To see the other types of publications on this topic, follow the link: Shopfront Theatre For Young People.
Dissertations / Theses on the topic 'Shopfront Theatre For Young People'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 21 dissertations / theses for your research 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.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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
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 textAbstract:
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.
7
Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.
Full textAbstract:
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.
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 textAbstract:
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
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 textAbstract:
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.
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
11
Hickson, Andy. "Can young people develop and deliver effective creative anti-bullying strategies?" Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/97886.
Full textAbstract:
Using action research within a critical paradigm framework the author investigated young people’s ability to develop a programme of work that raises awareness of bullying in schools. The research group was made up of six young people, to whom the author and other specialists offered anti-bullying and participatory training techniques. The group eventually designed their own anti-bullying activity programme, which they delivered in creative workshop style sessions to other young people in schools. The author located this research in critical enquiry, engaging the group in a self-reflective process that aimed to be democratic, equitable, liberating and life enhancing. This report is written in the form of a narrative and evaluates the author’s practice as an educative theatre practitioner. Central themes to this research are bullying, power, creative activity and youth participation. Schools, teachers and adults are often described as sucking out the creativity of young people and thus not allowing many of them achieve their full potential. In this context young people are often powerless to deal with some of the difficult issues in their lives such as bullying. The author suggests that peer support is a key strategy to deal with bullying in schools. The author introduces a new concept of peer support called external peer support, which he has evaluated against the current literature. The definition of bullying is explored in depth, as is its relationship to power. The author suggests peer support to be a key strategy in youth participation and ultimately helping youth empowerment.
12
Mouton, Pierre Le Fras. "Developing a potential youth festival model to aid and develop the theatre for young people industry in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95840.
Full textAbstract:
Thesis (MDram)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained.
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmensebedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word.
13
Makhale, Lerato Michelle. "Dunoon, iKasi lami (my township): young people and the performance of belonging in a South African township." Thesis, University of the Western Cape, 2013. http://hdl.handle.net/11394/3970.
Full textAbstract:
Magister Artium - MAThis study focuses on young people and how they etch a sense of belonging in the cosmopolitan city of Cape Town, in multicultural, post-apartheid South Africa. The study mainly focuses on a group of performers known as Black Ink Arts Movement (Black Ink), who are based in Du Noon township, near Cape Town, South Africa. The study looks at how young people who are involved in community performance projects; it also engages with their varied audiences. Lastly, the thesis shows the performers’ day to day lives when they are not on stage to see what it means to be young and black in Du Noon as a member of Black Ink
14
Budd, Natasha N. "Staging childhoods : experiments in authentic theatre making practice with children." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76092/4/Natasha_Budd_Thesis.pdf.
Full textAbstract:
This practice-led PhD project investigates the ways in which society positions children through a broad set of social, cultural and historical considerations and examines these within the frame of theatre making. The study proposes a model of practice that moves beyond participant empowerment toward a more dynamic understanding of the creative process that sees adults and children working together to create mainstream artistic product. It contends that this model creates conditions conducive to authentic theatre making practice with children as evidenced in the researcher’s original performance work Joy Fear and Poetry.
15
Jordan, Richard. "The space between: Representing 'youth' on the contemporary Australian stage." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16173/2/Richard_Jordan_Exegesis.pdf.
Full textAbstract:
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.
16
Jordan, Richard. "The space between : representing 'youth' on the contemporary Australian stage." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16173/.
Full textAbstract:
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.
17
Radvan, Mark Lucjan. "The Tashi project 2004-2010 : developing methods for creating theatre works that fully engage children aged between 3 and 10." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60981/1/Mark_Radvan_Thesis.pdf.
Full textAbstract:
Over a seven-year period, Mark Radvan directed a suite of children’s theatre productions adapted from the original Tashi stories by Australian writers Anna and Barbara Fienberg. The Tashi Project’s repertoire of plays performed to over 40,000 children aged between 3 and 10 years old, and their carers, in seasons at the Out of the Box Festival, at Brisbane Powerhouse and in venues across Australia in two interstate tours in 2009 and 2010. The project investigated how best to combine an exploration of theatrical forms and conventions, with a performance style evolved in a specially developed training program and a deliberate positioning of young children as audiences capable of sophisticated readings of action, symbol, theme and character. The results of this project show that when brought into appropriate relationship with the theatre artists, young children aged 3-5 can engage with sophisticated narrative forms, and with the right contextual framing they enjoy heightened dramatic and emotional tension, bringing to the event sustained and highly engaged concentration. Older children aged 6-10 also bring sustained and heightened engagement to the same stories, providing that other more sophisticated dramatic elements are woven into the construction of the performances, such as character, theme and style.
18
Helfgott, Louise. "Framing anorexia : a play script and multidimensional investigation of anorexia : a play and critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/580.
Full textAbstract:
This thesis explores anorexia nervosa in young people. It comprises two components: a play script, "Frames", about 16-year-old Elizabeth who is combating the disorder, her troubled friend Ben, and their families, and a critical essay that reviews qualitative and quantitative literature about anorexia and contextualises the play in relation to selected narratives, plays and films. In my field research, I interviewed a number of professionals working in the field of anorexia and the essay also discusses their views and insights.
Few plays deal with anorexia in an in-depth manner to explore the onset and development of the illness. "Frames" addresses a gap in the literature by focusing on some predisposing factors that may lead to anorexia. It depicts the emergence of the condition in a middle-class Australian teenager living in affluent circumstances because research suggests a higher-than-average incidence of anorexia in this cohort. The play's structure is based on the concept of frames of experience and of perception to suggest that these influence people's lives, often without their awareness and to their detriment. Throughout the play, a series of frames is used to represent different times and situations, with each one encapsulating a significant event or moment in Elizabeth's life. For instance, the first frame represents Elizabeth at age 10, while the second frame signifies her family's perspective. The play suggests that changing our perceptual frame might help us change our lives.
I argue that theatre, given its performative aspect, is an appropriate vehicle to illustrate the identity conflicts that characterise anorexia. Different aspects of Elizabeth's identity are presented through the many derivatives of her name, including Lizzie, Beth and Eliza. The theatrical form also allows the dramatisation of significant relationships and their impact upon her life.
The primary focus of the thesis is the aetiology of anorexia and, in particular, the multi-factorial approaches suggested by the research literature. Many theories have been put forward to explain the disorder and are discussed in the essay, including medical, psychological, sociocultural, feminist and philosophical theories. The primary approach is psychological, as "Frames" focuses on family and personality factors precipitating Elizabeth’s crisis, together with a therapeutic intervention. However, sociocultural and philosophical values clearly impact on anorexia. The slender beauty ideal, the importance of appearance for societal success, and dualistic thinking that privileges mind over body and figures woman as body all play significant parts in the proliferation of eating disorders.
19
Paula, Wellington Menegaz de. "O teatro e os adolescentes do Canaã: aspectos artísticos e comunitários." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/1246.
Full textAbstract:
Made available in DSpace on 2016-12-08T16:51:56Z (GMT). No. of bitstreams: 1
Wellington.pdf: 1650140 bytes, checksum: 70f5c3fad1c654d94292e649aac9b353 (MD5)
Previous issue date: 2011-11-28Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This paper refers to the performances Romeo and Juliet in the Promised Land, The Thousand and One Nights, Blazing Sun, and After that Trip that happened from 2005 to 2007, as an extracurricular project of the Municipal School Dr. Gladsen Guerra de Rezende, located in Jardim Canaã, Uberlândia, Minas Gerais. The work begins with the introduction of three important references to understand the theatrical work analyzed here: the context in which the project occurs, the Jardim Canaã, and its economic, social and cultural references, the theoretical frameworks that help to understand the research subjects, the young people who took part in the projects; and the school's objectives in the structuring of the extracurricular projects, which are the basis of the Theatre Project. Then, the methodological strategies present at the creation of each show are analyzed, taking into account how the theatrical language was related to the project participants. The community aspects of the theatrical processes are analyzed from four principles formulated by Jan Cohen Cruz: active culture, hyphenation, reciprocity and common context. The theatre practices analyzed here travel in different ways two extremes of a polarity: the space between the purely artistic goals and those related to the community interests and needs. Thus, the research seeks to know how far the theatre work analyzed here is located in the space between these two extremes, in order to answer the question: could a theatrical action be committed with the community interests and needs without losing the focus on aspects related to the artistic language?
Esta dissertação refere-se às montagens - Romeu e Julieta na Terra Prometida, As Mil e uma Noites, Sol Ardente, e Depois Daquela Viagem - realizadas no período de 2005 a 2007, como projeto extracurricular da Escola Municipal Doutor Gladsen Guerra de Rezende, localizada no Jardim Canaã, Uberlândia, Minas Gerais. A pesquisa se inicia com a apresentação de três referências importantes para se entender o trabalho teatral aqui analisado: o contexto em que o projeto acontece, o bairro Jardim Canaã, suas características econômicas, sociais e culturais; os referenciais teóricos que ajudam a entender os sujeitos da pesquisa, os jovens que tomaram parte dos projetos; e os objetivos da escola na estruturação dos projetos extracurriculares, que são a base do Projeto de Teatro. Em seguida, as estratégias metodológicas presentes na criação de cada espetáculo são analisadas, levando-se em conta a forma como a linguagem teatral se relacionou com os adolescentes do projeto. Os aspectos comunitários dos processos são analisados a partir de quatro princípios formulados por Jan Cohen Cruz: cultura ativa, hifenação, contexto comum e reciprocidade. As práticas teatrais, aqui analisadas, percorrem de formas diferentes, dois extremos de uma polaridade: o espaço que existe entre os objetivos puramente artísticos e aqueles voltados para os interesses e necessidades da comunidade. Nessa óptica, a pesquisa busca saber em que ponto a proposta teatral realizada se situa no percurso entre esses dois extremos, de forma a responder à pergunta: uma ação teatral pode estar comprometida com os interesses e necessidades da comunidade sem com isso perder o foco nos aspectos relacionados à linguagem artística?
20
McNamee, Anne Marcelline. "The Mart Theatre Project : exploring identity in a community-based applied theatre project with young people." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5575.
Full textAbstract:
This thesis details the theoretical and practical implications of utilizing applied theatre as a tool for the exploration of youth identity and relationship to community. Drawing on traditions of ethnography and reflective practitioner research, this document explores the roles of identity and identity-based inequities as they relate to Mart Theatre Project, an applied theatre project aimed at engaging students in Mart, Texas in a larger community development initiative taking place in their town. The document comprises critical analyses of the roles of student identity, facilitator identity, and community identity as they pertain to a community-based applied theatre process and product. The resulting discussion argues for a continual awareness that that the applied theatre process is impacting and impacted by the identities of the facilitator and the participants.text
21
LI, HSIU-TING, and 李秀婷. "Theatre for Young people and Youth Theatre in Taiwan- A Case Study of the Our Theatre and New Visions New Voices Theatre Company." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8856h7.
Full textAbstract:
碩士國立臺南大學
戲劇創作與應用學系碩士班
106
There are various types of theatre performances being produced every year in Taiwan. However, in contrast with a large amount of children theatre, only few professional companies are willing to produce theatre that is tailor-made for young people. Thus, the current status of theatre for young people in Taiwan is an issue that is worth working on. On the other hand, while youth theatre activities supported by schools, public sectors or companies are developing vigorously, what is the portrait of theatre for young people and youth theatre in Taiwan? Based on previous studies, it is different ways of producing that distinguishes theatre for young people from youth theatre. The development of theatre for young people and youth theatre strongly correlates with the promotion of the government, whereas, most of time, only regional theatre would dedicate themselves to cultivate theatre for young people. Therefore, theatre for young people and youth theatre are not simply an important part of arts education. They also act as a facilitator that enables regional theatre to reach a wider audience and to make stronger local conncetions. To explore possible materials for producing theatre for young people, the present study focused on Our theatre and New Visions New Voices Theatre Company youth prodction. After the investigation, it is found that either theatre for young people or youth theatre concentrates their production topics on authentic life experience of young people, and it is understandable if we take the audience into consideration. On the other hand, both theatre for young people and youth theatre, whether in Taiwan or overseas, produce their performance based on features of adolescence development and thus involve a great deal of kinetic energy in it. For those young people who are in the transition period between childhood and adulthood, theatre for young people and youth theatre enable them to expand their learning vision, to express themselves in various ways, to strengthen their connection with the society. Beside, youth theatre can also bring the benefit of creating a new audience for theatre.