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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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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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Alison, Brooke Turner. "Teaching and Performing Theatre for Youth Using Physical Storytelling." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3138.
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For children to enjoy theatre they must see a story played out physically. The same is true when children act. Young performers must be taught to act using a simplified version of the Stanislavski System that puts emphasis on playable action. This thesis evaluates current acting texts for youth based on whether or not the author is able to outline a method that is accessible for children, and highlights the importance of playable action in scene work. It also provides a guide to teaching theatre for youth based on a class of the author’s design where students developed curriculum, managed classes of students, and executed lessons that emphasized the importance of physicality in acting. It includes the process and script of a devised play based on Lewis Carroll’s poem Jabberwocky where the story was told through movement. The final section is results of these experiments and feedback from children.
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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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Neumann, Aubrey Helene. "Co-Creating Capital: Rural Youth, Stigma, and Applied Theatre Practice." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618766734832468.
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Taylor, Shanea. "DIRECTING AUTOBIOGRAPHICAL THEATRE." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1935.
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This is an exploration of the director's role in autobiographical theatre. The director is in a unique position when storytelling on a personal level is being executed theatrically. I explored this topic over the course of directing three plays, each of which contained a strong personal storytelling element, which broadened my perspective of the director's role. The three plays were Slashtipher Coleman’s The Neon Man and Me, Birth by Karen Brody, and Will Power to Youth Richmond presents: William Shakespeare’s Romeo and Juliet. Traditionally, the director’s role includes a myriad of tasks. These tasks can include and are not limited to creating pictures on stage that reflect the story being told, coaching actors in their craft specific to the production, vocal and movement coaching, viii creating a concept, interpreting and translating the action, and being the intermediary amongst the creative team in reaching the overall artistic vision. However, when the director is presented with personal stories to shape and mold, this role changes; no longer can the director wear a traditional hat and assume that the story will tell itself through a series of pictures, but now the director dons different hats and accesses other skills that more closely reflect those of mentor, spiritual leader, psychologist, teacher, and friend. This thesis is a narrative of the explorative process that one director experienced when staging these three prototypes of autobiographical theatre.
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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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Sunni-Ali, Asantewa Fulani. "Impact Repertory Theatre as a Tool of Empowerment: Black Youth Describe their Experiences and Perceptions." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/aas_theses/3.
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This qualitative phenomenological study explores the role of Theatre as a tool of empowerment for Black youth. This study involves IMPACT Repertory Theatre of Harlem (IMPACT), a Theatre group that consists of Black youth between the ages of 12-19. Observations, focus-group interviews and audiovisual material were used to explore Black youth's experiences with and perceptions of Theatre via IMPACT. The existing literature surrounding the topic of Theatre for youth empowerment contains the following gaps: they do not give a voice to the youth in question, they are seldom conducted in the U.S. and they do not specifically focus on Black youth. Analysis included categorizing the data and then putting it into themes. In the study’s findings, participants reveal that Theatre via IMPACT offers a source of family like support, a safe space and opportunities for self discovery and transformation.
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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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Tsurumaki, Megan Wiley. "You can't stop the beat bringing musical theatre to underprivileged youth." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4692.
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In an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating today's youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students. The thesis will chronicle the development of a script with the intent of producing it in Title I elementary schools located in lower socio-economic areas of Orlando, Florida. The script will be based on Hans Christian Anderson's fairy tale "The Ugly Duckling." The final product will be a musical theatre piece to take into the school system to be performed by the students. The body of the thesis will contain my prior experiences of bringing musical theatre to underprivileged youth. The document will also include chapters detailing the process of creating the script and composing the music. Research will determine the socio-economic challenges prevalent in the under-represented cultures in the urban schools of Orlando. Finally, the thesis will contain a section of the actual script and will conclude with a chapter summarizing the reactions to the first reading of the play.ID: 029050200; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 54).
M.F.A.
Masters
Department of Theatre
Arts and Humanities
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Mbele, Ongezwa. "Township theatre-making as a developmental tool for Khayelitsha youth : an applied theatre study from an ethnographic perspective." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13769.
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This dissertation examines the theatre making process of a youth theatre group in Khayelitsha called Qina n Divas. It considers why and how this theatre making process is a youth development tool within the ambit of applied theatre. The study is partly driven by my memories and experiences of growing up in a township, as well as applied theatre aims, which are to use theatre to address social issues and honor the participants’ ways of using theatre to address their issues. I examine how the Qina n Divas young people, who are growing up in an environment that challenges their development, use theatre making as a way of reviewing and revaluing their lives. I identify and examine the various systems that influence the youth’s lives and that limit their use of theatre as a liberation tool in that the theatre making is a rehearsal of their issues rather than becoming a means of interrogating the issues. As I am immersed in the township context I also reflect on my involvement and how I unintentionally became part of the problem, which limits the youth’s development. My position of being an applied theatre practitioner and researcher is informed by my Xhosa cultural identity, my Zulu schooling and my English-speaking higher education, which also influenced my relationship with the youth. In the research process, the young people and I exchanged several theatre making methods. The theatre making explored themes of bullying, rape, environmental issues, parental love and abandonment, which revealed the youth’s emotions and thoughts about these themes. In spite of the above-mentioned limitations, I propose that theatre making allows the youth to use their imaginations to construct their identity in a partly secure space and to journey beyond the township to the Cape Town suburbs. The theatre practice induces a sense of hope amongst the youth and allows them to voice the issues that matter to them.
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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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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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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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Boucicaut, Tanya. "Courageous Solstice: Reconstructing Fairy Tales for a Black Youth Aesthetic." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4172.
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This thesis interrogates the historical, philosophical, and existential implications of the Black Arts Movement and its major artists on the recurring themes of social injustice, Western hegemony, and the fight for aesthetic authenticity to reimagine fairy tales for the youth Black Aesthetic. As a personal reflection and foundational document for a larger project, this work weaves these implications through the practical application of the varied stages of program development for youth artists. This project also is a handbook that encompasses scholarly research, reflective analysis and anecdotal journal evidence. The subsequent chapters explore the theological and theatre pedagogical educational influences that informed the phases of inception through completion of the 2015 Courage Summer Workshop (a six-week devised theatre workshop for middle school students) to include its two-year program history, curriculum design, and weekly program overviews.
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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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Lesourd, Sibylle. "L'enfant protagoniste : Naissance, mouvances et paradoxes d’une figure clé du théâtre contemporain pour la jeunesse en France et en Italie (1959-2015)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040013.
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Le théâtre pour la jeunesse est un théâtre de recherche où se redéfinissent à chaque fois le désir et les modalités d’une rencontre entre des créateurs et un public spécifique. Notre thèse met en lumière la construction historique de ce théâtre en France et en Italie et donne à comprendre les expérimentations menées par les pionniers du domaine. Elle se concentre sur l’apparition d’un nouveau protagoniste du champ théâtral, l’enfant, et cherche à savoir si celui-ci se situe bien au cœur des processus de création. Dans une première partie, nous soulignons le rôle déterminant qu’a joué l’animation théâtrale au tournant des années 1960-1970. De la France à l’Italie, on voit se transmettre l’idée d’une transition naturelle entre expérience artistique avec les jeunes et œuvre dramatique à leur intention ; en identifiant l’enfant comme partenaire possible de la création, l’animation préfigure la naissance de formes esthétiques nouvelles adressées aux jeunes spectateurs. Dans une deuxième partie, nous montrons comment, des années 1980 à nos jours, la recherche artistique s’est cristallisée sur l’enfant spectateur, cible spécifique des metteurs en scène et des dramaturges. Tout en réfléchissant aux conditions de son émancipation, les artistes s’approprient des matériaux textuels parfois inattendus ; un chemin peut se dessiner de l’adaptation à la création. En France, on assiste à l’émergence d’un répertoire dramatique qui appartient aujourd’hui de plein droit à la littérature de jeunesse, tandis que, dans les deux pays, l’enfant personnage conquiert sa place dans les textes et sur les scènes. Une relation spéculaire peut ainsi s’instaurer entre l’enfant spectateur et son doubleTheatre for young people is experimental—the desire for and the modalities of an encounter between creators and a specific audience undergo redefinition with each performance. This PhD thesis sheds light on how theatre for young people came to be in France and Italy throughout history, as well as on the experiments carried out by the pioneers in the field. The focus is on the emergence of the child as a new protagonist within the theatrical field and on attempting to determine whether he indeed lies at the core of the creative process. In the first part, the emphasis is on the significance of the role of theatrical animation at the turn of the 1960s. The idea of a natural transition from artistic experiences involving young people to theatrical works designed for them was passed on from France to Italy ; by identifying the child as a potential partner in the creative process, theatrical animation prefigured the onset of new aesthetic forms directed to young audiences. In the second part, the aim is to show how artistic research has been crystallizing on the child as a spectator, who has become a specific target for stage directors and playwrights from the 1980s onwards. While reflecting on how to emancipate him, artists have taken ownership of various textual materials—some of which unexpected—and a path can therefore be traced from adaptation to creation. In France, a theatrical repertoire which belongs to youth literature in its own right has been emerging. At the same time, in both countries, the child as a character has been earning his way in play scripts and on stages. Thus, a specular relationship can be established between the child as a spectator and his double
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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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Davis, Daniel. "Boy Meets Boy: Envisioning Queer Youth Novels for Translation to the Stage." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5926.
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Queer Youth, or young people who identify as lesbian, gay, bisexual, transgender, or questioning, is a demographic with an increasing presence in contemporary society. Along with this increased presence has come an increase in support groups available to these youths that range from Gay-Straight Alliances at their schools, community groups from their local gay and lesbian center to, most recently, theater companies that have begun to offer workshops and performance opportunities within the Queer Youth Theatre genre. Queer Youth Theatre is an emerging form of topical theatre that deals with issues and situations queer youth may face in their daily lives. Few scripts exist that deal with topics related to LGBT youth, and most theatre groups that offer LGBT youth programs, such as the Pride Players from the Omaha Theater Company for Children and Young People in Omaha, Nebraska, rely on devising works for live performance. The Pride Players independently publish a “Best of” anthology for use by other groups wishing to use their devised material (Guehring2). Though these opportunities may be beneficial to the youths involved, there is still a need for scripted works to be available for queer youth to explore.
This thesis project looks at two steps necessary to beginning the process of adapting LGBT young adult novels for the stage. First, an adaptation rubric must be created for use as a guide for identifying source material for translation to the stage. Second, the young adult novels Boy Meets Boy by David Levithan and Rainbow Boys by Alex Sanchez are evaluated for their strength as adaptations by applying the rubric with a directorial lensM.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audience
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Conway, Mary Suzanne. "Achieving Catharsis: The Impact of Theatre on Lesbian, Gay, Bisexual, and Transgendered Youth." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302459493.
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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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Salih, Canan. "Towards an understanding of how London Turkish Cypriot youth 'perform' their Diaspora identities through emplacement and mobility." Thesis, Royal Central School of Speech & Drama, 2014. http://crco.cssd.ac.uk/465/.
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The London Turkish Cypriot (LTC) community has been described as ‘invisible’, a community at the point of eradication (Aksoy and Robins 2001). For three generations of LTCs the process of cultural identification has seen an evolution from migration and ‘homeland’ association, to critical displacement, assimilation and different perceptions of what is ‘home’. The growing diversity in cultural identification is further reflected in enhanced access to spatial consumption, mobility and choices of emplacement for its younger generations. This PhD is driven by practice-as-research. The practice, and therefore line of reasoning, behind this research is an ongoing, organic process that has shifted throughout the course of the thesis. The documentation of the practice-as-research is included in the accompanying DVD and is integral to the findings of this thesis. The thesis asks how LTC youth ‘perform’ their identities and negotiate a diaspora identity that is in constant flux. The enquiry consists of two main lines of enquiry. First, I am exploring how young people use public spaces through mobility and a ‘mobile’ culture, using mobile initiated technology to further explore the idea of movement and flux. Second, I progress towards a greater understanding of the participating young LTCs’ concept of ‘home’ and what elements of their every day performative behaviour, their environment and relational spaciality construct and support these home-making practices. The thesis addresses complex issues arising out of auto ethnographic practice-as-research of the LTC community, conducted through applied drama practices with its youth. Issues include identifying young participants’ relationship to cultural space, place making and notions of ‘home’ as part of their identity construction process. The thesis also discusses the ‘fit’ of applied drama as a qualitative research tool within this context and the fluidity of changing technologies that can be, and are at times, used to document examples of practice.
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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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Asiedu-Acquah, Emmanuel. ""And still the Youth are coming": Youth and popular politics in Ghana, c. 1900-1979." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467195.
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This dissertation explores the significance of the youth in the popular politics of 20th-century Ghana. Based on two and half years of archival and field research in Ghana and Britain, the dissertation investigates the political agency of the youth, especially in the domains of youth associations, student politics, and popular culture. It also examines the structural factors in the colonial and postcolonial periods that shaped youth political engagement, and how youth worked within and without these structural frames to shape popular politics. I argue that youth-centered politics has been a motive force in Ghanaian popular politics. It opened up space for subalterns to be important players in colonial politics especially as catalysts of anti-colonial nationalism. In the post-colonial period, youth politics, mostly in the form of university students’ political activism, articulated public interests and was a bulwark against the authoritarianism of civilian and military governments. The dissertation charts the changing manifestations of Ghanaian youth political identity and formation from the early 1900s, when Britain completed its formal imposition of colonial rule on the territory that is present-day Ghana, to the political crisis of the late 1970s in which students and youth played crucial roles. The dissertation is a corrective to elite-focused accounts of political developments in Ghana’s history. It establishes youths as historically significant players who have shaped the country’s political ideas, values and practices. The dissertation also contributes to the renewed and growing focus on intergenerational relations, generational identity, and youth in scholarship on Africa.History
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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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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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Bazo, Nicholas. "Sharing the True Colors: An Exploration of Theatre Created by Gay, Lesbian, Bisexual, and Transgender Youth." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3469.
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True Colors: Out Youth Theater at The Theater Offensive is a Boston based program that focuses its theatrical and social mission on engaging Gay, Lesbian, Bisexual, and Transgendered (GLBT) at-risk, youth and the community that surrounds them. Through the process of generating an original touring production, True Colors employs theatre as a tool for personal, social, and artistic expression, empowerment, and activism. The program's balance of both process and product focused goals creates an environment of multifaceted engagement and provides an example of how art can thrive in a structure of youth outreach. Though directors and facilitators guide the process and final product, a fundamental mission of True Colors is to provide a student or youth-centered experience where inspiration, decisions, discussions, and leadership generates directly from participants. By observing and participating in the creation of one of these productions, I explore the impact of this student-centered structure on the personal perspectives and artistic growth of the GLBT participants and the artistic process of creating the production. My goal is to discover True Colors' effectiveness of achieving its mission to both create an impactful and positive process for the youth and also develop a final product that is artful and evokes social change. Additionally, by studying similar programs, I establish a basis of comparison against True Colors in order to develop a broader view of the field and evaluate the variances in methodology and the impact on youth and communities.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Atterby, Kate. "On the edge : a Boalian theatre project in citizenship/character education with disaffected youth." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42496.
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This thesis explores the use of Boalian Theatre as a potential way to actively engage disaffected young people in a dialogue about the character virtues of respect and self-discipline. Political theatre practitioner, director, and teacher Augusto Boal is best known for founding Theatre of the Oppressed, an international movement and system for creating theatre that seeks to examine forms of conflict, discrimination and oppression. Uniquely, this thesis makes links between Boalian Theatre practice and Citizenship/Character Education. Within this framework, the Boalian Theatre study functions to cultivate disaffected participants’ ability to question, deconstruct, and then reconstruct knowledge in the interest of developing notions of respect and self-discipline which are key components of Citizenship/Character Education. The starting point for this research was the critical exploration of Citizenship/Character Education and interventions which involve the use of theatre as a tool for change. The review of the literature raised preliminary questions concerning the nature and form of Character Education and Interventionist Theatre and established Boalian Theatre as the focus of this research. Boalian Theatre was defined as a portfolio of techniques which employed some (though not all) of the elements of Augusto Boal’s Theatre of the Oppressed. There were a number of reasons as to why this was an appropriate focus. This included the extent to which its political origins translate to the context of working with disaffected participants as an oppressed group and the shift in thinking with regards to Citizenship/Character development of secondary school students. The research implemented a Boalian Theatre study, informed by critical social theories, and used case study methodology. The research was implemented with ten 18-21 year olds who describe themselves as ‘disaffected.’ Findings show that participants conclude that there is potential in offering Boalian Theatre as a community-based programme with the aim of promoting individual and collective responses to their own understanding of respect and self-discipline. Data suggests the project was effective in assisting participants to create new understandings of the terms ‘respect’ and ‘self-discipline.’ Further evidence of impact is offered in participants electing to engage in further Boalian Theatre study. A challenge, which was key to the success of the Boalian Theatre study was the dismantling of notions of hierarchy (common amongst those who engage in gang membership) and the building of shared norms, values and understanding that facilitated co-operation within the group. Only then did the Boalian Theatre study offer an effective and reflective tool for character development and Citizenship Education. In doing so it provided an opportunity for participants to view areas of conflict several times (re-examined) until they understood the source of the conflict and found resolution. This was particularly effective when examining notions of respect and self-discipline which are integral to both Citizenship/Character Education. The thesis explores the complexities, tensions and ambiguities of using Boalian Theatre with disaffected participants. Bridging the gap between theatre, Citizenship and Character education it further seeks to explore the possibility of developing a more inclusive Citizenship/Character Education model which includes elements of paleoconservative, communitarian, libertine and libertarian models. It should be noted that this thesis reports in the verbatim discourse of disaffected participants and as such contains strong language and profanities.
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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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Quinney, Nigel Peter. "Edwardian militarism and working class youth." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385630.
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Bliznik, Sean. "WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2288.
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Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes, and at times, even dismisses accepted societal truths. As a didactic tool, it is in this vein of truth-seeking that theatre has entered the fickle work of social change. First and foremost, what is social change? Who can create change? How is this change measured? How does one measure the effected change on a particular audience? These questions (and more) as well as their subsequent answers are the job of the social change theatre artist and are explored in this study. This thesis is presented in several distinct chapters. Chapters one and two examine the foundations of theatre for social change and its place in the contemporary theatre world. Chapter three explores writing theatre for social change and yields the development of two original theatrical pieces of theater for social change as a direct result of the aforementioned research complete with a stage presentation of those pieces and an audience assessment (before the performance). The concluding chapters explore the results of the audience survey which explains my understanding of theatre for social change's effect on society and the need for society to continually be exposed to theatre which is socially conscious and contributive in order to firmly define America's socially conscious theatrical identity.M.A.
Department of Theatre
Arts and Humanities
Theatre MA
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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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Ma, Hoi-yin Claris. "A youth oriented activities space in our urban area." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951488.
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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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Bytheway, John. "A History of "Especially For Youth" - 1976-1986." BYU ScholarsArchive, 2003. https://scholarsarchive.byu.edu/etd/4577.
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The summer of 2002 marked the 26th anniversary of the youth camp “Especially for Youth” (EFY). Over 34,000 teenagers from across the United States, Canada and several foreign countries gathered on thirty-one different college campuses to attend one of the sixty-four sessions of the five-day program. Since the first session in 1976, Especially for Youth has enjoyed steady increases in attendance and popularity. Beginning in the early 1980s, the program's success reached the point that applicants were turned away because there was not enough space to house all those who wanted to attend.EFY is sponsored by Brigham Young University (BYU) Division of Continuing Education. Programs within the Division with a religious emphasis fall under the direction of the Church Educational System (CES).This thesis is an attempt to gather basic, historically significant information about the first eleven years of Especially for Youth (1976-1986). Primary sources include Continuing Education administrators, former counselors and participants, and Division of Continuing Education Annual Reports.