Relevant bibliographies by topics / History of youth theatre

Contents

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

Academic literature on the topic 'History of youth theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "History of youth theatre"

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Ogbonna, Kelechi Stellamaris. "Youth Education and Intercultural Interaction as Panacea to Ethnic Conflict: Theatre to the Rescue." International Journal of Pedagogy, Innovation and New Technologies 7, no. 2 (December 30, 2020): 98–106. http://dx.doi.org/10.5604/01.3001.0014.6877.

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It is obvious that broad world view provided by education can douse tension, discrimination, reduce hate speech and minimize aggression. Education is a weapon of mass instruction and has been powerful enough to push ignorance to the background. More so, it has become a prime function of education to illuminate the world with ideas and in its nature to unite the world through inventions and technological developments. Arguably, education has also introduced strange norms and vices especially among youth circles. But, because habits are hard to modify, the onus falls on the theatre that thrives on burlesques, parody, polar attitudes and modification of character to use the stage effectively for correction and preservation. Methodically, this paper x-rays selected theatre performances that have tried to reduce ethnic conflicts in Nigeria using the Fundamental Interpersonal Relations Orientation (FIRO) as theoretical backings. Through role playing on stage and in the classroom, the paper redirects the attention of the youth and government towards reorientation and sustainable values. The findings reveal that theatre has the capacity to influence minds and can engineer behavioral change which by extension ensures peaceful co-existence and sustainable developments. Thus, the paper recommends that History, Culture and Youth Education be incorporated in the secondary school curriculum. Also, if theatre performances with topical themes are sponsored for the benefit of the youths, it will increase tolerance. The research concludes that performing youth education in the classroom, at grass root level and public spaces will subtly promote nation building and integration.
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Poltavets, Nataliia. "Theatre life in the village – a new kind of leisure for peasant youth in the 1920s." Universum Historiae et Archeologiae 3, no. 2 (December 29, 2020): 71. http://dx.doi.org/10.15421/26200207.

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The purpose of the article is to highlight theatrical art as a form of organized cultural leisure of peasant youth during the 1920s. Research methods: problem-chronological, historical-systemic and analytical. Main results. It is found that drama circles and rural theatre were in great demand among young people and became the most popular form of leisure in the village. The organizers of group theatrical work were Komsomol activists and teachers. It is found that the latter, being an educated part of the rural environment, became more productive and effective in setting up appropriate work with peasant youth. There were organizational and financial problems in the practice of theatre companies and drama circles. It was one of the reasons for the low quality of youth theatre performances. At the same time, there were many successful amateur groups in the districts of the Ukrainian SSR. The author shows that the role and place of peasant youth in drama circles and rural theatres was determined by the political education policy of the ruling party. The filling of youth leisure by rural theatre was to perform several functions, including raising the general cultural level of the population, deepening political consciousness, anti-religious propaganda and levelling the dominant traditional forms of leisure for young peasant population. Taking into consideration the functions and tasks, set by the ruling elite before theatrical and dramatic circles, the themes of plays and performances were also appropriate. They tried to select the whole repertoire in the direction of general strengthening of the Bolshevik Party position in the countryside. Considering the possibility of influence of this type of art on young people consciousness formation, in the conditions of the totalitarian regime it was doomed to its political and ideological service. Practical significance: recommended for use in the study of rural youth leisure, the study of history of rural theatre as an original phenomenon in the village of the NEP period. Originality: the author generalizes the experience of creating leisure of rural youth of the post-revolutionary period in the conditions of ideological and cultural transformations. Scientific novelty: for the first time peasant youth is considered by the author as a subject of the formation of a new type of leisure of the Ukrainian village of the 1920s. Article type: review-generalizing.
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Matiza, Vimbai Moreblessing. "NURTURING OF CHILDREN THROUGH DRAMA AND THEATRE: THE CASE OF INTWASA KOBULAWAYO PERFORMANCES." Commonwealth Youth and Development 13, no. 2 (June 1, 2016): 86–99. http://dx.doi.org/10.25159/1727-7140/1149.

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Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.
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Ashagrie, Aboneh. "Children's Theatre in Ethiopia." Aethiopica 15 (December 4, 2013): 105–17. http://dx.doi.org/10.15460/aethiopica.15.1.662.

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When theatre arts emerged in Ethiopia 90 years ago, all characters in the pioneering play were performed solely by children in front of the Crown Prince Täfäri Mäkwännǝn, and members of the aristocracy. The tradition of considering children as a main force of stage production, and the tendency of showing dramatic performance by students to the benefit of adult audience, likewise, continued up until the establishment of the first professional public theatre in 1942. It was late in early 1980s that a change in perspective occurred to urge the indispensability of producing plays for children’s consumption. Such a new insight, within a few years, led to the establishment of the Children and Youth Theatre in Addis Abäba. This article chronologically portrays the history and development of Ethiopian children’s theatre and will hopefully add knowledge to the account of African theatre in particular and the world theatre in general.
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Abraham, Nicola. "The intuit: An investigation into the definitions, applications and possibilities offered by intuitive applied theatre practice with vulnerable youth." Applied Theatre Research 7, no. 2 (December 1, 2019): 233–49. http://dx.doi.org/10.1386/atr_00018_1.

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Abstract This article offers insights into what might constitute intuition in applied theatre practices with vulnerable youth in London. The study will explore the approaches of five theatre companies working with children and vulnerable youth. A lead practitioner from each company has been interviewed, and the interpretation of the data they have provided has offered new insights into the role of intuition as an approach to ensuring that applied theatre is responsive to young people living precarious lives. The research identifies two aspects of intuitive practice: one that resides with the actions and thoughts of the practitioner, and the other that involves the acceptance of intuitive creative offerings by participants. The study has also revealed the potential heightening of intuitive responses for practitioners who share history, culture, location or identities with their participants. As a whole, the findings offer useful potential considerations of key qualities for an intuitive practitioner, or the intuit, working specifically with young people in contexts of uncertainty.
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Halverson, Erica Rosenfeld. "From one woman to everyman." Narrative Inquiry 18, no. 1 (August 15, 2008): 29–52. http://dx.doi.org/10.1075/ni.18.1.03hal.

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In this article, I extend Labov’s narrative analysis of personal experience (Labov, 1972, 1997; Labov & Waletzky, 1967/1997) to demonstrate how personal narratives that are taken up and transformed into pieces for public performance work within a reportability continuum that balances the individual storyteller’s perspective while incorporating the voices of the community to which these individuals belong. I use the case of the About Face Youth Theatre, a Chicago-based theatre company that engages lesbian, gay, bisexual, transgendered, and questioning youth in the dramaturgical process, to demonstrate how narratives are transformed from highly reportable, personal narratives, to highly credible, generic adaptations, to performances that result in the construction of positive, public identities that expose normalness without sacrificing particularity. This process can provide adolescents who experience stigma in public contexts with the opportunity to understand how they see themselves, how others see them, and how they fit into their communities and to fit these perspectives together into a more coherent sense of self.
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Carney, Sean. "The Tragedy of History in Sarah Kane's Blasted." Theatre Survey 46, no. 2 (October 25, 2005): 275–96. http://dx.doi.org/10.1017/s0040557405000165.

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The first performance of Sarah Kane's Blasted in 1995 is already widely regarded as a landmark in the history of contemporary theatre in England, singled out for the same reason that Edward Bond's 1965 Saved and Howard Brenton's 1980 The Romans in Britain achieved notoriety. Blasted belongs in this genealogy of English plays in that all drew attention to themselves with instances of raw violence represented onstage and contextualized within situations of scathing social criticism. Saved contains an infamous scene in which the apathy of a group of dispossessed urban youths leads them to the casual stoning to death of a baby in its pram, and in The Romans in Britain a young Celtic seer is raped onstage by a Roman centurion. In both cases, these instances of visual shock became decontextualized and held up to the public eye, a disassembling of the part from the whole, which constituted an act of interpretive violence perpetuated against the dramas themselves. The violence in Blasted was similarly decontextualized and sensationalized in the British press. Yet in contrast to Bond and Brenton, Kane's brief body of work quickly received sober reevaluations on the part of previously hostile theatre critics, largely as a result of her suicide in February 1999 at the age of twenty-eight. While Kane had always had supporters among theatre workers, including Edward Bond, who had appreciated the strength of her work from the outset, Blasted is now also praised as a major work of theatre by critics who were previously happy to mock the play and vilify its author.
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McCormick, Frank. "John Vanbrugh's Architecture: Some Sources of His Style." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 135–44. http://dx.doi.org/10.2307/990182.

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This essay posits three basic sources for the vocabulary of Vanbrugh's mixed style: namely, (1) the interior architecture and scene design of the contemporary theatre, with which Vanbrugh became familiar in his capacity as dramatist and manager of the Queen's Theatre at the Haymarket; (2) the medieval forms of the walled city of Chester in which he spent his youth; and (3) the donjon and courtyards of the Chateau of Vincennes, which Vanbrugh would have come to know during his imprisonment there in 1691. The first two operate as rather general sources of the "theatrical" and the "medieval" elements in Vanbrugh's buildings. In the case of the Chateau of Vincennes the influence is more specific: the arrangement of the Chateau's donjon and courtyards supplied a model for the typical design of Vanbrugh's large-scale buildings in which forward-thrusting wings are attached to a deeply recessed centerblock. David Cast's neo-Hobbesian suggestions for "seeing" Vanbrugh are invoked as a means of making aesthetic sense of Vanbrugh's use of his three sources.
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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (August 2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.

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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.
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Jindra, Miroslav. "Homosexual parenthood in children’s literature." Acta Univeristatis Lodziensis. Folia Librorum 1, no. 28 (June 25, 2019): 105–24. http://dx.doi.org/10.18778/0860-7435.28.05.

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Homosexuality in children’s literature is still a controversial topic in many countries of the world. Not only are people afraid to talk about this theme with children, they do not know how. The history of this topic in children’s literature dates back to the 80s of the 20th century, when the first books were published. In 20th century, human society went through many changes which were reflected in all the fields of art (theatre, fine arts, literature, etc.). Writers had a need to familiarise children readers with ‘taboo topics’ such as homosexuality, death, drugs, etc. They wanted to introduce homosexuals as ordinary men and women, who live their own lives with their joys and worries. Today, we can find three main themes in children’s literature: coming out, the life of homosexuals and homosexual parenthood. Each theme has its own specifics and typical reader age group of children or youth. This characterisation can help us to deeper identify the topic. The literature offers children and youth better and easier cognition of the world with its differences. The aim is to learn about the history of homosexuality in children’s literature and go deeper into its individual themes, especially homosexual parenthood. Children need to know everything about life and have no taboos. Why are we afraid to talk about it?
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Dissertations / Theses on the topic "History of youth theatre"

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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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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.
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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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Jordan, Richard. "The space between : representing 'youth' on the contemporary Australian stage." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16173/.

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Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.
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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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Ferdinand, Laura Jeanne. "IMAGINING CHILDHOOD: CONSTRUCTIONS OF YOUTH, GENDER, AND IDENTITY AS PARTICIPANTS IN THE CULTURAL TRANSMISSION OF J.M. BARRIE'S PETER PAN." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1407511599.

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Cloutier, Joseph Leonard. "Popular theatre, education, and inner city youth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21558.pdf.

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Waidley, Karin Ann. "Violence interrupted : American youth and theatre in crisis /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10227.

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Jackson, Jonathan. "interACTionZ: Engaging LGBTQ+ Youth Using Theatre For Social Change." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5950.

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Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition&"174;. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences
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au, r. mccarron@ecu edu, and Robyn McCarron. "Performing arts in regional communities: The case of Bunbury, Western Australia." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.

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Abstract In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society. This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title ‘community theatre’ than the state-funded community theatre movement of the 1970s and 1980s. The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region. A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
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Books on the topic "History of youth theatre"

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Eek, Nat. The history of ASSITEJ, the International Association of Theatre for Children and Youth. Santa Fe: Sunstone Press, 2008.

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1930-, Shaw Ann M., and Krzys Katherine, eds. Discovering a new audience for theatre: The history of ASSITEJ, the International Association of Theatre for Children and Youth. Santa Fe: Sunstone Press, 2008.

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Grammatas, Thodōros. Neoellēniko theatro & koinōnia: Hē synkrousē tōn neōn me to systēma sto Hellēniko theatro tou 20ou aiōna. Athēna: Ekdoseis Steph. D. Vasilopoulos, 1990.

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Theater, youth, and culture: A critical and historical exploration. New York: Palgrave Macmillan, 2012.

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Staging youth theatre. Ramsbury, Marlborough, Wiltshire: Crowood, 2003.

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Medcalf, Charlotte. Youth theatre directory. [U.K.]: [N.A.Y.T.], 1986.

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Youth, nationalism, and the Guinean Revolution. Bloomington: Indiana University Press, 2009.

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Council, Scottish Arts. Review of youth theatre. Burntisland, Fife: Bonnar Keenltside, 2003.

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van de Water, Manon. Theatre, Youth, and Culture. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658.

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Brenner, Lisa S., Chris Ceraso, and Evelyn Diaz Cruz. Applied Theatre with Youth. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003039419.

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Book chapters on the topic "History of youth theatre"

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Carney, Megan. "Staging generations of queer history." In Applied Theatre with Youth, 133–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003039419-25.

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Taylor, Willa J. "Goodman Theatre." In Applied Theatre with Youth, 13–21. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003039419-3.

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Santiago-Jirau, Alexander. "Queering applied theatre." In Applied Theatre with Youth, 119–27. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003039419-23.

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Schneider, Rebecca. "“Theatre”." In Theatre & History, 18–21. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-45657-1_3.

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Aebischer, Pascale, and Nicolas Tredell. "Theatre History." In Jacobean Drama, 26–39. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06669-5_3.

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Shem-Tov, Naphtaly. "Performing history." In Israeli Theatre, 35–61. London ; New York : Routledge, 2021. | Series: Routledge Jewish studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781351009089-3.

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van de Water, Manon. "Theory and Theatre for Young Audiences: Marginalization and Cultural Production." In Theatre, Youth, and Culture, 41–57. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_3.

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van de Water, Manon. "Taboos in Theatre for Young Audiences." In Theatre, Youth, and Culture, 59–79. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_4.

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van de Water, Manon. "The Representation of “Troubled Youth” in US Theatre for Young Adults: Gay and Lesbian Theatre for Young Audiences." In Theatre, Youth, and Culture, 81–100. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_5.

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van de Water, Manon. "Theatre as Therapy in Volatile Regions." In Theatre, Youth, and Culture, 101–20. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_6.

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Conference papers on the topic "History of youth theatre"

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Savenkova, Lubov G. "Theatre Art In The Information Age: Youth Audience Perception Features." In EEIA 2019 - International Conference "Education Environment for the Information Age". Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.09.02.81.

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Oleg, Tsydenov. "THE ROLE OF YOUTH PARLIAMENTARISM IN CONTEMPORARY RUSSIAN ACTIVITIES." In Archives in history. History in archives. Ottisk, 2018. http://dx.doi.org/10.32363/978-5-6041443-5-0-2018-212-220.

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CHIMITDORZHIEVA, L. S. "ABOUT THE HISTORY OF THE RUSSIAN DRAMA THEATRE FOUNDATION IN BURYATIA." In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-219-221.

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Savrutskaya, Elisaveta. "MORAL CONFLICT AND VALUE SYSTEM OF THE YOUTH." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.102.

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Sattarov, E. I., and A. A. Tulebaeva. "The value system of Russian youth: a sociological survey." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-06-2020-05.

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Setiawan, Johan, and Aman. "Character Education Values in the Youth Pledge History Learning Materials." In Joint proceedings of the International Conference on Social Science and Character Educations (IcoSSCE 2018) and International Conference on Social Studies, Moral, and Character Education (ICSMC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icossce-icsmc-18.2019.49.

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Abylkassymova, B. "HISTORY AND FEATURES OF LANGUAGE PLANNING AND POLICY RESEARCHES." In IV International youth conference "Perspectives of science and education". Prague: Premier Publishing s.r.o., 2019. http://dx.doi.org/10.29013/iv-conf-usa-4-104-107.

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Udovkina, T. V., I. YU Rojba, and O. F. Lobazova. "Cultural and educational tourism in spiritual and moral education youth." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-02-2020-03.

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Orlova, E. A. "Art project as a new form of environmental education for youth." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-06-2020-03.

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Satybaldina, Diana. "Mobilities: History, Development, Transformations." In The First All-Russian Scientific and Practical Youth Conference “Mobility as a Soft Power Dimension: Theory, Practice, Discourse”. Institute of Philosophy and Law, Ural Branch of the Russian Academy of Sciences, 2019. http://dx.doi.org/10.17506/articles.mobility.2018.138150.

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Reports on the topic "History of youth theatre"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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Pond, Robert. The history of community theatre in Anchorage, Alaska, 1946-1976. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2970.

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Barry Goldenberg, Barry Goldenberg. Creating Youth Historians: How Can History Increase Urban Students' Academic Literacies? Experiment, September 2013. http://dx.doi.org/10.18258/1289.

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Lott, Emily. Investigating Time During Residential Program until Transition for Adjudicated Youth: A Mixed Methods Study using Event History Analysis with Follow-Up Interviews. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6520.

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Sultana, Munawar. Culture of silence: A brief on reproductive health of adolescents and youth in Pakistan. Population Council, 2005. http://dx.doi.org/10.31899/pgy19.1006.

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Previous research on the reproductive health of adolescents and youth in Pakistan has not addressed the diversity of adolescent experiences based on social status, residence, and gender. To understand the transition from adolescence to adulthood more fully, it is important to assess social, economic, and cultural aspects of that transition. This brief presents the experience of married and unmarried young people (males and females) from different social strata and residence regarding their own attitudes and expectations about reproductive health. More young people aged 15–24 live in Pakistan now than at any other time in its history—an estimated 36 million in 2004. Recognizing the dearth of information on this large group of young people, the Population Council undertook a nationally representative survey from October 2001 to March 2002. The analysis presented here comes from Adolescents and Youth in Pakistan 2001–02: A Nationally Representative Survey. The survey sought information from youth aged 15–24, responsible adults in the household, and other community members in 254 communities. A total of 6,585 households were visited and 8,074 young people were interviewed.
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ul Haque, Minhaj. Discrimination starts at home: A brief on parents' aspirations for adolescents and youth in Pakistan. Population Council, 2005. http://dx.doi.org/10.31899/pgy19.1009.

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Parents play a critical role in socializing their children and passing on essential information and life skills. The attitudes of parents help determine what young boys and girls do in life, and how they utilize opportunities and develop the skills necessary to make a comfortable transition into adulthood. This brief is based on interviews with Pakistani parents and describes their aspirations, which are likely to influence the lives of young people. More young people aged 15–24 live in Pakistan now than at any other time in its history—an estimated 36 million in 2004. Recognizing the dearth of information on the situation of this large group of young people, the Population Council undertook a nationally representative survey from October 2001 to March 2002. The analysis presented here comes from Adolescents and Youth in Pakistan 2001–02: A Nationally Representative Survey. The survey sought information from youth aged 15–24, responsible adults in the household, and other community members in 254 communities. A total of 6,585 households were visited and 8,074 young people were interviewed.
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Faizunnissa, Azeema. The poverty trap: Leveling the playing field for young people. Population Council, 2005. http://dx.doi.org/10.31899/pgy19.1007.

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Family plays a critical role in young people’s lives and is key in determining the conditions under which young people make important transitions to adulthood. This brief examines the impact of family-level poverty on the educational attainment, economic activity, and marriage patterns of Pakistani youth, and shows how strongly socioeconomic status shapes the lives of future generations. More young people aged 15–24 live in Pakistan now than at any other time in its history—an estimated 36 million in 2004. Recognizing the dearth of information on the situation of this large group of young people, the Population Council undertook a nationally representative survey from October 2001 to March 2002. The analysis presented in this brief comes from Adolescents and Youth in Pakistan 2001–02: A Nationally Representative Survey—the largest such survey focusing on young people. The survey sought information from youth aged 15–24, responsible adults in the household, and other community members in 254 communities. A total of 6,585 households were visited and 8,074 young people were interviewed.
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Sultana, Munawar. Two worlds under the same roof: A brief on gender difference in transitions to adulthood. Population Council, 2005. http://dx.doi.org/10.31899/pgy19.1008.

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Adolescence, a time of transition to adulthood, is different for young men and women in Pakistan; brothers and sisters living under the same roof have different opportunities available in all aspects of life. More young people aged 15–24 live in Pakistan now than at any other time in its history—an estimated 36 million in 2004. Recognizing the dearth of information on the situation of this large group of young people, the Population Council undertook a nationally representative survey from October 2001 to March 2002. The analysis presented in this brief comes from Adolescents and Youth in Pakistan 2001–02: A Nationally Representative Survey. The survey sought information from youth aged 15–24, responsible adults in the household, and other community members in 254 communities. A total of 6,585 households were visited and 8,074 young people were interviewed. This brief concludes that girls face disadvantages, especially in rural areas, and that parents, community, and policymakers need to work together to ensure that girls, like their brothers, are able to make a successful transition to adulthood.
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A history of abuse increases the risk of suicide attempts in youth. ACAMH, August 2020. http://dx.doi.org/10.13056/acamh.12665.

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Researchers in Belgium and the USA have conducted one of the first investigations into whether a history of various forms of abuse and the presence of mood disorders and psychotic symptoms can predict suicide attempts in psychiatrically hospitalized children.
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RESEARCH PRIORITIES: Western Balkans Snapshot. RESOLVE Network, October 2020. http://dx.doi.org/10.37805/rp2020.1.wb.

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Amidst the evolving threat of violent extremism (VE) worldwide, the Western Balkans face substantial challenges to social cohesion and stability. As elsewhere, narratives of religious, far right, and nationalist militancy resonate with vulnerable youth populations in Western Balkan countries where a history of ethnic, religious, and civil strife created a situation vulnerable to terrorist recruitment at home and abroad. Individuals who traveled to fight alongside violent extremist organizations abroad are returning to their home countries following the territorial losses of extremist groups in Syria and Iraq. At the same time, ethno-nationalist extremism continues to gain traction and expand across the region. While some of these topics have received increased attention in the current body of literature, others remain under-researched. Existing research topics also require more field research and deeper conceptual foundation. The resulting gaps in our collective understanding point to the need for further research on evolving social and VE dynamics in the Western Balkans. More rigorous and grounded research, in this regard, can help inform and improve efforts to prevent and counter violent extremism (P/CVE) in the region. In 2019, the RESOLVE Network convened local and international experts to discuss research gaps and develop a preliminary list of research priorities for P/CVE moving forward in the Western Balkans. The topics identified in this Research Priorities Snapshot reflect their collective expertise, in-depth understanding, and commitment to continued analysis of VE trends and dynamics in the region.
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