Relevant bibliographies by topics / Shopfront Theatre For Young People

Contents

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

Academic literature on the topic 'Shopfront Theatre For Young People'

Author: Grafiati
Published: 11 December 2022
Last updated: 26 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Shopfront Theatre For Young People.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Shopfront Theatre For Young People"

1

Ogunleye, Foluke. "Zimbabwe's theatre for young people." International Journal of Cultural Policy 10, no. 2 (July 2004): 219–33. http://dx.doi.org/10.1080/1028663042000255826.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Jordan, Noel. "Responsive Research: Investigating Theatre for Young People." Melbourne Studies in Education 43, no. 2 (November 2002): 108–18. http://dx.doi.org/10.1080/17508480209556407.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Elliott, Matthew. "Young People as Legislators: Legislative Theatre and Youth Parliament." Applied Theatre Research 9, no. 1 (July 1, 2021): 73–86. http://dx.doi.org/10.1386/atr_00049_1.

Full text
Abstract:
Young People as Legislators is the result of a six-month Legislative Theatre project with Collective Encounters Youth Theatre, Youth Focus NW and Youth Parliament UK. The project formed part of a wider scheme of practice as research that explored youth theatre practice as political engagement for young people. Legislative Theatre practice was utilized to work alongside the Youth Parliament’s Make Your Mark scheme, an annual poll for young people to decide on campaigning issues. In this article, I consider three elements: tokenism in youth engagement, differing experiences between artistic process and product, and applied theatre’s inability to develop long-term effects. Employing the critical theories of Paulo Freire, the article regards the practice as a failed attempt to develop critical youth theatre practice. I argue that the Legislative Theatre project led to uncritical engagement and no political change due to partner organizations regarding the theatre practice as a service to satisfy their own targets and requirements.
APA, Harvard, Vancouver, ISO, and other styles
4

Robinson, Brigid. "Young people boost resilience and confidence through Shakespeare." Children and Young People Now 2018, no. 8 (August 2, 2018): 54. http://dx.doi.org/10.12968/cypn.2018.8.54.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kobayashi, Yuriko. "Drama and theatre for young people in Japan." Research in Drama Education: The Journal of Applied Theatre and Performance 9, no. 1 (March 2004): 93–95. http://dx.doi.org/10.1080/1356978042000185939.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Abatte Herrera, Paola. "PROTAGONISMO Y ESTÉTICA DEL VÍNCULO EN APPLIED THEATRE WITH YOUNG PEOPLE / PROTAGONISM AND RELATIONSHIP AESTHETICS IN APPLIED THEATRE WITH YOUNG PEOPLE." ARTSEDUCA. Revista electrónica de educación en las Artes, no. 26 (2020): 78–91. http://dx.doi.org/10.6035/artseduca.2020.26.7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Scullion, Adrienne. "The Citizenship Debate and Theatre for Young People in Contemporary Scotland." New Theatre Quarterly 24, no. 4 (November 2008): 379–93. http://dx.doi.org/10.1017/s0266464x08000511.

Full text
Abstract:
In this article Adrienne Scullion reviews the citizenship debate in education policy within contemporary – and specifically post-devolution – Scotland. She identifies something of the impact that this debate has had on theatre-making for children and young people, with a particular focus on projects that are participatory in nature. Her key examples are drawn from TAG Theatre Company's ‘Making the Nation’ project, a major three-year initiative that sought to engage children and young people throughout Scotland in ideas around democracy, politics, and government. Revisiting a classic cultural policy stand-off between instrumental and aesthetic outcomes, she asks whether a policy-sanctioned emphasis on process, transferable skills, and capacity building limits the potential for theatre projects to develop other kinds of theatre skills, such as critical reading and/or spectatorship. With its emphasis on participatory projects rather than plays for children and young people, the article complements her earlier essay, ‘“And So This Is What Happened”: War Stories in New Drama for Children’, in NTQ 84 (November 2005). Adrienne Scullion teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow.
APA, Harvard, Vancouver, ISO, and other styles
8

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

Full text
Abstract:
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 organizations as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a ‘new generation’ approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.
APA, Harvard, Vancouver, ISO, and other styles
9

Wessels, Anne. "Plague and paideia: sabotage in devising theatre with young people." Research in Drama Education: The Journal of Applied Theatre and Performance 17, no. 1 (February 2012): 53–72. http://dx.doi.org/10.1080/13569783.2012.648986.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bedard, Roger L. "“What is Cinderella Hiding? Theatre and Drama/Ideology/Young People”." Youth Theatre Journal 17, no. 1 (May 2003): 51–52. http://dx.doi.org/10.1080/08929092.2003.10012550.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Shopfront Theatre For Young People"

1

Plummer, Kris Bronwyn. "Contemporary dramaturgy in theatre for young people : the conceptual shape of displacement and installation." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32454/1/Kris_Plummer_Thesis.pdf.

Full text
Abstract:
This thesis investigates Theatre for Young People (TYP) as a site of performance innovation. The inquiry is focused on contemporary dramaturgy and its fieldwork aims to identify new dramaturgical principles operating in the creation and presentation of TYP. The research then seeks to assess how these new principles contribute to Postdramatic Theatre theory. This research inquiry springs from an imperative based in practice: Young people under 25 years have a literacy based on online hypertextual experiences which take the reader outside the frames of a dramatic narrative and beyond principles such as linearity, dramatic unity, teleology and resolution. As a dramaturg and educator I wanted to understand the new ways that young people engage in cultural products, to identify and utilize the new principles of dramaturgy that are now in evidence. My research examines how two playwright/directors approach their work and the new principles that can be identified in their dramaturgy. The fieldwork is scoped into two case studies: the first on TJ Eckleberg working in Australian Theatre for Young People and the second on Kristo Šagor working in German Children’s and Young People’s Theatre (KJT). These case studies address both types of production dramaturgy - the dramaturgy emergent through process in devised performance making, and that emergent in a performance based on a written playscript. On Case Study One the researcher, as participant observer, worked as production dramaturg on a large scale, site specific performance, observing the dramaturgy in process of its director and chief devisor. On Case Study Two the researcher, as observer and analyst, undertook a performance analysis of three playscripts and productions by a contemporary German playwright and director. Utilizing participant observation, reflective practice and grounded analysis the case studies have identified two new principles animating the dramaturgy of these TYP practitioners, namely ‘displacement’ and ‘installation.’ Taking practice into theory, the thesis concludes by demonstrating how displacement and installation contribute to Postdramatic Theatre’s “arsenal of expressive gestures which serve as theatre’s response to changed social communication under the conditions of generalized communication technologies” (Lehmann, H.-T., 2006, p.23). This research makes an original contribution to knowledge by evidencing that the principles of Postdramatic Theory lie within the practice of contemporary Theatre for Young People. It also contributes valuable research to a specialized, often overlooked terrain, namely Dramaturgy in Theatre for Young People, presented here with a contemporary, international and intercultural perspective.
APA, Harvard, Vancouver, ISO, and other styles
2

Gattenhof, Sandra Jane. "Young people and performance : the impact of deterritorialisation on contemporary theatre for young people." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15934/1/Sandra_Gattenhof.pdf.

Full text
Abstract:
Within contemporary performance arenas young people are fast becoming part of the vanguard of contemporary performance. Performativity, convergence and openness of form are key animating concepts in the landscape of Theatre for Young People (TYP). To ignore what is taking place in the making of performance for and by young people is to ignore the new possibilities in meaning-making and theatrical form. In this period of rapid technological change young people are embracing and manipulating technology (sound, image, music) to represent who they are and what they want to say. Positioned as "cultural catalysts", "the new pioneers" and "first navigators" young people are using mediatised culture and digital technologies with ease, placing them at the forefront of a shift in cultural production. Performance commentators (Schnechner 2002; Shusterman 2000; Auslander 1999; Hill and Paris 2001; Phelan 1993 and Kershaw 1992) believe that there has been a profound shift in the nature of making theatre and performance works. The forces of globalisation, the new economy and advancements in new media technologies have affected young people's making of performance. Three key concepts animate contemporary young people's performance devising and presenting processes. These concepts can be defined as: performativity, convergence and openness of form. These three categories can be harnessed under the umbrella concept of deterritorialisation. The processes of deterritorialisation allows for the synthesis of new cultural and performance genres by fragmenting and hybridising traditional cultural categories and forms including the use of new media technologies. Almost half of all TYP performances now incorporate the technologies of reproduction. The relationship between live and mediated forms, the visceral and the virtual is allowing young people to navigate and make meaning of cultural codes and cultural forms as well as to engage in an open dialogue with their audiences. This thesis examines the way young people are using elements of deterritorialisation to become producers of new performance genres.
APA, Harvard, Vancouver, ISO, and other styles
3

Gattenhof, Sandra Jane. "Young People and Performance: the Impact of Deterritorialisation on Contemporary Theatre for Young People." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15934/.

Full text
Abstract:
Within contemporary performance arenas young people are fast becoming part of the vanguard of contemporary performance. Performativity, convergence and openness of form are key animating concepts in the landscape of Theatre for Young People (TYP). To ignore what is taking place in the making of performance for and by young people is to ignore the new possibilities in meaning-making and theatrical form. In this period of rapid technological change young people are embracing and manipulating technology (sound, image, music) to represent who they are and what they want to say. Positioned as "cultural catalysts", "the new pioneers" and "first navigators" young people are using mediatised culture and digital technologies with ease, placing them at the forefront of a shift in cultural production. Performance commentators (Schnechner 2002; Shusterman 2000; Auslander 1999; Hill and Paris 2001; Phelan 1993 and Kershaw 1992) believe that there has been a profound shift in the nature of making theatre and performance works. The forces of globalisation, the new economy and advancements in new media technologies have affected young people's making of performance. Three key concepts animate contemporary young people's performance devising and presenting processes. These concepts can be defined as: performativity, convergence and openness of form. These three categories can be harnessed under the umbrella concept of deterritorialisation. The processes of deterritorialisation allows for the synthesis of new cultural and performance genres by fragmenting and hybridising traditional cultural categories and forms including the use of new media technologies. Almost half of all TYP performances now incorporate the technologies of reproduction. The relationship between live and mediated forms, the visceral and the virtual is allowing young people to navigate and make meaning of cultural codes and cultural forms as well as to engage in an open dialogue with their audiences. This thesis examines the way young people are using elements of deterritorialisation to become producers of new performance genres.
APA, Harvard, Vancouver, ISO, and other styles
4

Walcon, Erin Colleen. "Vital spaces/vital signs : young people, performance, identity and dialogue." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/9785.

Full text
Abstract:
This thesis advocates that young people’s participatory theatre in Britain is an important site for dialogue - both internally between young people and externally with those in positions of power and authority who have decision-making responsibilities in young people’s lives. Contextualising the work within the field of critical pedagogy, the thesis asks questions about how devised theatre with young participants can be an effective method to start conversations about young people’s identity and role in society. The research was conducted within a Participatory Action Research methodology, and involved about 600 young people from across Devon in a variety of pilot projects which became increasingly dialogic in form over the three years of study. Looking first at the complex issue of ‘youth’ identity within sociology, cultural studies, ethnography and geography, the thesis posits that the fields of theatre and performance studies have important contributions to make to an understanding of how identity is a performed and constructed concept. Building upon this premise, the second chapter overviews the existing field of young people’s participatory theatre in the UK, stipulating that a pedagogical framework built on an historicized understanding of educational theatre is essential to mapping the existing state of practice. This pedagogical framing allows for navigation through the increasingly impact-driven criteria which can profoundly shape the aesthetics and authorship of such work when conducted in the field. These (often silent) shaping forces are analysed through a set of case study examples. Chapter III defines and defends the framing of this work as a form of critical pedagogy, specifically exploring the definitions of dialogue and literac(ies) through case study examples of dialogic practice with young participants. Chapters IV and V examine the PAR research conducted over three years under the heading Vital Spaces/Vital Signs, which moved from small-scale pilot projects in youth centres to larger-scale ‘devised dialogues’ within more traditional theatre spaces. The praxis and findings encountered within the action research are detailed, and recommendations for future extended dialogic work are made.
APA, Harvard, Vancouver, ISO, and other styles
5

Hoppe, Meredith. "BREAKING TRADITION: REACHING FOR THE AVANT-GARDE IN THEATRE FOR YOUNG AUDIENCES." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2673.

Full text
Abstract:
This thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against Aronson s theoretical framework, I examine three contemporary US TYA plays from the past two centuries: Black Butterfly, Hush: An Interview with America, and Atypical Boy. Within these scripts, I probe for moments where these five tenets break to manifest possible tendencies toward the avant-garde. I then conclusively reflect and problematize these findings in order to raise questions about each script s relationship to the avant-garde and significance to the development of the field, ultimately provoking further discourse surrounding the role of avant-garde methodology within US TYA s current position and state of progression.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
APA, Harvard, Vancouver, ISO, and other styles
6

Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.

Full text
Abstract:
My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
APA, Harvard, Vancouver, ISO, and other styles
7

Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.

Full text
Abstract:
My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
APA, Harvard, Vancouver, ISO, and other styles
8

Maritz, Gerrit Ulrich. "An appreciative inquiry approach to community theatre on HIV and AIDS education for young people." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/26490.

Full text
Abstract:
This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response.
Dissertation (MA (Drama))--University of Pretoria, 2011.
Drama
unrestricted
APA, Harvard, Vancouver, ISO, and other styles
9

Mills, Dane. "The theatre of life : collective narrative practice with trans young people in the community." Thesis, University of East London, 2017. http://roar.uel.ac.uk/7138/.

Full text
Abstract:
Although the body of literature exploring issues important for the lives of trans people has explored different forms of oppression, there is currently a paucity of research exploring responses to oppression specifically for young trans people. This research works with young trans people as ambassadors who contribute to the research design, analysis and procedure as participatory action researchers. Responses to oppression may be important to understand if we are to contribute to the changes needed at wider levels. For example community, institutional and social levels. The aims of this project are to join with young people who identify as trans, through meeting with them at a trans community interest group. By working in partnership with ambassadors we drew upon liberation psychology to guide the project and as a result we co- created and co-facilitated a group session. This session invited 5 other young trans people to talk about their lives. The research aim was to create a context to enable young people to tell stories of the everyday forms of resistance to oppression. This was done through the aid of a poster and by using the metaphor of a theatre stage to guide their story whilst also providing a safe position from which to tell it, and was named ‘The Theatre of Life’. These stories were analysed using a ‘narrative analysis’ where participants and ambassadors were involved in quality checks. The results found were primarily that the ‘Theatre of Life’ session can generate stories of resistance from young trans people. Their collective story of resistance was named ‘A Chorus of Self-Love As a Radical Act’. It explores the importance of queer community, overshadowed aspects of identity, finding safety and inspiring others to initiate social change beyond the trans community. The results also identify relevant audience members with whom these stories will resonate in order to create social action (community, institutional and political), as well as for therapeutic use. The results also produce opportunities for sharing stories using the creative arts (e.g. theatre, performance, art, spoken word, poetry) for increased impact and wide reach.
APA, Harvard, Vancouver, ISO, and other styles
10

Pretorius, Louis. "An analysis and proposed expansion of the market for theatre for young people in the Western Cape." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/1552.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Shopfront Theatre For Young People"

1

Lane, Samantha. Directing Young People in Theatre. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Rosamunde, Hutt, ed. Theatre centre: Plays for young people. London: Aurora Metro, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Britain, Arts Council of Great. A policy for theatre for young people. London: Arts Council, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Adamson, Samuel. National Theatre connections 2011: Plays for young people. London: Methuen Drama, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

National Theatre connections 2012: Plays for young people. London: Methuen Drama, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Busby, Selina, Kelly Freebody, and Charlene Rajendran. The Routledge Companion to Theatre and Young People. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003149965.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gattenhof, Sandra. Drivers of change: Contemporary Australian theatre for young people. City East, QLD: Drama Australia, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Gattenhof, Sandra. Drivers of change: Contemporary Australian theatre for young people. City East, QLD: Drama Australia, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Gattenhof, Sandra. Drivers of change: Contemporary Australian theatre for young people. City East, QLD: Drama Australia, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lane, Samantha. Directing young people in theatre: A guide to staging plays with young casts. London: Palgrave Macmillan, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Shopfront Theatre For Young People"

1

Lane, Samantha. "Devising Theatre." In Directing Young People in Theatre, 111–33. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

van de Water, Manon. "Central Children’s Theatre." In Moscow Theatres for Young People, 113–36. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403984692_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Landy, Robert J., and David T. Montgomery. "Theatre for, by and with Young People." In Theatre for Change, 81–119. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00374-4_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Swartz, Larry. "Theatre for Young People: Does It Matter?" In How Theatre Educates, edited by Kathleen Gallagher and David Booth, 198–206. Toronto: University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442627574-018.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Lane, Samantha. "Introduction." In Directing Young People in Theatre, 1–8. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lane, Samantha. "What Now?" In Directing Young People in Theatre, 134–38. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lane, Samantha. "Choosing a Play." In Directing Young People in Theatre, 9–20. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Lane, Samantha. "Before Rehearsals Begin." In Directing Young People in Theatre, 21–35. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Lane, Samantha. "Stage 1: Create the World of the Play." In Directing Young People in Theatre, 36–47. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lane, Samantha. "Stage 2: Get to Know the Text." In Directing Young People in Theatre, 48–57. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34049-8_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Shopfront Theatre For Young People"

1

Miller, Amanda, Joan Livesley, and Angela Darvill. "O5 Involving young people in simulation in nurse education." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

Full text
Abstract:
Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
APA, Harvard, Vancouver, ISO, and other styles
3

Зайченко, А. Н. "Educational opportunities of theatre in the context of modern digital development." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.93.35.075.

Full text
Abstract:
в статье рассматриваются новые формы театрального искусства, имеющие образовательную направленность, с учетом развития современных цифровых технологий, особенно актуальных во время пандемии коронавируса. Большое внимание уделяется проблеме коммуникации театрального сообщества со зрительской аудиторией в новых условиях и вопросу передачи атмосферы театра посредством информационных технологий. Подчеркивается важность полученного в период пандемии опыта реализации образовательного процесса творческими образовательными организациями для создания новых форм обучения искусству. Синтез информационных технологий и театра не только предоставляет новые возможности для приобщения детей и молодежи к театральному искусству, но и актуализирует его образовательную и просветительскую функции. the article discusses new forms of theater art with an educational focus, considering the development of modern digital technologies, which have become most relevant during the coronavirus pandemic. Much attention is paid to the problem of communication between the theater community and the audience in the new conditions, as well as to the issue of transmitting the atmosphere of the theater through information technologies. The importance of the experience gained during the pandemic in the implementation of the educational process by creative educational organizations for the creation of new forms of art education is also emphasized. The synthesis of information technologies and theater not only provides new opportunities for introducing children and young people to the theatrical art, but also actualizes its educational and educational functions.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Shopfront Theatre For Young People' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography