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Journal articles on the topic 'School theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Richardson, John M. "Online “iDentity” Formation and the High School Theatre Trip." Articles 51, no. 2 (2017): 771–86. http://dx.doi.org/10.7202/1038602ar.

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Over the years that I have taken secondary school students to the theatre, the the digital revolution has moved through schools, classrooms, and even theatres, calling into question my goal of contributing positively to students’ identity formation through exposure to live plays. Responding to calls to examine the ways in which young people’s online and offline lives are interwoven, a one-year qualitative case study of student theatregoers suggests that online settings feature prominently in students’ identity formation and that non-digital school experiences such as the theatre trip are often

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Stănescu, Mirona, and Daniel Andronache. "The Importance of Theater Pedagogy from a Student's Perspective. An Empirical Study in a German-Speaking Elementary School in Romania." Educatia 21, no. 18 (May 21, 2020): 109–18. http://dx.doi.org/10.24193/ed21.2020.18.11.

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Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatr

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Marchenko, Herman V. "THE VAKHTANGOV SCHOOL: CREATION OF TEACHING METHODS." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (2021): 50–64. http://dx.doi.org/10.36340/2071-6818-2021-17-3-50-64.

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The article presents information about the faithful disciple of Evgeny Vakhtangov, Boris Zakhava. For 50 years, Boris Zakhava continuously led the Shchukin Theater Institute. He was, perhaps, the only one of Vakhtangov’s students who, having come to the Studio from the first days of its foundation, remained faithful to the theatrical principles of Evgeny Vakhtangov. Also, the article examines the period of creation of Zakhava’s method of teaching acting at the Shchukin Theater Institute. A significant role in the formation of Zakhava as a theorist and teacher was played by his teacher, Evgeny

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DUTT, BISHNUPRIYA. "Introduction." Theatre Research International 42, no. 3 (2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.

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These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy a

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Brigden, Cathy, and Lisa Milner. "Radical Theatre Mobility: Unity Theatre, UK, and the New Theatre, Australia." New Theatre Quarterly 31, no. 4 (2015): 328–42. http://dx.doi.org/10.1017/s0266464x15000688.

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For two radical theatres formed in the 1930s, taking performances to their audiences was an important dimension of commitment to working-class politics and civic engagement. Separated by distance but joined ideologically, the New Theatre in Australia and Unity Theatre in the United Kingdom engaged in what they described as ‘mobile work’, as well as being ‘stage curtain’ companies. Based on archival research and drawing on mobility literature, Cathy Brigden and Lisa Milner examine in this article the rationale for mobile work, the range of spaces that were used both indoor (workplaces, halls, p

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Bălăiţă, Vasilica. "School as Workshop." Theatrical Colloquia 8, no. 1 (2018): 347–52. http://dx.doi.org/10.2478/tco-2018-0014.

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Abstract The experience of the master class held by the actress Roberta Carreri (Odin Theatre) at the National University of Arts, Iaşi, has made me understand the necessity of the theatre laboratory born out of the need to leave aside all other concerns, including that of making “good” theatre. The workshop means letting yourself carried in silence as an active life principle, by other principles – of the stage movement – rediscovering the expressiveness of the body as form and sonority. It means forgetting everything you think you know about theatre and what has become an automatism; fightin

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Kazragytė, Vida. "The development of school theatre pedagogy in Lithuania: aspect of ideas." Pedagogika 114, no. 2 (2014): 154–66. http://dx.doi.org/10.15823/p.2014.013.

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At the beginning of last century the school theatrical performances were organized by enthusiastic teachers amateurs. The purposes of theatre in schools were considered differently: as a teaching tool and as area of artistic education through theatre. From the 8th decade of XX century in Klaipėda in higher school the preparing of stage directors for amateur activities was established. There the professional actors worked as theatre teachers. Thy pushed the artistic trend toward. But the idea of children‘s theatre as a learning tool through performances grounded on pretend play was also strong.

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Ganelin, Aleksandr E. "Early 20th Century Studio and Theatre Innovations of Vs. E. Meyerhold and S. E. Radlov." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 393–409. http://dx.doi.org/10.21638/spbu15.2021.303.

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The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the b

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Shevtsova, Maria. "The Valery Fokin Festival at the Aleksandrinsky Theatre, St Petersburg." New Theatre Quarterly 25, no. 1 (2009): 44–51. http://dx.doi.org/10.1017/s0266464x09000049.

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One of Russia's foremost theatre directors, Valery Fokin graduated from the Shchukin School at the Vakhtangov theatre in Moscow. At the Sovremennik and Yermolova theatres, of which he was the artistic director, he staged a wide repertoire that included contemporary writers (Mikhail Roshchin, Aleksandr Vampilov, Viktor Rozov), Soviet classics (Gorky), Russian classics (Gogol, Dostoevsky), and, from the international arena, Nabokov and Albee. He taught at the renowned school GITIS from 1975 to 1979 and in Krakow and Tokyo in 1993 and 1994. He has increasingly directed abroad, including Poland, H

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Левитан, Ольга. "Русский театр в Израиле: сто лет вместе". Canadian-American Slavic Studies 45, № 1 (2011): 76–106. http://dx.doi.org/10.1163/221023911x552016.

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AbstractThe article explores the history of the Russian Theatre in Israel as an inseparable part of Israeli theatre life: Russian Jews had a decisive role in the foundation of Israeli theatre and in the very beginning of Hebrew theatre in Palestine and in Moscow, and for decades the main Israeli artists introduced themselves as pupils of Vachtangov and Stanislavsky. In addition, a specific sensitiveness to Russian cultural tradition made a serious impact on Israeli theatre school and repertoire policy. The article discusses the phenomenon of enduring connections between Israeli and Russian the

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Dragin, Dušica. "The influence of school as a planned agent of socialisation on the development of secondary school students' interest in theatre." Zbornik Akademije umetnosti, no. 9 (2021): 271–85. http://dx.doi.org/10.5937/zbaku2109271d.

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This paper deals with determining whether school as a planned agent of socialisation influences the development of secondary school students' interest in theatre. We observed school through the prism of the theory of socialisation, because the socialisation function of education is one of the most important for society and that is why the school is considered one of the most important agents, i.e. the transmitter of what socialization actually is. The conducted multidisciplinary research first included an analysis of the content of strategic and legal acts, as well as bylaws in the field of ed

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Roeva, Evgeniya. "THE TEACHER IN THE ROLE OF THE CLASSROOM STAGE." Education and Technologies Journal 11, no. 1 (2020): 162–67. http://dx.doi.org/10.26883/2010.201.2251.

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The article offers an attempt to present school theatre as a method for innovative teaching in the parameters of the modern school. Presents the teacher’s approach in a role by preparing students for theatrical performances. The different epoch has its relation to the theatre and its purpose. Every educator engaged in the mission to lead a school theatre; it is good to know the basic normative aesthetics. The school theatre is not a space for professional actors, but a territory for students. Theories of theatre, public performance, roleplaying, theatre in education and stage interpretations w

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Świątkowska, Wanda. "Theatre Education at Reduta." Pamiętnik Teatralny 69, no. 2 (2020): 7–48. http://dx.doi.org/10.36744/pt.38.

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The article presents the history and principles of theatre education at Reduta in its successive forms: from Koło Adeptów [The Apprentice Circle], established in 1921, through the Reduta Institute, to Okop [The Trench], which was the last pre-war incarnation of the school. Based on documents and memoirs, the article discusses Reduta’s comprehensive and holistic model of education, in which regular theoretical classes were accompanied by practical and physical exercises. A crucial part of the education process was student participation in the theatre’s daily operations: rehearsals, preparation

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (A

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Bottiroli, Silvia. "A 'What If' Exercise: On the institution of the art school." Performance Philosophy 5, no. 2 (2020): 203–20. http://dx.doi.org/10.21476/pp.2020.52287.

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We are increasingly experiencing an antagonistic polarization within the art schools. This seems to reflect the contemporary socio-political atmosphere, ruled by inequalities and injustices, fuelled by a narrative of scarcity and competition and by a very broadly spread mistrust, when not aggression, towards the very idea of the institution. As a matter of fact, schools are one of the few institutions in the theatre field providing a space for such polarizing relationships: they provide a space for friction, for conflict even.This paper approaches the theatre school as an institution and a thi

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Wallace, Clare. "Theatre Theory Reader: Prague School Writings." Contemporary Theatre Review 28, no. 2 (2018): 247–48. http://dx.doi.org/10.1080/10486801.2018.1442594.

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Burdenko, Elena Viktorovna, Irina Artsis, and Natalia Ilyushchenko. "International Theatrical Educational Programs: Moscow Art Theatre School Experience." Multidisciplinary Journal of Educational Research 8, no. 2 (2018): 179. http://dx.doi.org/10.17583/remie.2018.3155.

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This paper presents research results regarding the creation, development, and implementation of the international theatrical educational programs organized by the Moscow Art Theatre School together with leading American universities: the first program carried out together with the Eugene O'Neill Theatre Centre; the first international Master's theatre program carried out together with Carnegie Mellon University; the international Master's theatre program, which is currently being carried out together with the American Repertory Theatre at Harvard University, and the short-term international th

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Zer-Zion, Shelly. "Theater for Kindergarten Children in the Yishuv: Toward the Formation of an Eretz-Israeli Childhood." IMAGES 12, no. 1 (2019): 70–84. http://dx.doi.org/10.1163/18718000-12340110.

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Abstract “The Children’s Theatre by the Kindergarten Teachers Center,” that was founded in 1928, was the first Hebrew repertory theatre exclusively addressing the audience of children attending kindergarten and the first grades of elementary school. This article explores how The Children’s Theater conveyed a set of performative practices that consolidated a habitus of Eretz-Israeli childhood. The theater articulated the embodied repertoire of Eretz-Israeli childhood and established it on two pillars. First, it epitomized the concept of an innocent and secure childhood. The world performed on t

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Whybrow, Nicolas. "The ‘Art‘ of Political Theatre-Making for Educational Contexts." New Theatre Quarterly 11, no. 43 (1995): 277–91. http://dx.doi.org/10.1017/s0266464x00009143.

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In NTQ 39 (August 1994) Nicolas Whybrow provided an analysis of ideological changes which have recently occurred in the organization and running of schools and youth clubs. He went on to discuss the ways in which theatre in education (TIE) and theatre in youth work – commonly grouped under the title of Young People's Theatre (YPT) – were being affected by these changes. Here, in the second of two articles, he shifts his perspective towards the standpoint of theatre companies themselves, with a view to locating where the political efficacy of their practices might lie. Nicolas Whybrow is a lect

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Elpus, Kenneth, and Bruce Allen Carter. "Bullying Victimization Among Music Ensemble and Theatre Students in the United States." Journal of Research in Music Education 64, no. 3 (2016): 322–43. http://dx.doi.org/10.1177/0022429416658642.

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The purpose of this study was to analyze the prevalence of reported school victimization through physical, verbal, social/relational, and cyberbullying aggression among music ensemble and theatre students in the middle and high schools of the United States as compared to their peers involved in other school-based activities. We analyzed nationally representative data from five waves (2005–2013) of the biannual School Crime Supplement to the National Crime Victimization Survey, a joint project of the U.S. Bureau for Justice Statistics and the National Center for Education Statistics. Logistic r

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Kazragytė, Vida. "The Subject of Theatre in the Lithuanian School: Relationships within the General Educational Cultural Context." Pedagogika 111, no. 2 (2013): 195–202. http://dx.doi.org/10.15823/p.2013.1805.

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The article investigates the rather new educational phenomenon – about twenty years ago under the impact of educational reform the theatre subject teaching was introduced. In many neighbor’s countries there is no such separate theatre subject still yet. The focus of the article is on the relationships between the curricula of theatre subject (2008, 2001) and the practice of long-lived non-formal education of children and youth of Lithuania. The curricula of theatre subject were prepared according to comprehensive discipline-arts education conception formed in United States of Amerika. Taking i

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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.

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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue ins

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Tyszka, Juliusz. "The School of Being Together: Festivals as National Therapy during the Polish ‘Period of Transition’." New Theatre Quarterly 13, no. 50 (1997): 171–82. http://dx.doi.org/10.1017/s0266464x00011039.

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For most western theatre people, accustomed to the festival as an institutionalized annual ritual, the notion of a theatre festival as a celebration of true, holiday festivity – as signifying freedom from institutionalized ritual – comes alive more often in the pages of Bakhtin than on the stages of Edinburgh or other ‘festive’ cities. Yet Juliusz Tyszka, surveying no fewer than a hundred and fifty festivals that have sprung up or renewed themselves in his native Poland during the post-Cold War ‘period of transition’, finds that, while their economic success has been surprising in a straitened

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Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (1996): 266–78. http://dx.doi.org/10.1017/s0266464x00010265.

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Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to

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M. Dinu Imansyah. "Theatre By Request’ As Theatre Education Alternative." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 61–68. http://dx.doi.org/10.33153/iicacs.v2i1.16.

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“Theatre by Request “(TbR) is the name of one of the show's methods performed by the Studio Teater Yogyakarta initiated and led by Eko Santosa aka Eko Ompong. The basic principle of TbR is the strong interaction between viewers and performances based on the theatre game—that usually being used as basic acting training. The audience becomes part of the show with the opportunity to select and determine the number of actors' performances, themes, to control the performance of the show through certain rules set by Eko Ompong as the TbR Host. The purpose of TbR is to introduce the nature of theatre

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Henry, Tricia. "Perry-Mansfield School of Dance and Theatre." Dance Research: The Journal of the Society for Dance Research 8, no. 2 (1990): 49. http://dx.doi.org/10.2307/1290569.

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Karabag, S. Gulin. "Secondary School Students’ Opinions About Readers’ Theatre." European Journal of Educational Research 4, no. 1 (2015): 14–21. http://dx.doi.org/10.12973/eu-jer.4.1.14.

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Fink, Howard. "CKUA: Radio Drama and Regional Theatre." Theatre Research in Canada 8, no. 2 (1987): 221–33. http://dx.doi.org/10.3138/tric.8.2.221.

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This article details the contributions made especially during the late twenties and thirties to the history of theatre in Alberta throughout the West, and to the nation as a whole by station CKUA of the University of Alberta. It pioneered the broadcasting of drama and theatre education programmes, offèred an opportunity for dramatists such as Gwen Pharis Ringwood and Elsie Park Gowan, aided the founding of the Banff Theatre School (now Banff School of Fine Arts), and allowed for the development of Alberta's indigenous theatre.

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Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vis

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Jannarone, Kimberly. "Jarry's Caesar Antichrist and the Theatre of the Book." New Theatre Quarterly 25, no. 2 (2009): 121–36. http://dx.doi.org/10.1017/s0266464x09000220.

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The familiarity bred by the notoriety in its own times of Alfred Jarry's Ubu Roi has been accompanied by neglect for his other work, especially that which seems of peripheral interest to the theatre practitioner. In this article, Kimberly Jannarone argues that his earlier Caesar Antichrist falls into the unusual category of ‘a piece of theatre not intended for the stage’ – apparently unstageable, yet not a closet drama since, in Jarry's scrupulous care for its published form, he created his own ‘theatre of the book’, anticipating the later modernist use of collage while also demonstrating in w

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Bayborodova, Lyudmila V. "Features of the organisation of theatrical activities among rural schoolchildren." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 26, no. 4 (2021): 33–40. http://dx.doi.org/10.34216/2073-1426-2020-26-4-33-40.

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The definition is given, upbringing possibilities of theatre activities are identified; their main form is children's association. Theatre association is seen as an upbringing environment where pedagogues and children solve a set of tasks of children’s upbringing and socialising in the process of theatrical activity. Particular attention is paid to the fact that, when organising theatrical activities, one should take into account the peculiarities of the region, the societas and the specifics of rural school. Rural school often assumes the functions of additional education for children and adu

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Vassiliev, Anatoli. "Studio Theatre, Laboratory Theatre." New Theatre Quarterly 25, no. 4 (2009): 324–32. http://dx.doi.org/10.1017/s0266464x0900061x.

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Anatoli Vassiliev must be ranked with the most prominent of the internationally acclaimed directors of the late twentieth century and the beginning of the twenty-first; and history will surely place him among the great director-researcher-pedagogues of the Russian and world theatre, starting with Stanislavsky and including Meyerhold and Vakhtangov. In this conversation, Vassiliev discusses the unique situation of theatre activity in Russia in the early decades of the twentieth century, where the studio, or laboratory, was integral to the very life of the theatre as a specific, collaborative, a

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McIntyre, John Alexander. "New Education beyond the school: Rosemarie Benjamin’s Theatre for Children, 1937-1957." History of Education Review 47, no. 2 (2018): 217–28. http://dx.doi.org/10.1108/her-11-2017-0021.

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Purpose The purpose of this paper is to examine the work of Rosemary Benjamin’s Theatre for Children in Sydney as a compelling narrative of the New Education in Australia in the late 1930s, an historical moment when theatre for children emerged as a cultural experiment rich in educational ideas. Design/methodology/approach Contemporary sources and archival records are explored through several interpretive frames to develop a historical account of Benjamin’s Theatre for Children from 1937 to 1957. Findings Benjamin’s concept of children’s theatre was shaped by English progressive education as m

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Sánchez, Rebecca M. "Performing School Failure: Using Verbatim Theatre to Explore School Grading Policies." LEARNing Landscapes 13, no. 1 (2020): 203–17. http://dx.doi.org/10.36510/learnland.v13i1.1015.

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This article describes how dramatic writing and performance practices can be used to reshape qualitative interview data into a verbatim theatre performance with the intent of drawing attention to social movements in education. The performance described in the article reveals the consequences of a punitive educational policy agenda and addresses the emotional toll school grading and other neoliberal policies have had on teachers at a school in the southwestern United States. A primary objective is to examine and explore how verbatim dramatic writing and performance tactics can amplify current i

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Gromova, Larisa A., and Marina V. Yeroma. "Social partnership of school and theatre in educating high school students." Izvestia: Herzen University Journal of Humanities & Sciences, no. 199 (2021): 67–72. http://dx.doi.org/10.33910/1992-6464-2021-199-67-72.

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Brown, John Russell. "Shakespeare, the Natyasastra, and Discovering Rasa for Performance." New Theatre Quarterly 21, no. 1 (2005): 3–12. http://dx.doi.org/10.1017/s0266464x04000284.

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Recognizing analogies between the assumptions about theatricality found in the classic Sanskrit treatise on acting, the Natyasastra, and those of the Elizabethan theatre, John Russell Brown suggests that the concept of rasa as the determining emotion of a performance is similar to that of the Elizabethan ‘humour’, or prevailing passion, as defined by Ben Jonson. Here he describes his work exploring what happens when actors draw on their own life experiences to imagine and assume the basic rasa of the character they are going to present, based on experiments in London with New Fortune Theatre;

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Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.

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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English v

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Howard, Pamela. "Designing the Shrew." New Theatre Quarterly 3, no. 10 (1987): 184–87. http://dx.doi.org/10.1017/s0266464x00008678.

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In NTQ7 we included an assessment by Geraldine Cousin of two recent productions of Shakespeare's The Taming of the Shrew – one of them by Di Trevis for the touring group of the Royal Shakespeare Company. The designer for that production was Pamela Howard, who created for it a central traverse playing area adaptable to the many different kinds of venues to be visited. Here, she adds an illustrated postscript on the conception, creation, and utility of the design element, which we hope will initiate the regular documentation of this often-neglected area of theatre practice. In addition to design

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Edward Flores, Suyo Ballarta Curin Rud,. "THEATER AS A STRATEGY TO IMPROVE ORAL EXPRESSION IN EI STUDENTS OF THE KINGDOM OF SPAIN IN THE COVID-19 PANDEMIC." Psychology and Education Journal 58, no. 1 (2021): 3165–74. http://dx.doi.org/10.17762/pae.v58i1.1222.

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This research formulated as the main objective of determining the influence of the theater, as a strategy on the oral expression of first grade high school students of the I.E. Kingdom of Spain, Barranco- 2020, where theories related to oral expression were considered, in turn conceptions of oral expression and its elements, are revised concept of strategies. The study was quantitative, applied type, with quasi-experimental design, the sample was intentional non-probabilistic and consisted of two groups: Control Group of 25 students and Experimental Group also of 25 first grade high school stu

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Damgaard Knudsen, Lars Emmerik, and Anne Marie Øbro Skaarup. "Open School as embodied learning." International Journal of Education Through Art 16, no. 2 (2020): 261–70. http://dx.doi.org/10.1386/eta_00030_3.

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Open School is a collaboration between community schools and organizations introduced in Denmark as part of the school reforms of 2014. Through a qualitative research project contemplating Open School as a pedagogical phenomenon, we discovered that practitioners in and around schools perceived this programme very differently. The authors engaged in this study from an aesthetical perspective through mobilizing arts-based research modes. Across the different interpretations of Open School, students’ embodied learning was a common feature as they actively used their bodies while visiting a beach,

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Dobrota, Snježana, Antonija Vrančić, and Ivana Križanac. "Attitudes of primary school teachers in Croatia toward Music as a school subject / Stališča osnovnošolskih učiteljev na Hrvaškem do glasbe kot šolskega predmeta." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 13–27. http://dx.doi.org/10.26493/2712-3987.17(34)13-27.

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The paper explores the influence of years of work experience, professional qualifications, additional music education, engaging in music activities in leisure time, and going to the theatre/classical music concerts on the attitudes of primary school teachers toward the school subject Music. The research was conducted on a sample of primary education teachers from all Croatian counties (N = 233), using a questionnaire composed of two parts: The General Data Questionnaire and Attitudes Toward Music as a School Subject. The results confirm that primary school teachers with fewer years of work exp

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Șușu, Petre, Carmen Mihaela Crețu, and Aurelian Bălăiță. "1. The Acting Student’s Choreographic Training. Several Cognitive Objectives." Review of Artistic Education 15, no. 1 (2018): 110–26. http://dx.doi.org/10.2478/rae-2018-0012.

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Abstract Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of danc

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David, Anthony. "A big play-out Creating a school theatre." Fundraising for Schools 2009, no. 102 (2009): 14–15. http://dx.doi.org/10.12968/fund.2009.1.102.42629.

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Paunovic, Petar. "Theatre, school of health: Actors, teachers of health." Timocki medicinski glasnik 40, no. 1 (2015): 44–48. http://dx.doi.org/10.5937/tmg1501044p.

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Peek-Asa, Corinne, Marizen Ramirez, and Jennifer Fawcett. "707 Reducing school bullying with theatre and art." Injury Prevention 22, Suppl 2 (2016): A253.3—A254. http://dx.doi.org/10.1136/injuryprev-2016-042156.707.

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Mouratidou, Eleni. "De la sémiotique de la représentation théâtrale à l’anthropologie culturelle: Pourquoi le théâtre (résiste)? — From the semiotics of theatrical representation to cultural anthropology or why theater (resists)?" Sign Systems Studies 34, no. 2 (2006): 527–38. http://dx.doi.org/10.12697/sss.2006.34.2.14.

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From the semiotics of theatrical representation to cultural anthropology or why theater (resists)? In this paper I propose an epistemological approach to the field of theatre semiotics from the beginning of the 20th century to our days. Firstly, I point out two different periods that have influenced theatre semiotics. The first one centres on reflections and studies by the Prague School of Structuralism. More precisely, I address Jan Mukařovsky’s essays about art and society as well as Jindrich Honzl’s contributions to the study of sign and system in theatre. The second period presented here i

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Barker, Clive. "Games in Education and Theatre." New Theatre Quarterly 5, no. 19 (1989): 227–35. http://dx.doi.org/10.1017/s0266464x00003304.

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In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops’ for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games’ of his own childhood and adolescence. In this article (

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Rudnev, P., and E. S. Maksimova. "“Theater lies. And admits it. In the midst of the crisis of media it is a very valuable quality”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 7–17. http://dx.doi.org/10.18522/2415-8852-2020-1-7-17.

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Pavel Rudnev – theatre scholar, theatre critic, PhD (Art History), Associate professor at the studio school of the Moscow Art Academic Theatre (MHAT) and the State Institute of Theatre Arts (GITIS). Author of the books, “Theatrical Views of Vassily Rozanov” (2003), and “Drama of Memory. Essays on the history of Russian drama from Rozov to the present day” (2018). In this issue of P&amp;I, Pavel Rudnev discusses the boundaries between theatre and performance, searches for the main theme of contemporary Russian drama, and talks about Kudymkar and Lesosibirsk, cities in which theatre is espec

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Campbell, Mary Schmidt. "Theatre Building, Building Theatre: Fostering Disruption and Community through Arts and Education." TDR/The Drama Review 58, no. 1 (2014): 9–15. http://dx.doi.org/10.1162/dram_a_00324.

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The occasion of building an NYU Abu Dhabi Arts Center on Saadiyat Island, as part of NYU's campus there, and the Tisch School planning a new Institute of Performing Arts Center (IPAC) in lower Manhattan create an opportunity for conceiving a dynamic, collaborative Middle East-meets-West partnership. This partnership has the potential to disrupt conventional expectations of both a liberal arts education and professional theatre training as well as to build bridges to new audiences.

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Hunter, Mary Ann. "Anxious Futures: Magpie2 and ‘New Generationalism’ in Australian Youth-Specific Theatre." Theatre Research International 26, no. 1 (2001): 71–81. http://dx.doi.org/10.1017/s0307883301000074.

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The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre for, by, and about young people outside the school context. Instead, ‘new generation’ approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural ‘generationalism’, particularly in larger arts organizat

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