage starts with a play and performance followed by a parallel novel, the first pair written in English and the subsequent ones in Gikuyu. The three stages - designated Transition, Homecoming and Realization - mark Ngugi's involvement in the promotion of Gikuyu culture and orature, both as a source of inspiration and as a cause to which he fully dedicates himself. The transitional stage depicts the convergence between conventional and traditional oral literary forms with which Ngugi begins to experiment. The second stage introduces significant departures as Ngugi begins to use the Gikuyu language as his primary medium of creative expression. The final stage demonstrates his ultimate assertion of the primacy of orality over the written word as a dynamic agent of transmission. The thesis concludes that Ngugi wa Thiong'o in these later works - while leaving the possibilities of his vision of a "New Earth" unfulfilled pioneers the African writers' climb down from an "ivory tower" to deal with the realities of the experience of the predominantly non-reading African masses, acknowledged as both recipients of and active participants in the relatively new written literature which purports to speak for their experiences and their times.
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Ziskin, Gregory. "The main principles of Chekhov's dramatic technique /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61256.
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The purpose of the present study is to analyze the structural techniques and genre of Chekhov's plays.The many books and articles published on Chekhov's plays far exceeds his own works. Although there have been numerous studies analyzing the structural techniques of his play, considerable controversy still exists among literary and theatre scholars regarding the genre of his plays. Most of the studies simply avoid this complex and intricate problem.
In this study particular emphasis is also placed on the dramatic techniques used by Chekhov: the sequence of events, the nature of the roles and the so-called "unfinished" endings.
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Williams, Mark Robin Winfield. "Dramatic technique in Thomas Middleton's later plays." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305933.
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Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.
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This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.
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Gabbett-Mulhallen, Jacqueline. "The theatre of Shelley : an evaluation of his dramatic technique." Thesis, Anglia Ruskin University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490299.
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The purpose of this thesis is to examine Shelley's drama as texts for theatrical performance in the context ofthe early nineteenth century and to question their relegation to the category 'closet drama'. I argue that not only his acknowledged stage-plays but, more controversially, even the 'lyric dramas', Hellas and Prometheus Unbound, and the satiric Swellfoot the Tyrant, are theatrical and performance-orientated in conception. To build this argument the following have been consulted: plays by late Georgian dramatists; Georgian and Regency theatre histories; biographies, memoirs and critical works oftheatrical practitioners; English and Italian newspapers and scripts held in the Larpent Collection and at La Scala, Milan. I have drawn on my experience as a performer, writer and manager of a small theatre company. Interest in Romantic theatre has been growing over the past 20 years, and I have engaged in current debate concerning the definition of that genre. I have found that A.W. Schlegel's dramatic theories support my argument for the influence of classical Greek tragedy, Athenian Old Comedy and Jacobean drama upon Shelley's drama and attitude to theatre practice. I have ascertained what performances Shelley attended, as a result of which I propose some new sources for his settings and plots. I have established the additional influence upon him of English melodrama, pantomime and burlesque, pre-romantic ballet, commedia dell 'arte and the improvvisatore's art; I document his awareness of practical constraints: developments in theatre buildings, scenery, lighting, costume and performance styles of actors such as Cooke, Grimaldi, Kean, Kemble and O'Neill. I have uncovered evidence about 'patent' and 'minor' theatres in relation to censorship and performance. My conclusion is that Shelley had developed a sophisticated understanding of the theatre, and with increasing skill was seeking to integrate the best of past dramatic writing with successful contemporary forms of performance.
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Saket, Mourad. "Fiction et diction de l'ɶuvre dramatique de Samuel Beckett." Thesis, Université Côte d'Azur (ComUE), 2016. http://www.theses.fr/2016AZUR2021/document.
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Avec le même vocabulaire, Samuel Beckett construit un même univers tant dans ses romans quedans ses pièces de théâtre : Molloy, Murphy, Malone meurt, En attendant Godot, Fin de partie, Oh les beaux jours,La Dernière bande, etc. Pour créer un même monde obscur, il s’appuie sur un langage qui s’anéantit sitôtqu’il s’établit. Si pour Joyce, la création verbale est d’ordre poétique, celle de Beckett est tout autre. Ilopte pour un style abstrait, une phrase grise, sans relief lyrique, dénuée de grâce et de poésie. Une phrasepauvre, à la limite de rien.Ainsi nous allons d’abord révéler quelques techniques littéraires auxquelles Beckett a eu recours :Organisation et structure de l’oeuvre, Procédés narratifs, Constantes dramaturgiques.Après l’étude de la caractéristique formelle des écrits de Beckett, nous tenterons de dévoiler leprocessus de négativité générale qui constitue le sens profond de l’oeuvre de Beckett et qui s’affirme deplus en plus dans l’oeuvre dramatique.Ensuite nous mettrons en relief quelques techniques littéraires utilisées par Beckett dans Fin departie : La diversité d’idées, La participation du lecteur et/ou spectateur, Les procédés narratifs.Enfin, nous analyserons les personnages de cette pièce qui agissent sans buts et motifs précis. Nousessaierons de comprendre ce qu’ils sont (identité) ce qu’ils veulent (désirs) et ce qu’ils font (actions).Ainsi, nous mettrons en exergue leurs caractéristiques, la nature de leurs relations avec eux-mêmes et lesautres. Nous comprendrons alors dans quel monde d’absence ils se trouvent projetés. Pour conclure,nous analyserons la notion de temps et d’espace qui forme un axe fondamental de Fin de partieWith the same vocabulary, Samuel Beckett builds the same universe in its novels or in her plays:Molloy, Murphy, Malone dies, While waiting for Godot at the End of part, Oh the beautiful days, The Last band, etc.He creates the same dark world and he leans on a language which perishes as soon as it becomesestablished. If for Joyce, the verbal creation is essentially of poetic order, that of Beckett is completelyother. He opts for an abstract style, for a grey sentence, without the slightest operatic relief, divested ofany grace as any poetry. A poor sentence.So is we will first reveal some literary techniques important to which Beckett resorted:Organization and structure of the work; The narrative processes; Dramaturgic constants.After the study of the formal characteristic of Beckett, we are going to try to reveal the processof general negativity which establishes, in our opinion, the deep sense of the work of Beckett and whichasserts itself more and more in the dramatic work.Then we accentuate some literary techniques to which Beckett resorted in the End of part: Thediversity of ideas; The participation of the reader and/or the spectator; Them proceed narrative.Finally, we shall analyse the characters of this play who seem to act without purposes and precisemotives. We shall try to understand that they are (identity) that they want (desires) and what they aredoing (actions). So, we shall highlight their characteristics, the nature or their relations with themselvesand the others. We shall understand then in which world of absence they are thrown. To conclude, weshall analyse the notion of time and space which trains a fundamental axis of the End of part
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Mossman, Judith. "Euripides' Hecuba : a re-evaluation, with special reference to dramatic technique." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670312.
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Oxley, Natasha Emma Fortescue. "Talking taboos: the personal over the political? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.
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The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.
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Parsons, Darryl C. "The application of a technique for enhancing recall to improve learning in the science classroom." Curtin University of Technology, Science and Mathematics Education Centre, 2007. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=17778.
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There has existed for many years a memory enhancement technique ("memory pegs") that although having dramatic demonstrable success in some individual cases has not been generally applied in education. The emergence of constructivist epistemology has emphasised the notion that learning occurs as a result of connecting new material with previously learnt concepts. There is, therefore, the implication that effective learning requires some previous knowledge upon which to attach new concepts - and thus realisation of the importance of learning with respect to acquiring factual information as a prerequisite to learning new processes and/or skills. This issue has focussed my attention on the need to ensure that the more physiological skills of accessing 'memory', both for learning and recall, are optimised for maximum learning. Further, there are some indications that the physiological skills of memory access (storage and retrieval) may respond favourably to training and 'exercise'. This study was designed to find out whether or not a repeated 'exercise' using a simple memory enhancement technique would lead to a determinable and statistically significant increase in overall performance in a range of cognitive skills (as indicated by science and mathematics examination results), whether learning such a technique would affect a student's attitudes towards science, whether there was a relationship between the amount of time spent practicing the technique and the degree of effect, and whether the memory technique did actually improve the ability to recall lists of objects.
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Olsson, Vera Maria. ""Allt går igen" : Upprepningens effekter i August Strindbergs drömspel, Till Damaskus I, Ett drömspel och Spöksonaten." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323902.
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August Strindbergs dramer Till Damaskus I, Ett drömspel och Spöksonaten har många likheter och brukar ofta refereras till som ”drömspel” på grund av deras drömlika stämning. Vad skapar denna stämning? Den här uppsatsen undersöker hur olika typer av upprepning utgör grepp med vilka Strindberg bygger sin speciella värld, som står mitt emellan drömmen och verkligheten. Det är en närläsning som både ser till makro- och mikroperspektiv; undersökningen gäller både retoriska språkfigurer i dialogen och större strukturella upprepningar i dramat. Upprepningens betydelse för skapandet av drömstämningen i Till Damaskus I, Ett drömspel och Spöksonaten kan i en bredare bemärkelse inte överdrivas. Trots dess mycket olika former i dramerna spelar den i alla tre pjäserna en stor roll. I Till Damaskus I är den strukturella och materiella upprepningen avgörande grepp i dramat. I Ett drömspel är återkommande scener och inte minst upprepningen i replikerna påtagligt och skapar effektivt en känsla hos läsaren av att befinna sig i en dröm. I Spöksonaten är det upprepningen av tidigare händelser innan dramats början i form av traumatiska minnen i olika konkretiserade former, som spelar störst roll och som man skulle kunna hävda utgör dramats mest bärande komponent. Trots dramernas många olikheter, förenas de av många likheter – så många och grundläggande att det inte skulle vara omöjligt att kalla dem för en drömspelstrilogi.
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Gavalda, Elisabeth. "Les Cahiers de Prospero (1991-2002). Une revue d’auteurs de théâtre." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA119.
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L’histoire de la revue Les Cahiers de Prospero est intimement liée à la Chartreuse de Villeneuve lez Avignon et à la double naissance en 1991 du Centre National des Écritures du Spectacle et de la revue Prospero, son aînée. La recherche décrit et analyse les conditions et les enjeux politiques, patrimoniaux, culturels et éditoriaux qui ont construit leur avènement et dont les deux étapes principales sont la réhabilitation du monument en un centre culturel de rencontre à visée européenne et le Compte rendu d’Avignon, vaste enquête dirigée par Michel Vinaver au sein du Centre National des Lettres. L’étude se concentre sur le passage d’une revue institutionnelle et spécialisée (1991-1992) à une revue conçue uniquement par des auteurs de théâtre (1994-1996) qui se transforme en une « carte blanche » confiée à un seul auteur - concepteur par cahier (1999-2002). La recherche se resserre sur les périodes qui anticipent la création de Prospero et des Cahiers de Prospero, l’étude de leur contenu, et la période charnière qui modifie la ligne éditoriale et ouvre un espace de confrontations auctoriales, recentré autour de l’écriture théâtrale. Michel Azama, rédacteur en chef de la revue, en accord avec les dirigeants de la Chartreuse, rassemble un comité d’auteurs : Eugène Durif, Roland Fichet, Didier-Georges Gabily, Philippe Minyana, Jean-Marie Piemme et Noëlle Renaude pour réaliser Les Cahiers de Prospero. Plus qu’un objet littéraire, la revue Les Cahiers de Prospero donne à lire le portrait de l’auteur de théâtre à l’aube du XXIème siècle et contribue, par la richesse de son contenu et l’invitation d’un peintre auteur par cahier, à inventer un objet uniqueThe history of the periodical Les Cahiers de Prospero is closely related to La Chartreuse of Villeneuve lez Avignon and to the birth, in 1991, of both the Centre National des Écritures du Spectacle (The National Playwriting Centre) and a former periodical named Prospero.This research describes and analyzes the conditions and the various contexts and issues (political, patrimonial, cultural and editorial) underlying the birth of Les Cahiers de Prospero, the two main steps being the rehabilitation of the monument into a cultural center with a European aim and the Compte rendu d’Avignon (Avignon’s Report), a wide study directed by Michel Vinaver within the Centre National des Lettres. The research will focus on the transformation of a specialised and institutionalised periodical (1991-1992), into a periodical conceived only by theater writers (1994-1996) then into a « carte blanche » given to a single author-designer for each publication (1999-2002).A modification of the editorial line allows the authors to find a space of communication and confrontation, centered around theater-writing issues. Michel Azama, editor-in-chief of the magazine, in agreement with the direction of the Chartreuse, gathers a commitee of authors: Eugène Durif, Roland Fichet, Didier-Georges Gabily, Philippe Minyana, Jean-Marie Piemme and Noëlle Renaude to realize Les Cahiers de Propero. More than a literary object, Les Cahiers de Propero offer a portrait of the theater writer at the dawn of the XXIst century. The richness of its contents and the collaboration of a guest painter author per issue turns it into a unique object
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Wu, Shu Fei, and 巫淑妃. "POLITICAL THEMES AND DRAMATIC TECHNIQUES IN ANTONIO BUERO VALLEJO'S "THE DETONATION"." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/35351337766765663517.
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Kao, Jo-Shan, and 高若珊. "The Working Method of Musical and Dramatic Techniques of Brecht in “Spring Awakening”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/b9rqs9.
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碩士國立臺北藝術大學
劇場藝術創作研究所表演組
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This dissertation can be categorized into three chapters. First, ‘The main stream Broadway Musical and Spring Awakening’, which is going to discuss about the history of Broadway musicals, on the other hand, analyzing the characteristics and differences of Spring Awakening while comparing it to the main stream. The Second chapter of the article, ‘Frank Wedekind’s Germany and Wong Yuen Man’s Hong Kong Taiwan’ will be searching the connection between the original script author and the director through tracing back the background of their own, and further discuss the method and direction applied in this adaptation. Last but not least, the last chapter, ‘The Bertolt Brecht Theatre’, focuses on the belief and the special acting training of Bertolt Brecht, through analyzing the methods applied in Spring Wakening, this chapter discuss the possibility of combining musical with Bertolt Brecht theatre.
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HUANG, WAN-LING, and 黃婉綾. "Existential Thoughts and Dramatic Techniques in Jean-Paul Sartre’s No Exit and Harold Pinter’s The Dumb Waiter." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6n4ywf.
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碩士國立中正大學
外國語文研究所
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This thesis aims to compare Jean-Paul Sartre’s No Exit with Harold Pinter’s The Dumb Waiter to guide readers to realize the importance of existential meaning and self-worth. After researching the two authors, Sartre and Pinter, I propose that their similar experiences and social backgrounds made them think about existential problems. Both Sartre and Pinter attempt to enable individuals to be self-reflexive and self-definitive. Regarding the methodology used, I apply existentialism to analyze Sartre’s No Exit and apply absurdism to analyze Pinter’s The Dumb Waiter. This thesis is divided into two chapters, each describing the methods to discuss the human situation and theatrical techniques in these two plays. Chapter One is divided into four parts examining the similarities of the existential problems in the two plays. Part One focuses on the theme of imprisonment because the characters are confined to an airtight room. In Part Two, the alienation of characters is discussed. All of the characters in No Exit and The Dumb Waiter are alienated from one another because they refuse to communicate mutually. Part Three focuses on the unknown power out of the imprisonment room. All characters are controlled by an unknown power; this strains their mental states. In Part Four, the characters’ aimless life and unpredictable waiting are analyzed. Chapter Two analyzes the techniques Sartre and Pinter use to present the problems of the human situation. I divide the chapter into three parts exploring different theatrical techniques in the two plays. In Part One, the concept of logic of Sartre’s No Exit and the concept of illogic of Pinter’s The Dumb Waiter are discussed. Part Two explores the interpersonal relationships of the human situation. Sartre’s No Exit focuses on the change of characters’ relationships that include self-deception, self-definition, and reconciliation. By contrast, Pinter’s The Dumb Waiter focuses on hierarchy, language, and the resistance against hierarchy. Part Three focuses on the different ways of endings in the two plays; specifically, the hopeful ending in No Exit and the suspense ending in The Dumb Waiter. That is, Sartre exactly presents to readers the encouragement to the existential problems. However, Pinter does not provide readers with an explicit resolution, even though he aims to guide readers to ponder over its existential meaning. In conclusion, although Sartre and Pinter use different techniques, the purposes of the two plays are the same: to motivate readers to contemplate the significance of existential meaning, and also to emphasize the importance of self-pursuit (and henceforth to affirm one’s self-worth).
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Sedláková, Veronika. "Tvorba Jaroslava Foglara jako východisko pro využití metod dramatické výchovy na první stupni ZŠ." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408470.
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1 ABSTRACT The diploma thesis deals with the possibility of using Jaroslav Foglar's work in dramatic education at elementary school.The aim of the diploma thesis is to verify the influence of methods and techniques of dramatic education through Jaroslav Foglar's texts in the form of value charts and attitudes in the life of pupils of the 5th year of primary school.How dramatic education helps with methods and techniques - first fordeepest adoption of Jaroslav Foglar's work, and second - to increase understanding and adoption of given values and attitudes.The theoretical part focuses on the personality and work of Jaroslav Foglar and his timeless message. It focuses on the concept of drama education, its aims, principles, forms, methods and techniques. At the same time, it focuses on the analysis of the work in terms of dramatic education. In the practical part of the diploma thesis, three thematic units focusing on the moral qualities of the human being, using methods and techniques of dramatic education, are elaborated on the basis of books and short stories by Jaroslav Foglar. For the experiment, two classes of the fifth year grade of elementary school were selected. In one class - test, the units were realized using methods and techniques of dramatic education. In the second class - normal, only reading...
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Formanová, Kristýna. "Vliv dramatické a osobnostně sociální výchovy na sebevědomí žáka I. stupně ZŠ." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-315833.
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Resumé: Tématem diplomové práce byla otázka vlivu dramatické a osobnostně sociální výchovy na sebevědomí žáka. V teoretické části byly vysvětleny psychologické pojmy týkající se osobnosti člověka. Rozložení jednotlivých kapitol umožnilo strukturovaně podávat informace, nezbytné k vytvoření uceleného obrazu dané problematiky.Největší prostor byl věnováno metodám a technikám používaným v hodinách dramatické a osobnostně sociální výchovy. V praktické části byl kladen důraz na aplikaci výše zmíněných metod a technik ve vyučovacích lekcích.
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Seppälä, Kim Mirjam. "A thematic analysis: how dramatic techniques can be applied in therapy to facilitate clients in regaining an integrated sense-of-self after experiencing interpersonal trauma." Master's thesis, 2020. http://hdl.handle.net/10284/8944.
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This qualitative study explores the process of integrating fragmented identity after relational trauma within the context of psychodrama. Previous research shows that many trauma survivors struggle with their self-identity. While the causes and consequences of trauma have been studied extensively, the process of integrating the fragmented identity requires further research. This study contributes to the fields of trauma treatment and psychodrama by offering a functional definition of integration from a psychodramatic perspective, and by studying how dramatic techniques can be used to help clients in their process of integration. Data was collected through seven semi-structured, in-depth interviews with psychodrama practitioners and therapists. The transcribed data was interpreted using Thematic Analysis after Braun and Clarke (2006). The resulting themes describe integration as a process that is intrapsychic, interpersonal, somatic and spiritual. The data suggests that all four levels of the process are significant, and that the foundation for the whole process is developing safety. The findings suggest that integration means autonomy & choicefulness, self-love & self-care, and authenticity & spontaneity. The findings imply that integration is synonymous with healing from interpersonal trauma and that psychodrama − when practiced safely − is an excellent therapeutic method for supporting this process.
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Rauchová, Petra. "České svátky prostřednictvím metod dramatické výchovy." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-411689.
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The diploma thesis is focused on Czech folk feasts. They are introduced to pupils by using methods of drama education. The thesis is divided into theoretical part and practical part. The theoretical part contains the characteristic of drama education and its methods, purposes and principles. In the theoretical part there is also an explanation of Czech folk and non-traditional feasts. The theoretical part also allows interior view into drama education methods czech feasts. These feasts are part of "Man and his world", which is part educational program for elementary school. In the practical part there is written five individual lessons, which were realized in the third year of elementary school. Each lesson is focused for specific czech feast. These lessons support communication, cooperation and individual abilities of all pupils. Beacause of that children absorb basic methods of drama education. I tried to create these lessons for every teacher, even if drama it's not their topic. The practical part also includes my results and elaborated suggestions for further lessons. These results describe pupil's progress and evaluation. The practical part includes a description of my own action research as well. The action research is followed by its evaluation and questionnaire survey as to how the methods...
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Krajíčková, Veronika. "Práce s literárním textem metodami dramatické výchovy s 5-7letými dětmi." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-325564.
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This thesis deals with the work with literary text by the help methods of dramatic education. The main aim is to find out possibilities and specifics for use these methods at work with 5-7 years old children and to offer lessons of dramatic education. This thesis is divided into two parts. The theoretical part deals with peculiarities of evolution and necessities of 5-7 years old children, an importance of children's game, a role of literature in children's life, methods and techniques of dramatic education and a selection of literary text. The practical part of this thesis offers six lessons of dramatic education. These lessons were be realized at nursery school and in first and second class of primary school. A part of practical work are reflexes of these lessons with particular children's groups and their mutual comparison. This part contains free suggestions of other lessons. These lessons are inspired by various literary genres for children. The results show that with such old children are especially effective these techniques: simple pantomime, association circle, alley, a range of attitudes, live images. Input activities must have clearly defined understandable rules. It is appropriate to assign specific roles and provide or suggest children descriptions of figured situations.
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Chen, Li-lin, and 陳麗鈴. "A Study on the Effectiveness of Life education of Dramatic Techniques for Elementary Students: Taking the Fourth Grade Students of an Elementary School in Chia-Yi County as an Example." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/79889869089328897734.
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碩士南華大學
生死學研究所
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The main purpose of this study is to explore the teaching effectiveness of life education of dramatic techniques for elementary students . Based on the research, dramatic techniques are proposed to help elementary teachers implement life education programs in the future. This study adopted Quasi-experimental Research Method. Its subjects were 44 fourth graders in an elementary school, Chia-Yi City. They were divided into two groups: experimental group ( 22 students), and control group (33 students). Experimental group received sixteen weeks (640 minutes) life education programs of dramatic techniques . Control group has no experimental procedure. The self-concept and interpersonal relationship were included in scale to conduct the pretest, posttest and follow-up test to realize the learning achievement created by life education model of dramatic techniques applied to the fourth graders. The quantification research data were analyzed by Analysis of Covariance (ANCOVA) to test the hypothesis. To analyze fourth graders’ the teaching effectiveness of life education of dramatic techniques , qualitative data were also collected by unit learning sheets, unit worksheet, overall reflection sheet, oral interview and program evaluation form. Result 1、The total score of “self-concept”, dramatic techniques life education program obviously had more immediate and delayed effects than the control group. 2、The total score of “interpersonal-relationship”, dramatic techniques life education program obviously had not immediate and delayed effects than the control group. Based on the findings mentioned above, some referential suggestions of improving or applying future life education were proposed to administrative organizations, schools and follow-up teachers to choose and implement life education model of dramatic techniques. In addition, several research fields and directions were also provided as referential suggestions to dramatic techniques models of life education.
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Oluwasuji, Olutoba Gboyega. "A comparison of video interpretations of Athol Fugard and the printed texts." Diss., 2012. http://hdl.handle.net/10500/9089.
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Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play.English Studies
M.A.
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BÁRTOVÁ, Miroslava. "Využití dramatických technik k rozvoji sociolingvistické kompetence/Developing Sociolinguistic Competence through Drama Techniques." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-111869.
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The main goal of the thesis is to show the possibilities of using drama education in English lessons with concentration on developing sociolinguistic competence. The thesis comprises of two parts ? theoretical and practical. The theoretical is divided into three chapters. The first deals with the sociolinguistic competence and its conception in the Common European Framework of Reference for Languages and in the Framework Educational Programme, the second is devoted to drama education and drama techniques and methods and the third briefly deals with teaching foreign languages in the two above mentioned curriculum documents. The practical part includes the three lesson plans which mainly concentrate on developing the sociolinguistic competence of students at middle school level and it also includes reflection of the lessons. The practical part is based on the theoretical knowledge from the theoretical part and can serve as a source of inspiration or manual for teachers who are interested in developing not only communicative but also social and personal competence.
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Samotánová, Pavla. "Dramatická výchova jako cesta k poznávání literatury." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340509.
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The integration of drama education in the primary education is one of the frequently discussed topics in the contemporary education. This diploma thesis deals mainly with the use of drama as a supplementary teaching method for the work with literary texts. The main aim is to compare the efficiency of literary education that uses standard educatory methods with the education that uses methods and techniques of drama education. The theoretical part deals especially with the terms personality of a child of lower school age, literacy and drama education. The practical part emphasizes the strong impact that own experience have on children readers and therefore underlines the efficiency and applicability of drama methods and techniques not only in the literary education, but in other subjects as well. It also contains the used methodic and results of the research based on questionnaires which were used for recording and tracking of the memorized information.The focus group for the research consists of pupils of lower school age.
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Cihelková, Magdaléna. "Možnosti uplatnění metod dramatické výchovy v projektovém vyučování." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-387196.
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The diploma thesis on the topic "Application of dramatics education to project based education" is dedicated to various strategies towards interconnection of dramatics education and project based education, which are assessed in scope of benefits of these strategies for pupils. The methods are shown on three practical examples. The theoretical part of the diploma thesis deals with the term dramatics education; it defines its principles and goals and classifies the methods it uses. Furthermore it describes possibilities of the methods and their use in individual education fields and in cross-sectional topics of the Framework Education Program for the First Section of Elementary Education. Then the diploma thesis discusses basic characteristics of project education and defines different possibilities how to interconnect dramatics education and project education. The practical part is based on the principles of teachers' action research. It comes with a comprehensive description of three projects which were integrated into a low-class schools' education. Various methods of dramatics education were included in all different ways. The results of the research are summarized in the reflection of realized projects and they are further analysed and evaluated with respect to the beneficial aspects for pupils...
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Musilová, Alena. "Metody a techniky dramatické výchovy využitelné v praxi mateřské školy s dětmi ve věku tří až čtyř let." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-306048.
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AND KEYWORDS This final thesis deals with "Methods and techniques of drama in education suitable in kindergarten praxis for children aged 3 to 4 years." It studies the suitability of selected techniques and methods when used in drama education of 3-4 year-old children. The thesis has a theoretical and a practical part. In the theoretical part we try to outline related issues, taking a professional perspective and using scholarly resources. This creates a point of departure for the practical part, which begins by identifying goals, asking questions and choosing methods of study. As its primary method of study the thesis selects the analysis and evaluation of real drama education lessons. The practical part draws upon work according to the School Education Programme and Class Education Programme, and uses related literature (Hana Budínská: "Games for six senses"). It also utilizes books for children, analysing selected fairy-tales and poems. At the end the practical part summarizes all findings and evaluates the research questions. The conclusion discusses the new knowledge acquired through working on this thesis. The thesis tries to describe work with children aged between three and four years, in nursery school drama education lessons. Both theory and practice are taken into account. The focus is...
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Hanáková, Radka. "Japonské pohádky a jejich využití v dramatické výchově." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329752.
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The diploma thesis deals with the application of Japanese fairy tales in drama education lessons at Primary school. The goal of the thesis is to consider the suitability of Japanese fairy tales in the drama education lessons. The thesis is devided into the theoretical and practical part. The first chapter of the theoretical part I deal with a brief theory of fairytales. The second chapter is about Japanese fairy tales. The classification of Japanese fairy tales is described and there are also some examples. The third chapter is about fairy tales in the drama education. The practical part serves to verify the goals of the diploma thesis. Four Japanese fairy tales, in which drama education methods and techniques were used, are processed and reflected. All the lessons were realised at Primary school.
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ŽIŽKOVÁ, Barbora. "Rozvoj komunikačních dovedností prostřednictvím dramatických technik." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-54904.
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My Diploma Thesis deals with developing communicative skills through drama techniques. In the theoretical part I concern myself with the use of drama techniques at school in general and also in English lessons. I am trying to demonstrate the greatest advantages and disadvantages of using the drama techniques. I also deal with role play as a basic drama method and with correcting mistakes during drama techniques in the class. This is followed by the definition of the term communicative skill and explanation of how communicative skills are defined in the Framework Educational Program and in the Common European Framework of Reference for Languages. The practical part deals with the characteristics of the school and the class in which I did my research. This is followed by the description of four activities that are based on the drama techniques and are also suitable for developing communicative skills. I was trying to fit these activities into the English syllabus of the particular class. The aim of the Diploma Thesis is to show the theoretical basis and practical use of the drama techniques and to decide whether the drama techniques are really suitable for developing communicative skills of the students.
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Mihalová, Tereza. "Využití metod a technik dramatické výchovy k pochopení literárního textu." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-310768.
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This diploma thesis concerns possibilities of using drama methods and techniques for understanding of literary texts within primary school education, with special emphasis on supporting pupils' reading. In its first theoretical part the basic terms are defined, such as literature, reading and their importance for a human; Literary Education and Drama Education (including its methods) and their possible meetings in the educational process. Furthermore, the theoretical part deals with use of a literary text as a theme for a preparation for creative drama lessons, including drama structuring. The practical part is focused on three specific proposals for drama lessons with using literary texts. Two of them were carried out and evaluated with respect to the predetermined goals. It affirms that the application of drama methods and techniques within classes of literature and reading is justified. Keywords: Drama Education, School Work System of Education, drama methods and techniques, preparation for a lesson, individual experience, learning through co-operation, a literary text
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Volejníková, Jana. "Dramatická výchova jako metoda práce ve 2. a 3. ročníku ZŠ." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-379374.
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This master's thesis is to verify the use of methods and techniques of dramatic education in primary subject in the 2nd and 3rd year of elementary school and to find out the possibilities that the dramatic education brings. The thesis is divided into the theoretical and practical part. The theoretical part deals with topics related to the methods and techniques of drama education. In the practical part are described and compared classics hours of primary subject and hours primary subject with using elements of dramatic education. The methods of research are non-direct observation and questionnaire investigations.
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Brandalíková, Petra. "Využití dramatických cvičení a rolových her v práci s učebnicí Maturita Solutions - intermediate." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329737.
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This master thesis deals with interconnection of language teaching and drama. It presents a set of supplementary drama activities to the textbook Maturita Solutions-Intermediate. The concern is the use of drama activities in second language teaching at secondary school; for this purpose the set of drama activities and role-plays was carried out in several classes at two secondary schools in Prague. The theoretical part presents the methods, which emphasize the importance of communicative abilities, and provides a background to the idea that drama is one of the ways of teaching a second language. The practical part introduces the created activities and their pilotage at schools and the work is concluded with a feedback from the students and the teachers who participated. The author of the thesis encloses all the supplementary activities, which can be found in the appendix. Key words: communication, drama in education, techniques, coursebook, role-play