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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.
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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008."A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.
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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.
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Chamberlain-Snider, Sandra. "Arts Umbrella's Theatre Troupes : a history of theatre training for children and youth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44203.
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Arts Umbrella is a not-for-profit arts education centre for children and youth ages two to nineteen. Its Theatre program has been providing artistic theatre training to young people in the Metro Vancouver area for almost thirty years. This study's objective is to present the history of the Theatre Troupes within a historiographical methodology that takes into account all the contributing factors towards the program's successful development. The material archive resources of Program Guides, Reports to the Board, Newsletters, Show Programs and the original Business Plan are documented in a chronological exposition of the Theatre Troupes' history along with interviews with Arts Umbrella co-founder Carol Henriquez, the influential Troupe directors Sarah Rodgers, Paul Moniz de Sa and Susanne Moniz de Sa, other artist-instructors and a summary of survey questionnaire responses from parents and alumni. The young theatre students at Arts Umbrella have experienced a rich and diverse history of theatre artists in Vancouver, in a safe and nurturing environment that has been consistently funded and stable administratively since inception of the Theatre Arts program in 1984.
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Konesko, Patrick M. "Representing Childhood: The Social, Historical, and Theatrical Significance of the Child on Stage." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1365154777.
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GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.
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The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.
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Crow, Ruthanne Lay. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade-- The Young Company, 1974-2001." Diss., CLICK HERE for online access CLICK HERE for online access, 2002. http://patriot.lib.byu.edu/u?/MTAF,24579.
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Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2002.Includes CD-ROM: "The Whittlin' Whistling Brigade, The Young Company. Electronic and multi-media thesis by Ruthanne Lay Crow, July 2002." Includes bibliographical references (p. 228-229).
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Laissle, Kate M. "An Examination of the History and Practices of Children's Theater Culminating in a Touring Production of Thumbelina: The Story of a Brave Little Girl." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275666975.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.
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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.
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Marshall, Brian M. "Caryl Crane Children's Theatre A Strategic Analysis." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302124613.
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Tzibazi, Vasiliki. "Researching primary school children's "museum theatre" experiences." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/10712.
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As the number of museums that employ theatre as part of their educational provision is increasing there is a need for the articulation of the theoretical framework and an in-depth insight into the children's "museum theatre" experiences. The aim of this empirical research is to examine how primary school children "make meaning" of the form and content of the experience in two forms of "museum theatre": a) a participatory theatrical experience in the heritage site of Clarke Hall and b) first person interpretation events in the Museum of London. Based on the principles of the constructivist qualitative paradigm, the research attempts to offer an insight into how the children understand the content and format of the "museum theatre" experience. The research focuses on the interrelationship between the children's prior-to-the-event agenda and their "museum theatre" experiences and examines the children's experiences as products of relationships between the involved parties: the museum's agenda and the schools' agenda. The constructivist paradigm and the interpretive sociological approach illustrate the epistemological position that underpins the formulation of the research questions and the methodological framework employed. The data generation methods derive from ethnographical research methods and mainly involve interviews, observations and children's drawings. The research attempts to elucidate the parameters that shape the children's "museum theatre" experiences. These include the museum's setting and objects, the children's willingness to suspend disbelief, the interactive/participatory aspects of the experience and the opportunities given to children for reflection and generation of new understandings. The research findings underline the subjectivity of the theatrical experience, as shaped through the various objectives and expectations of the involved parties. They suggest that interplay between the event's format/content and the experience's fictional/real context is evident in the children's interpretation of their "museum theatre" experience.
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Wood, Margot. "Children's theatre : in search of an approach to theatre by children, for children." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50296.
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Thesis (MA)--Stellenbosch University, 2005.ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once.
AFRIKAASNE OPSOMMING: Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer, selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm en 'n stortingsterrein vir hulpbronne van volwasse teater. Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is gebaseer op die idee dat spel 'n belangrike en voordelige aspek van kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander area, wat die fokusarea van hierdie studie is, is gemoeid met verhoogaanbiedings vir kinders, dus Kinderteater. Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore as gevolg van swak metodologie. Histories het die waardes en oogmerke rondom Kinderteater onwikkeling ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die kwaliteit van beide die finale produk en die proses waardeur die eindproduk bereik is. 'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en probleme wat spesifiek handeloor die proses van regie vir kinders as spelers. Moontlike oplossing vir hierdie probleme salondersoek word. 'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese projekte sal gebruik word om die menings van praktisyns op die gebied te ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in Kinderteater is altyd beide onderwyser en regisseur.
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Terry-Beitz, Paulene. "Developments in children's theatre in Adelaide, 1836-1959 /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art329.pdf.
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Ewu, Rachel Jumai. "A proposal for the development of children's theatre in Nigeria." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252686.
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Merrifield-Beecher, Jane A. 1952. "The history of the Gaslight Theatre." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/292022.
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Tony Terry founded The Gaslight Theatre in Tucson, Arizona, in 1977. The thesis examines The Gaslight Theatre in order to validate the company's artistic relevancy as a contemporary producer of melodramas and to further understand the reason behind the theatre's current success. The structure of the work begins with a history of melodrama, a look at the producer, Tony Terry, and his background and influence on The Gaslight Theatre, followed by a history of The Gaslight's three phases: The Victorian melodramas, the musical comedy melodramas, and the comedy spoof melodramas. A history of The Gaslight olio reveals the nature of the art form. The thesis further provides a study of those involved in the theatre's success, as well as the company's inevitable link to the current theatre practices. Most importantly, the thesis examines The Gaslight Theatre's significance to the local and American theatre community.
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De, Somogyi Nicholas Jan. "Shakespeare's theatre of war." Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/272391.
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Cooper, Hilary Jacquelyn. "Young children's thinking in history." Thesis, University College London (University of London), 1991. http://discovery.ucl.ac.uk/10019081/.
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Theories of cognitive development relevant to children's thinking in history are examined and previous research relating these to history is discussed. No agreed patterns of development in historical thinking which are based on cognitive psychology have so far been found, and the early stages of children's historical thinking have not been adequately examined. An experiment was set up to investigate young children's ability to develop arguments about a variety of historical evidence. Two groups of twenty eight-year-old children were taught four periods of history over two terms, as part of an integrated curriculum, by the researcher who was their class teacher. Teaching strategies were based on experience (visits to sites and museums), and discussion of key evidence using taught concepts. These experimental groups were compared with a control group in another school, taught the same four periods as the experimental groups, by an experienced teacher, using his siwn methods. At the end of each unit, the control and experimental groups were given a written test to assess their ability to make deductions about evidence related to the period but previously unseen. The first experimental group also made tape-recordings of discussions of the evidence, led by the teacher. In the second experimental group discussions, no adult was present. The experimental groups were also tested on their ability to write stories based on their knowledge of this period. Assessment scales based on cognitive psychology and previous research were devised. Findings suggested that children were able to make a range of valid deductions about pictures, artefacts, diagrams, maps and writing, using learned vocabulary, and that they could recognise a distinction between certainty and probability. Discussions were more wide-ranging than written answers, whether an adult was present or not. It was suggested that through learning to make a range of valid suppositions about evidence, children begin to consider the attitudes and ideas of other societies. Teaching strategies are significant in developing children's historical understanding.
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Holledge, J. M. "Women's theatre - women's rights." Thesis, University of Bristol, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370703.
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McCoy, Allen. "TYA Methodology Twentieth-Century Philosophy, and Twenty-First Century Practice: An Examination of Acting, Directing, and Dramatic Literature." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3943.
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Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Jenkins, Jeffrey Eric. "Making Theatre 'History' (Re)Writing the Record." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527628.
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Lasik, Franklin James. "Documentary theatre: dramatizing history and historicizing dram." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407236436.
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Kibler, Amanda H. "Once upon a time making fairy tales relevant in contemporary theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002988.
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Soderbery, Celeste Koren. "The use of children's theatre as a tool for teaching environmental education." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2476.
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The play, Madagascar Mayhem, was devised as a means of developing ecological understanding about rain forest preservation and educating and expanding upon the use of drama as it relates to environmental education. By being involved in and learning about issues addressed in the play's content, students learned about how their actions may have a positive impact on rain forest preservation, the biodiversity of Madagascar, its agricultural loss and the movement to protect it.
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Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.
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Taub, Myer. "Playing with/in history." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7984.
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Bibliography: leaves 52-58.The area of research for this written explication is defining a relationship between fragment and the assemblage of fragment in order to conceive new strategies for developing historical dramatic narrative. There were two significant methods with which the research occurred. One was a critical investigation into the work and writings of visual artists, historians, critics, writers and playwrights who all recognize the area of fragmentation in their specific field. The other was through writing and directing a play with UCT drama students called Lekker Faith (2003). This particular play opened at The Arena Theatre, Orange St, Cape Town on the 1 November 2003. The play joins two earlier plays The Hottentot Venus and the wonder of things unknown (Little Theatre, Cape Town, 2002) and Fourplay (Rehearsal Room, Monument Theatre, Grahamstown, 2003) to form part of an anthology of plays, called The Paris/Cape Town/Joburg Plays.
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Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.
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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.
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Vrtis, Brian Robert. "Teaching Theatre History: Re-Directing an Existing Course." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1409.
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Wolgast, Amanda. "EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002172.
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L'heureux, Lisa Joan Marie. "Une ouverture sur le monde : children's theatre and Théâtre de la Vieille 17." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2510.
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Over the past three decades, the plays and productions of Theatre de la Vieille 17 have made significant contributions to French Canadian children's theatre. Their productions embrace a fantastical and imaginative narrative that make them accessible to most audiences. As much as this company shows a remarkable openness to the world, it maintains strong ties to the Franco-Ontarian theatre milieu. This thesis examines key elements that have contributed to La Vieille 17's continual commitment to children's theatre as well as ways in which its productions and policy making have resulted in its increasing artistic and financial success.
This study begins by looking at La Vieille 17's three most significant plays: Le Nez, Mentire, and Meta. This analysis takes into consideration the narrative of each play, production elements, co-producers and collaborators, funding, the scope of their tour, and awards and recognition. Each of these aspects contribute to giving these productions a broader world view and help to establish La Vieille 17 as a leading producer of children's theatre.
The second part of this thesis analyses key moments during the company's history as well as moments in which it has acted as a common front with other Franco-Ontarian theatre companies. Both of these activities have shaped La Vieille 17's children theatre programming and have led the company to create a successful model in which to produce their works.
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Lamb, E. M. "The children's playing companies of early modern London : childhood, theatre, identity (1599-1613)." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432592.
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Comans, Christine Anne Wilmington. "La Boite Theatre 1925 to 2003: an historical survey of its transformation from an amateur repertory society to an established professional company." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16306/.
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This study addresses the central question of how Brisbane's La Boite Theatre negotiated its transformation from an amateur repertory society to an established professional company and, despite set-backs and crises, survived, changed and developed in an unbroken line of theatrical activity from its genesis in1925 to 2003. To answer the question, La Boite's history is surveyed within its three status modes of amateur, 'pro-am', and professional. Effective artistic and organizational leadership and a set of key manifestations of effective leadership are identified as crucial to the company's successful transformational journey. Such a transformation is a distinctive achievement in Australian repertory theatre history and, in exploring it, this study makes an original and important contribution to the history of Australian theatre organizations, very few of which have been the subject of scholarly research.
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Snyders, Theresa Lynne. "History of the University of Iowa Opera Theater 1938-1998." Diss., University of Iowa, 1998. https://ir.uiowa.edu/etd/5362.
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.
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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Swetnam, Ashley Nicole Londré Felicia Hardison. "A natural stage a history of theatre in Arkansas/." Diss., UMK access, 2008.
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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008."A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008 Includes bibliographical references (leaves 59-64). Online version of the print edition.
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Morrison, Matthew. "A critical history of the Soho Theatre, 1968-1975." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/964y6/a-critical-history-of-the-soho-theatre-1968-1975.
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This thesis represents the first detailed account of the Soho Theatre’s early history, from 1968 to 1975. During this period, ‘Soho’ was a pioneer of lunchtime theatre, offering a challenge to conventional theatre-going practice and placing new demands on writers, director and designers. Soho quickly established a dominant position on the burgeoning fringe and alternative theatre scene. It did so, however, in spite of critical misgivings about the value of the lunchtime ‘movement’. Commentators often failed to appreciate the innovative qualities of lunchtime work, finding fault with what they saw as a random approach to programming and an apparent lack of clear artistic policy. Many later theatre histories have reproduced this critique. As well as documenting the Soho Theatre’s history, therefore, this study offers a reassessment of the contribution it, and other lunchtime companies, made to the theatrical activity of the time. In my first chapter, I trace the development of the lunchtime theatre phenomenon, situating it within a number of theatrical, political and cultural contexts. I consider its complex relationship with the Arts Council and engage with some of the more dismissive accounts of its practices, revealing the ideological positions on which such assessments rest. In Chapter Two, I examine the company’s first ‘home’, at Le Metro Club on New Compton Street, and show how it quickly became an integral part of the developing theatrical landscape. In Chapter Three, I concentrate on Soho’s time at the King’s Head pub in Islington. Here it mounted a series of productions that challenged traditional notions of the ‘one-act’ play and tested the boundaries of the performance space. In 1972, the Soho Theatre moved again, to a basement on Riding House Street owned by the Polytechnic of Central London. Chapters Four and Five examine the company’s first years at what became known as the Soho Poly. I pay particular attention to the importance of the venue itself, showing how it played a crucial role in Soho’s survival. I conclude by arguing that existing studies of fringe and alternative theatre have underestimated the values of ‘eclecticism’, ‘contingency’ and ‘responsiveness’ that often characterised the Soho Theatre and other companies on the lunchtime scene.
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Benson, Marilyn Leigh. "The birth of the Frederic Wood Theatre -- how the early development of the University of British Columbia fostered the establishment of the Theatre Department and the Frederic Wood Theatre." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30330.
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It has been said that the character of an institution is largely determined by its history and the personalities that shaped it. If this is so, the Frederic Wood Theatre has much to draw on, for it was founded in the spirit of cooperation and promise.
This thesis traces the beginning of the university from the original petition for its formation, through its early struggle to be established. Concurrent with this expansion is the growth of theatre at the university, a development which helped to introduce the institution throughout the province. The current Frederic Wood Theatre is the outgrowth of a tradition of theatre at the University of British Columbia.
The beginning of this historical retrospective is the original petition for the founding of the university. Subsequent to that initial and failed attempt, the University of British Columbia was created by legislation through the efforts of Henry Esson Young, the "Father of the university", and by organization through the works of Frank Fairchild Wesbrook, its first President. Professor Frederic
Wood, a founding member of the faculty in 1915, formed the Players'Club which provided the university its theatrical foundation for the next thirty years.
Dorothy Somerset, a Director of the Players'Club and the Vancouver Little Theatre (also co-founded by Prof. Frederic Wood) established accredited theatre courses at the university and founded the Summer School of the Theatre. In 1952, these achievements won her the university's first legitimate theatre: the Frederic Wood. With single-minded purpose, Dorothy Somerset further established the Department of Theatre in 1958, building the present 410 seat Frederic Wood Theatre five years later in 1963.
More than a physical building, the Frederic Wood Theatre is a dynamic process responding to the energies and influences of its principals. Seven individuals (out of hundreds) who were fundamental in contributing to the accomplishments of the Frederic Wood Theatre are introduced: Henry Esson Young, ''Father of the University'; Frank Fairchild Wesbrook, first President of the University of British Columbia; Professor Frederic G.C. Wood, founder of the Players' Club; Dorothy Somerset, founder of the Department of Theatre; Jessie Richardson, in whose honour years later, the Jessie Awards were created; Norman Young, stage manager, publicizer and lobbyist, and John
Brockington, Head of the Theatre Department for 23 years, the man who guided and developed its academic and degree granting programs.
Few people realize how great a role the theatre has played in the establishment of the University of British Columbia.Arts, Faculty of
Theatre and Film, Department of
Graduate
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O'Connell, Ashanti. "Children's memories of political violence." Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268561.
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Fine, Abigail Calvert. "Totus Mundus Agit Histrionem': Identity and Politics in Eighteenth-Century English and Colonial American Theatre, 1752-1776." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626663.
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Sun, Angela. "Promoting breast cancer screening among Chinese American women through young children's theatrical performance." ScholarWorks, 2009. https://scholarworks.waldenu.edu/dissertations/686.
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Research has revealed that underutilization of breast cancer screening by ethnic minorities often is related to language difficulties and cultural values and beliefs about cancer. The problem addressed in this secondary data analysis was the late diagnosis of breast cancer in the Chinese immigrant community. The purpose of the quasi-experimental study was to test the efficacy of a theatrical preschool performance, guided by the diffusion of innovation theory, in educating Chinese American women about breast cancer detection. The research questions sought to determine whether the performance increased the participants' knowledge of breast cancer screening guidelines and whether country of origin, length of stay in the United States, and self-reported attentiveness were associated with knowledge gain of breast cancer screening guidelines. The preschool performance was performed by Chinese children ages 3 to 5 who displayed breast health guidelines from the Susan G. Komen for the Cure. One hundred and seventy-seven pre- and postperformance surveys were collected from a sample of Chinese women (84% foreign born). The secondary data were analyzed using standard linear regression analyses and bivariate logistic regressions. The findings demonstrated that promoting breast health screening guidelines among Chinese American women through a preschool theatrical performance significantly increased the participants' knowledge of the guidelines. However, no major impact was detected between knowledge score and attentiveness to the theatrical performance and any of the demographic variables. Health care professionals can foster social change by adapting a preschool theatrical performance to educate ethnic communities on cancer control guidelines for early detection.
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Nadeau, Martin. "Theatre et esprit public : le role du Theatre-Italien dans la culture politique parisienne a l'ere des revolutions (1770-1799)." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37795.
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Taking as a case study the Theatre-Italien, here considered both as a particular theatrical practice and as a specific stage in Paris---one of the most popular at the time---this dissertation asks what role this theatre played in the novel competition of discourses which characterized political culture in the era of Revolutions. All too often, historians have overestimated print culture as the main medium through which discourses were produced in the eighteenth century, and this despite the fact that theatre played a fundamental role in the public life of this period. Furthermore, when theatre is studied, historians emphasize too often the written form of the plays.The dissertation's structure seeks to underline the specificity of the cultural practice represented by the theatre. The discrepancies between the meaning of a play written by a particular author and the same play as it is performed on stage are emphasized. Political messages emerge out of the language of the actors and actresses without any possibility to control them, so that the players become, in effect, co-authors of the play. Similarly, the variety of the nature of the audience and the way in which it becomes at once judge, co-author and co-actor make the public, neither intangible nor invisible, but simply gathered, a crucial feature of this cultural practice which allows us to argue that theatre was actually a very bad instrument of propaganda. Instead, theatre can be seen at the time to be a public scene of immediate political debate. The conflicting opinions expressed there turn theatre not into the minor of political reality intended by various regimes confronted to the diversity of the polity---what some people have called "a school for the people"---but rather as the mirror of the reality experienced by a large number of Parisians at the time. It is in this sense that we relate the theatrical practices studied with the concept of public spirit, expressing the people's understanding of the general interest, instead of that of public opinion, expressing the unified message imposed by a dominant political group.
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Alotaibi, Naif Khalaf N. "A historical study of Saudi theatre with reference to the history of theatre in the General Presidency for Youth Welfare." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14554.
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The subject of Saudi theatre has not been very well investigated by scholars and researchers, and many agree that there is a lack of resources concerning theatre in Saudi Arabia. Although there are a few studies about Saudi theatre, more studies in the history of Saudi theatre as well as in different aspects of theatre in Saudi Arabia are needed in order to help readers to further understand this subject. Unfortunately, the international community of theatre has not been able to access information about theatre in Saudi Arabia owing to the absence of studies of Saudi theatre in different languages, especially in English; this lack plays a key role in preventing readers from understanding Saudi theatre. This thesis attempts to play a role in bridging this gap in the area of Saudi theatre. It presents, therefore, a historical study of Saudi theatre from the establishment of Saudi Arabia as a country in 1932 to the period in which the General Presidency for Youth Welfare (GPYW) was established as the first organization that was responsible for supervising and producing theatre in Saudi Arabia, 1974-2004. In particular, the main aim of this research is to study and examine the history of theatre in GPYW from its establishment in 1974 up to 2004 when the Saudi government decided to transfer the responsibility of cultural activities from different institutions, including the GPYW, to the Ministry of Culture and Information. This will offer an important picture of the history of Saudi theatre which previously has not been addressed by scholars and researchers. The thesis is divided into six chapters. Owing to the fact that Saudi Arabia is a part of the Arabic world and has some similarities with the other Arabic countries in terms of language, religion, history, and culture, the first chapter will attempt to familiarize readers with the history of theatre in the Arabic world by providing historical background of the Arabic theatre. The second chapter will offer an outline of the historical, religious and social context of Saudi Arabia. The third chapter will present a detailed picture of the beginning of theatre in Saudi Arabia and the theatrical activities that took place in Saudi Arabia from its establishment until 1974, the year in which the GPYW was established. The fourth chapter will be devoted to exploring and understanding the main tendencies of theatre that emerged in Saudi theatre and dominated the history of theatre in this establishment from 1974 until 2004. In addition, a summary of a play of each tendency will be presented. It is essential for readers to be aware of the nature of these tendencies as they move to explore the history of theatre in the GPYW through the next chapters. The fifth and sixth chapters will concentrate on the history of theatre in the two main parts of the GPYW that produced regular theatre; the General Administration for Cultural Activities and the Saudi Arabian Society for Culture and Arts. Finally, the thesis will conclude by summarizing its main points and ideas and will provide some recommendations that should help the readers, future researchers, and Saudi practitioners to further improve and develop the subject of theatre in Saudi Arabia.
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Brosseau-Liard, Patricia Elisabeth. "Preschool children's interpretation of others' history of accuracy." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1310.
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Over the past 25 years, there has been tremendous interest in the development of children’s ability to reason about others’ mental states, or “theory of mind”. Much research has explored children's understanding of situational cues that lead to knowledge, but only recently has research begun to assess children's understanding of person-specific differences in knowledge. A number of studies (Birch, Vauthier & Bloom, 2008; Jaswal & Neely, 2006; Koenig, Clément & Harris, 2004) have recently demonstrated that at least by age 3 children pay attention to others' history of accuracy and use it as a cue when deciding from whom to learn. However, the nature and scope of children's interpretations of other's prior accuracy remains unclear. Experiment 1 assessed whether 4- and 5-year-olds interpret prior accuracy as indicative of knowledge, as opposed to two other accounts that do not involve epistemic attributions. This experiment revealed that preschool children can revise their tendency to prefer to learn from a previously accurate informant over an inaccurate one when presented with evidence regarding each informant's current knowledge state. Experiment 2 investigated how broadly a person's history of accuracy influences children's subsequent inferences, and showed that 5-year-olds (but not 4-year-olds) use information about an individual's past accuracy to predict her knowledge in other related domains as well as her propensity for prosocial or antisocial behaviour. Overall, children's performance in these experiments suggests that both 4- and 5-year-olds interpret others' history of accuracy as indicative of knowledge; however, 4-year-olds make a more restricted attribution of knowledge while 5-year-olds make a more stable, trait-like attribution. These findings are discussed in terms of their implications for research on theory of mind and more broadly on children's social and cognitive development.
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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
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Richards, Keith Owen. "The Red Bull as community theatre in Clerkenwell." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37230.pdf.
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Blackwell, Mary Alice. "An Undergraduate Theatre History Course Design Utilizing Problem-Based Learning." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1188.
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This thesis was written to provide an alternative teaching model for an undergraduate theatre history class. The course design, utilizing the Problem-Based Learning educational model, aims to create a student-centered, experiential theatre history class. The first section explores the history and evolution of the theatre discipline in academia. These chapters examine the expansion and transformation of the theatre curriculum within the discipline and higher education. The second part examines the history and the methodologies of Problem-Based Learning. Based on the philosophy of educator John Dewey, PBL is considered to be a non-traditional method of teaching and learning that encourages the development of self-directed learning and the acquisition of knowledge through experiential education. The final section describes the actual course design. Included in this section are the educational objectives of the class, examples of problems, assessment methods, and an examination of potential challenges in the design.
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Shepherd, Janet. "Music, text and performance in English popular theatre 1790-1840." Thesis, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284561.
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Chelakis, Gino S. "Of Holes and Historitivity Excavating the Ruins of History and Mining with Memory: A Performance Paradigm." LSU, 2004. http://etd.lsu.edu/docs/available/etd-12212003-201744/.
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The methods by which we collectively create, experience and remember history are complicated and fraught with holes and inconsistencies. All to often, the institutions that govern historical events are invested in eliminating those holes or reconciling those inconsistencies, or both. Our universities, as they purport to house knowledge and extend our experience of that knowledge, are highly implicated in this particular process of dealing with the historical hole. In response to that constructed reality, many scholars and theorists, both from within the walls of the academy and from their fields outside the academy, find themselves obligated, from a political and ethical position, to attack or subvert or weaken or punch their own holes in the prevailing academic body. A cycle of hole filling and hole drilling is created. As if we have been cursed by our own Atreusian knowledge, we, as academics, as historians and as theorists seem fated to perform in a cycle that perpetuates itself in an ever-continuing, self-reflexive way. Of Holes and Historitivity addresses this situation by advocating that historical experiences are perhaps best memorialized in performance. In reshaping the way we memorialize or remember our historical artifacts and events, Of Holes and Historitivity hopes to eventually reshape our understanding of knowledge and the pedagogy that purports to bring us to that knowledge. If this can happen, if the nature of the academy can change, then perhaps our understanding of our own natures and identities will follow. Perhaps we will come to recognize the holes and inconsistencies in our perceived realities as the most glorious parts of those realities. In the immediacy of a remembering theatre, Of Holes and Historitivity wants to change what and how we know.
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Osei-Hwere, Enyonam M. "Children's Television in Ghana: History, Policy, Diversity, and Prospects in a Changing Media Environment." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1218685896.
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Polycarpou, Charis. "(RE) creating a theatre of myth : pedagogy and cultural heritage in a theatre for Cypriot youth." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3648/.
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This thesis will argue that the contemporary educational system of Cyprus denies young people opportunities to participate in the creation of their culture, which can provide the nest for the exploration and understanding of their individual and collective lives. Culture, in schools, is treated not as a dynamic process in which the young people can play the main role but instead as a static field of knowledge that should be studied and learnt. This approach, however, contradicts the same principles that were the foundations of the ancient culture that the young Greeks have inherited from the past whose performative and participatory nature ascribed to it a proactive and democratic public life that guaranteed everyone the right to speak and act. This thesis argues that the Greek young people of contemporary Cyprus should be entitled to participation in recreating and reconstructing the meanings and values of those stories that have inherited from the past and that bind them together as one people in ways that help them make sense of their contemporary private and public roles. The thesis argues that the myths of the past should be reinterpreted and repositioned again in the present to respond to the immediate social context of the young people in a participatory and democratic way so as to enable a progress of this culture and a connection between the past, the present and the future. The thesis shows that culture is under continuous reconstruction taking on the example of fifth century BC Athens where theatre and public life fed one another and developed to respond to the current socio-historical context of the time. Throughout, the thesis shows in what ways theatre can provide the means for the investigation of the inherent meanings in the myths of the past and also its significance in playing the role of the social agent that can enable transformation and progress. The thesis consists of an introduction, eight chapters and a conclusion. In the Introduction I identify the problem that exists in the contemporary educational system of Cyprus concerning the way that the field of culture is approached and present the conceptual framework that provides the foundation for proposing a new Theatre of Myth. Chapter one provides a critical reflection on and analysis of the oral culture of Homer to the democratic fifth century BC Athens and the birth of tragedy. Chapter two studies, both from the ideal and the material aspect, the social role of the Athenian tragic theatre and its polis during the fifth century. Chapter three seeks to base the arguments made in the thesis of the educational and political role of the fifth century theatre through a critical analysis of its form and content. Chapter four identifies and supports the principles of the proposed Theatre of Myth, drawing from the twentieth century developments in Modem Drama whilst chapter five shows how the Drama-in-Education tradition attempts to bridge the practices in the Modem Drama paradigm to come closer to the proposed theatre model. Chapter six provides the methodology followed for a pilot case study that attempts to transfer the Theatre of Myth into practice, which is the preoccupation of chapter seven. Chapter eight discusses and analyses the findings of the case study to inform the theoretical lines of the model of the Theatre of Myth. Some conclusions are discussed concerning the potential and the limitations of the Theatre of Myth in the end of the thesis.