Journal articles: '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

11

Aubrey, Meg. "CLICK: Arts education and critical social dialogue within global youth work practice." International Journal of Development Education and Global Learning 7, no. 1 (June 1, 2015): 71–91. http://dx.doi.org/10.18546/ijdegl.07.1.05.

Full text

Abstract:

This article discusses CLICK, a collaborative theatre project between the Mess Up The Mess Theatre Company in Wales, the Hong Kong Academy for Performing Arts, the Australian Theatre for Young People, and Inspired Productions in New Zealand. This case study demonstrates the value of using arts education to bring together young people from multiple countries across the world through the use of social media and theatre for development work, and to explore issues of diversity and identity through Education for Sustainable Development and Global Citizenship (ESDGC). This article will explore the use of social media within arts education and global youth work practice to promote critical social dialogue around sensitive issues as a catalyst for positive social change.

APA, Harvard, Vancouver, ISO, and other styles

12

Deeney, John F. "National causes/moral clauses?: the National Theatre, young people and citizenship." Research in Drama Education: The Journal of Applied Theatre and Performance 12, no. 3 (November 2007): 331–44. http://dx.doi.org/10.1080/13569780701560537.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Wong, Jennifer, and Penny Bundy. "Theatre-making and performance: The importance of authenticity in the process of ‘being’ and negotiating the ‘becoming’." Applied Theatre Research 8, no. 2 (November 1, 2020): 213–26. http://dx.doi.org/10.1386/atr_00039_1.

Full text

Abstract:

Theatre-making processes and performance opportunities offer young people who are vulnerable, marginalized or disenfranchised a means to rethink their current identities and consider different ways of being. This article discusses a three-month theatre-making programme with sixteen children from a low-income residential estate in Singapore. The programme, which culminated in two public performances, offered opportunities for the young people to re-engage with situations and experiences from their own lives. While exploration and story creation involved a fictional lens, the authors note the importance of including elements of authentic stories from the lives of participants. The theatre-making became a critical platform for the participants to examine the identities they performed; a state of being, and offered ways for them to see how they could shape future identities for themselves through the process of becoming. It was also a physical and dialogical space providing young people in need of supportive structures in their lives with alternative perspectives and voices.

APA, Harvard, Vancouver, ISO, and other styles

14

FLEMING, JOSEPHINE, ROBYN EWING, MICHAEL ANDERSON, and HELEN KLIEVE. "Reimagining the Wheel: The Implications of Cultural Diversity for Mainstream Theatre Programming in Australia." Theatre Research International 39, no. 2 (June 4, 2014): 133–48. http://dx.doi.org/10.1017/s0307883314000054.

Full text

Abstract:

Profound demographic shifts in Australia's population are raising fundamental questions about how we reimagine the practices of our mainstream cultural institutions. The ability and the willingness of these institutions to reconceptualize their work in ways that encompass a diversity of traditions and tastes are critical. The paper draws on Pierre Bourdieu's notions of distinctions and taste to examine the influence of cultural identification on the choices that young people make about attending live theatre. The paper includes findings from a large Australian study, TheatreSpace, which examined why young people chose to engage or not to engage with theatre. In New South Wales nearly 40 per cent of the 726 young participants spoke a language other than English at home. Most were attending with their schools, many with no history of family attendance. This paper highlights significant issues about cultural relevance, accessibility and the often unintended challenges and confrontations that theatre can present to young first-generation Australians.

APA, Harvard, Vancouver, ISO, and other styles

15

Md Khir, Roselina Johari. "Developing Theatre for the Young in Malaysia: Benefits and Challenges." Jurai Sembah 1, no. 1 (June 16, 2020): 1–7. http://dx.doi.org/10.37134/juraisembah.vol1.1.1.2020.

Full text

Abstract:

This study investigates how young people in Malaysia enjoy theatre or find it relevant at all in the era of television, films and technology. The research was done using three approaches: A Naturalistic Inquiry methodology where the research was done at site which is in Kinabatangan, in East Malaysia with 25 young people to develop a script; a creative arts methodology was done in the studio where the script was explored and developed into a performance; the last phase of the research used a primary qualitative methodology to explore how young audiences watch theatre in which the research instruments used were questionnaires and open-ended interviews. There were 9 respondents from a Primary School and 23 respondents from a secondary School. This research that came out of the practice, enabled the researcher to investigate children’s life experiences and listen to themThe knowledge gathered is that the young in Malaysia are definitely excited about theatre which communicates to them and which has aesthetic, entertaining, imaginative and educational merits. The research connected the young in East Malaysia as participants who contributed to the script with the young in West Malaysia who performed it and young audiences who watched it.

APA, Harvard, Vancouver, ISO, and other styles

16

Curtis, David J., Mark Howden, Fran Curtis, Ian McColm, Juliet Scrine, Thor Blomfield, Ian Reeve, and Tara Ryan. "Drama and Environment: Joining Forces to Engage Children and Young People in Environmental Education." Australian Journal of Environmental Education 29, no. 2 (December 2013): 182–201. http://dx.doi.org/10.1017/aee.2014.5.

Full text

Abstract:

AbstractEngaging and exciting students about the environment remains a challenge in contemporary society, even while objective measures show the rapid state of the world's environment declining. To illuminate the integration of drama and environmental education as a means of engaging students in environmental issues, the work of performance companies Evergreen Theatre, Leapfish and Eaton Gorge Theatre Company, the ecological oratorio Plague and the Moonflower, and a school-based trial of play-building were examined through survey data and participant observations. These case studies employed drama in different ways — theatre-in-education, play-building, and large-scale performance event. The four case studies provide quantitative and qualitative evidence for drama-based activities leading to an improvement in knowledge about the environment and understandings about the consequences of one's actions. In observing and participating in these case studies, we reflect that drama is a means of synthesising and presenting scientific research in ways that are creative and multi-layered, and which excite students, helping maintain their attention and facilitating their engagement.

APA, Harvard, Vancouver, ISO, and other styles

17

Mullin, Brian. "“We Need More Lumumbas”: Castillo and Youth Onstage! Organize A Season in the Congo." TDR/The Drama Review 54, no. 2 (June 2010): 174–80. http://dx.doi.org/10.1162/dram.2010.54.2.174.

Full text

Abstract:

Youth Onstage! is a grassroots political theatre made up of young people from New York City's poorest neighborhoods. An analysis of their recent production A Season in the Congo demonstrates their unique use of theatrical performance as an organizing tool for young people, adult volunteers, and audience members alike.

APA, Harvard, Vancouver, ISO, and other styles

18

Noonan, Mary. "Joëlle Aden (2010), An intercultural meeting through Applied Theatre; Theaterspielen als Chance in der interkulturellen Begegnung; Rencontre interculturelle autour de pratiques théâtrales." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 1 (January 1, 2011): 104–6. http://dx.doi.org/10.33178/scenario.5.1.11.

Full text

Abstract:

This book contains a condensed account, in three languages (French, German, English) of a theatre project for adolescents that was in preparation over a two-year period, and that resulted in a week-long residential workshop for sixty young people from six partner countries at a theatre in Forbach, on the Franco-German border in April 2009. The initial idea for a European intercultural theatre project emerged from ANRAT, the French national association for theatre action and research, who decided to focus their efforts on young migrants in the European education system. What evolved was a project in which approximately 60 adolescents speaking 24 languages between them came together with 9 theatre practitioners from the 6 countries represented (France, Spain, Greece, Holland, Germany, the United Kingdom). The work of the group was in turn followed and observed by 5 researchers drawn from the partner countries. The project, developed for use with young people who had recently emigrated to Europe, aimed to answer two questions: The book aims to show how these questions were answered in the course of the ‘intercultural meetings’ it describes. In the opening section, the author sets out the theoretical framework and the research methodology. This section is sketchy and ...

APA, Harvard, Vancouver, ISO, and other styles

19

Venter, Pieter. "Issues Preventing the Fruition of South African Theatre for Young People (TYP)." Journal of Language, Literature and Culture 63, no. 1 (January 2, 2016): 37–49. http://dx.doi.org/10.1080/20512856.2016.1152083.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Lasic, Slavica, and Leonie Kenny. "Theatre and Peer Education: An Innovative Approach to Health Promotion." Australian Journal of Primary Health 8, no. 3 (2002): 87. http://dx.doi.org/10.1071/py02048.

Full text

Abstract:

This paper describes a health promotion project with young people from three secondary schools in the western metropolitan region of Melbourne. The project uses drama as a tool to promote social connectedness with family, peers, schools, and community. It draws on the results of an evaluation based on the production of "At All Costs". Drama facilitators from Footscray Community Arts Centre worked with students to workshop and develop issues and themes relevant to young people, Interviews, focus groups, and surveys were conducted to evaluate the benefits and impact of the project on the performers and audience of one of the secondary schools involved.

APA, Harvard, Vancouver, ISO, and other styles

21

Maguire, Tom. "Human beings in a theatre made for them: the child�s voice in contemporary theatre for young audiences." Journal of the British Academy 8s4 (2021): 017–27. http://dx.doi.org/10.5871/jba/008s4.017.

Full text

Abstract:

This article explores the challenges of including the child�s voice in an artform dedicated to children, Theatre for Young Audiences. In 2020, The International Association of Theatre for Children and Young People, ASSITEJ, launched a manifesto to bring the voices of children and artists to every country in the world. However, the experience of children of this theatre made for them is often that their rights are elided with or subordinated to those of adults. A model for addressing this and some examples of practice suggest possibilities for change. This article examines the capacity and capability required to realise such possibilities within a precarious industry. Committing to hearing children makes demands on those making theatre and those making policy alike.

APA, Harvard, Vancouver, ISO, and other styles

22

Nicholls, Jennifer A. "New directions in theatre for young people. A report on the recent work of REM theatre in Sydney." Early Child Development and Care 90, no. 1 (January 1993): 23–30. http://dx.doi.org/10.1080/0300443930900105.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Geikina, Silvija. "LEFTIST IDEAS IN THE INTERPRETATION OF THE YOUTH THEATRE: THE 1940s–1950s." Culture Crossroads 8 (November 13, 2022): 115–22. http://dx.doi.org/10.55877/cc.vol8.168.

Full text

Abstract:

When discussing the influence of leftist ideas on the Latvian stage, one of the main examples to begin with is the creation and activities of The Children’s and Youth Theatre from the 1940s to the early 1960s. During this period, this theatre can be called an active interpreter of leftist ideas for the audience of children and teenagers. The beginnings of The Children’s and Youth Theatre can also be linked with Anna Lāce. Although she did not actually participate in the organisation of the theatre as she was under arrest in Russia at the time, her daughter Dagmāra Lāce (later – Ķimele) had come to Riga after her mother’s arrest. Her father Jūlijs Lācis, who was the People’s Commissioner for Education and Culture in 1940, helped Dagmāra to return to Latvia. She may have told her father about this theatre and its effect on the aesthetic upbringing of children and teenagers. The overall task and objective of the newly founded Children’s and Youth Theatre was communist education of young people. One of the main demands of communist upbringing was to use the theatre as a portrait of a young hero whom the young audiences – the communist builders would aspire to emulate, who would captivate them with a higher goal, an ideal, and a dream. A search for the young hero – the communist builder continued in the theatre during the first decade after World War II. During this period The Youth Theatre did its best to strictly follow the instructions of Communist Party ideologists.

APA, Harvard, Vancouver, ISO, and other styles

24

Abraham, Nicola. "The intuit: An investigation into the definitions, applications and possibilities offered by intuitive applied theatre practice with vulnerable youth." Applied Theatre Research 7, no. 2 (December 1, 2019): 233–49. http://dx.doi.org/10.1386/atr_00018_1.

Full text

Abstract:

Abstract This article offers insights into what might constitute intuition in applied theatre practices with vulnerable youth in London. The study will explore the approaches of five theatre companies working with children and vulnerable youth. A lead practitioner from each company has been interviewed, and the interpretation of the data they have provided has offered new insights into the role of intuition as an approach to ensuring that applied theatre is responsive to young people living precarious lives. The research identifies two aspects of intuitive practice: one that resides with the actions and thoughts of the practitioner, and the other that involves the acceptance of intuitive creative offerings by participants. The study has also revealed the potential heightening of intuitive responses for practitioners who share history, culture, location or identities with their participants. As a whole, the findings offer useful potential considerations of key qualities for an intuitive practitioner, or the intuit, working specifically with young people in contexts of uncertainty.

APA, Harvard, Vancouver, ISO, and other styles

25

Trowsdale, Jo, and Richard Hayhow. "Psycho-physical theatre practice as embodied learning for young people with learning disabilities." International Journal of Inclusive Education 19, no. 10 (April 22, 2015): 1022–36. http://dx.doi.org/10.1080/13603116.2015.1031832.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

RASMUSSEN, BJØRN, and RIKKE GÜRGENS. "Art as Part of Everyday Life: Understanding Applied Theatre Practices through the Aesthetics of John Dewey and Hans Georg Gadamer." Theatre Research International 31, no. 3 (October 2006): 235–44. http://dx.doi.org/10.1017/s0307883306002203.

Full text

Abstract:

In the period between 2000 and 2004, the Norwegian Research Council funded a research project on ‘cultural-aesthetic practice and welfare’. This project includes two independent studies about theatre and young people. In her dissertation Rikke Gürgens investigates the theatre experience of exceptional and extraordinary people who produce their own theatre. Bjørn Rasmussen conducted an action research project, which established a ‘reflection room’ for teenagers at risk in high schools by means of drama and theatre practice. In both studies, the notion of art as an important part of everyday life became important. The theatre experience had strong implications both socially and aesthetically. In this article we discuss the link and the difference between the aesthetic and the social dimension from the perspectives of John Dewey and Hans-Georg Gadamer. In different ways we believe these philosophers provide a bridge between an autonomous view of art and a present cultural aesthetic that emphasizes the social perspective to a greater degree.

APA, Harvard, Vancouver, ISO, and other styles

27

Olkkonen, Satu, and Sirkku Kotilainen. "Nuoret dokumenttiteatterin tekijät kanssatutkijoina." Kulttuuripolitiikan tutkimuksen vuosikirja 3, no. 1 (May 2, 2018): 22–36. http://dx.doi.org/10.17409/kpt.63279.

Full text

Abstract:

The perspective of young people as co-researchers has recently increased as a participatory framework of study in several fields of inquiry. The focus has mostly been on empowering the youth instead of methodological perspective which is the focus in this arts-based pedagogical study on youth documentary theatre as an action research. The objective of the text is to describe how the integrated practices of research and documentary theatre support youth as co-researchers.The article is based on a youth documentary theatre implemented in 2016 as a case example. Seven 17–28-year-old youngsters were invited to make theatre as co-researchers and as informants of their own life course, especially in-between the stages of schooling. The research material consists of multiple data, for example, research diary of the director, interviews, the verbatim theatre piece and the documented five live performances including audience feedback.Results show that documentary theatre can function as a research team, following the collective praxis method in which the youth co-research is supported by director’s choices implementing equal partnerships. Director’s role is a facilitator giving freedom and space to the youth’s decisions on the narrative and play. This is the way for more robust insider knowledge as well.How cultural policies and research are taking into account youth agency? Dignifiying youth is offered as a conclusion. In institutions like theatre, inclusive youth pedagogies and forms of directing are suggested, taking youth as co-artists together with professional adults. This applies to youth research as well. Key words: young people, documentary theatre, co-researching, action research, artistic research

APA, Harvard, Vancouver, ISO, and other styles

28

Tišheizere, Edīte. "Kultūru mijiedarbe kā impulss laikmetīgā teātra attīstībai. Klaipēdas Universitātes aktierkurss Liepājas teātrī." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 275–87. http://dx.doi.org/10.37384/aplkp.2021.26-1.275.

Full text

Abstract:

The young actors of Liepāja theatre who graduated from Klaipeda University can serve as an excellent sample of successful interaction between cultures, traditions, and schools. Having acquired acting skills both in traditions of Lithuanian theatre and in the paradigm of so-called ‘fantastic realism’ by Evgeny Vakhtangov developed in the Boris Shchukin Theatre Institute, proposed by their pedagogues Vytautas and Velta Anužis, they can perform as actors of psychological theatre as well as postdramatic theatre performers. Evidence of this is the international success of their work in Konstantin Bogomolov’s post-dramatic chronotopic experiments “Stavanger (Pulp People)” and “My Blaster is Discharged”, and Sergey Zemlyansky’s non-verbal searches for psychological plasticity in Rainis’s tragedy “Indulis and Ārija”, and Nikolay Gogol’s comedy “The Wedding”.

APA, Harvard, Vancouver, ISO, and other styles

29

Valiullina, Nailya R. "Young Adult Library and Problems of Youth Tolerance Formation." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (May 24, 2010): 32–35. http://dx.doi.org/10.25281/0869-608x-2010-0-3-32-35.

Full text

Abstract:

Article is devoted to activities of the Republican Young Adult Library of Tatarstan directed to education of tolerance of youth to individual, cultural and national distinctions of people. Here you can see the vivid examples illustrating mass design work the purpose of which is acquaintance of youth with multinational culture of Republic, familiarizing with values of tolerance. The special attention is paid to the co-projects with the Ministry of Culture of Republic of Tatarstan, the Tatar State Academic Theatre of G. Kamal, libraries of republics of the Volga region. These projects evoked a wide response of young people that intensified informative interest to literature and reading.

APA, Harvard, Vancouver, ISO, and other styles

30

Elliott, Matthew David. "Exchanging Engagement: Alternative Arts Engagement in Latin America." Conjunctions. Transdisciplinary Journal of Cultural Participation 3, no. 1 (June 6, 2016): 1. http://dx.doi.org/10.7146/tjcp.v3i1.23646.

Full text

Abstract:

In 1973, Eduardo Galeano (1940-2015), the Uruguayan writer and journalist concluded his seminal book Open Veins of Latin America with the following: ‘The Latin American cause is above all a social cause: the rebirth of Latin America must start with the overthrow of its masters, country by country. We are entering times of rebellion and change’ (Galeano, 1973, p. 261). As Galeano stated, the oppression of populations and the loss of lives throughout Latin America led to ‘times of rebellion and change’. Artists, activists and the wider community sought to challenge and resist autocratic regimes to seek alternative ways of upholding their democratic and human rights. These methods and practice have transcended the democratisation of the continent in the 1980s and 1990s. The desire to advocate change through the arts has continued to be radical and proposes an alternative way of being to communities in Latin America. How can this practice be transposed to benefit the personal and social development of young people in the UK?The author’s experience of working with young people and his encounters with Latin American arts practice led to a need to intertwine these practices and develop theatre as a model for social change, which engages the political and social rights of young people in the UK.The paper is a product of a six-week practice-based research project in Latin America (Chile, Argentina and Uruguay) that explored innovative arts engagement for marginalised young people. The research was undertaken as a means to develop a high quality arts provision for young people in the UK. The paper focuses on three areas: continuity, sustainability and activism, and asks the reader: How can theatre ethically engage young people in the social and political decisions that shape their society? The research was funded by the Winston Churchill Memorial Trust.

APA, Harvard, Vancouver, ISO, and other styles

31

Anderson, Michael. "Mediatised performance and Theatre for Young People: How TYP is responding to Digital Natives." Caribbean Quarterly 53, no. 1-2 (March 2007): 63–75. http://dx.doi.org/10.1080/00086495.2007.11672306.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Forysiewicz, Barbara. "The Forum Theatre in the prevention of exclusion from a peer group in the school space." Journal of Education Culture and Society 11, no. 2 (September 11, 2020): 335–42. http://dx.doi.org/10.15503/jecs2020.2.335.342.

Full text

Abstract:

Aim. The article is a report from the research conducted in 2017 during the Forum Theatre performance, and it demonstrates the possibilities of using the Forum Theatre of Augusto Boal in activities to prevent exclusion from the peer group of teenage students. The purpose of this article is to signal the possibility of using the idea of Boal in preventing exclusions in the school space. Methods. In order to discuss the problems, the analysis of source material and participant observations were used. Results. At Forum Theatre, young people reveal their worldview and value system by interacting with actors and performing stage activities. The teacher, observing the students actions in the performance, can assess their empathy, sensitivity and interpersonal competence. The teacher gets to know the qualities that affect the student’s mental state at the time of exclusion from the peer group. In the theatrical activity, the personality of the student with his or her predisposition to being a victim or torturer is revealed. Using the example of the analysed spectacle The Cage directed by Jarosław Rebeliński in 2017, it is clearly seen that the Forum Theatre makes it possible to get to know the student, and thus his or her problems in relation with peers. Forum Theatre shows the effects and causes of exclusion while simultaneously signalling to the teacher the symptoms of the problem manifesting themselves in the behaviour of young people. Conclusion. Forum Theatre can be a diagnostic method for teachers in activities preventing the exclusion of a student from a peer group at school. Forum Theatre can be used as a method of working with students at risk of exclusion due to intolerance, lack of acceptance or lack of developed communication skills.

APA, Harvard, Vancouver, ISO, and other styles

33

Atanov, Andrei, and Ekaterina Zimina. "Theatre as Art: Philosophical and Sociological Analysis in the Space of Reality." Известия Байкальского государственного университета 28, no. 4 (December 27, 2018): 576–84. http://dx.doi.org/10.17150/2500-2759.2018.28(4).576-584.

Full text

Abstract:

The article presents a deep socio-philosophical analysis of theatre. The essence of theatre is considered as entirely based on real experiences and on the principle of reality that not necessarily refers to personality and often, being in the world as a community of the ultimate order, only indicates the presence of individuals. The plots offered to the spectator by theatre and theatrical art are considered. The sociological approach in the article appears as a form of obtaining knowledge about actuality in the framework of reality and can indicate the context of what is happening: what people are interested in, why they have this interest and what form it turns into. The institutional approach is used for considering theatre. The characteristics of theatre as a social institution are analyzed. The article presents the findings of the focus group, whose aim was to identify young peoples views as a major socio-demographic group about the place of theatre in the modern space.

APA, Harvard, Vancouver, ISO, and other styles

34

Heaney, Martin. "Staging the Delinquent: Edwardian Theatre and The Hooligan." New Theatre Quarterly 36, no. 4 (November 2020): 344–54. http://dx.doi.org/10.1017/s0266464x20000639.

Full text

Abstract:

W. S. Gilbert is best known as a dramatist and librettist who produced fourteen comic operas with his collaborator, composer Arthur Sullivan. Less familiar is his last work The Hooligan (1912), one of the first realist representations of the young urban working-class male seen on the twentieth-century British stage. This article explores the Edwardian conditions of social and cultural volatility reflected in the authoring and production of this play. It discusses the period as one where narratives of gender and class that underpin contemporary perspectives were shaped and contested. It demonstrates how hegemonic systems of cultural production created binary distinctions between the ‘ideal’ of the ‘Imperial Youth’ and the alien, working-class ‘other’. Gilbert’s authoring of the working-class male subject and his representation in a commercial theatre were subject to both market controls and middle-class ‘anxieties’. This historical perspective indicates continuities between these factors and the contemporary representation of the young urban working classes. Martin Heaney is a senior lecturer in Drama, Applied Theatre and Performance at the University of East London. He is co-director of the Centre of Applied and Participatory Arts and has published articles in various journals, including Research in Drama Education. His book chapter ‘Edward Bond and The Representation of Adolescence’ is forthcoming in The Routledge Guide to Theatre for Young People (2021).

APA, Harvard, Vancouver, ISO, and other styles

35

Prokopiak, Anna. "Kelly Hunter Heartbeat Method in theatre work with people with autism spectrum disorders." Special School LXXXIII, no. 1 (February 28, 2022): 47–55. http://dx.doi.org/10.5604/01.3001.0015.7713.

Full text

Abstract:

The article presents the Kelly Hunter Heartbeat Method (HHM) in work with people with autism spectrum disorders, used during workshops in Lublin. During the four days of meetings, a team of eight actors together with Hunter, in October 2019, conducted 14 workshops and the final performance with people with ASD. All these meetings were attended by over 70 people with ASD (from young children to adults, from non-verbal people to students with ASD from different universities in Lublin) and over 350 accompanying persons, in particular parents of people with ASD and students of pedagogical faculties at the Maria Curie-Skłodowska University and the Catholic University of Lublin. The article refers to the constant elements of the method: Shakespeare and the rhythm of the heartbeat, structure of a place, people and activity, affirmation of a person with autism spectrum disorders, showing their undeniable impact on triggering the potential of people with autism spectrum disorders.

APA, Harvard, Vancouver, ISO, and other styles

36

Winter-Palmer, Brenda. "Agency or dependency?: The Mixed Peppers Theatre Arts Training project for young people with disabilities." Journal of Arts & Communities 3, no. 3 (December 1, 2011): 249–59. http://dx.doi.org/10.1386/jaac.3.3.249_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

JOHANSSON, DR OLA. "The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa." Theatre Research International 32, no. 1 (March 2007): 85–100. http://dx.doi.org/10.1017/s0307883306002525.

Full text

Abstract:

This article discusses the functions of African community theatre in general, and its preventive capacity in the HIV/AIDS epidemic in particular. By delineating the parallel developments of community theatre and HIV prevention, the reciprocal needs of the practices are assessed in light of certain cases in Tanzania. This country has taken a leading position in the implementation of sustainable and locally owned theatre projects, but the challenges of the AIDS epidemic have proven so vast that the previously assumed purposes of community theatre must be called into question. Rather than being viewed as a means in itself, or a means for rapid change, community theatre is viewed as a relational means in coordinated programmes against AIDS. However, in spite of functioning as an exceptional relational agency for the most exposed cohort in the epidemic (women aged between fifteen and twenty-four), the social, gender and epidemic predicaments will persist as long as policy-makers do not fully recognize the status of young people and the capacity of community theatre.

APA, Harvard, Vancouver, ISO, and other styles

38

Lundberg, Anna. "Beyond the Gaze. Translations as a Norm-Critical Praxis in Theatre for Children and Young." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 94. http://dx.doi.org/10.7146/nts.v28i1.23976.

Full text

Abstract:

This article is based on the project Experimental theatre:. Intersectional encounters between dramatic art, school and academia, financed by the Swedish Research Council. It is an action research project on interactive dramatic art based at ung scen/öst (Östgötateatern), an experimental theatre group for children and young people.. with Malin Axelsson is the group’sas artistic director. Project manager Anna Lundberg has a background in drama studies and gender studies.The troika of dramatic art-school-academia provides an empirical focus, coupled with a closer analysis of the artistic processes between children and adults based on productions by ung scen/öst.What happens with the staging when the method involves open collaboration and shared learning? How is knowledge and meaning negotiated in artistic endeavours The project includes two performances and a publication. The project received financial support from the Swedish Research Council for the period 2012–2013.This article focuses on translation practices at ung scen/öst, the creative processes within the project built by the group as a form, i.e. director, ensemble (actors), researcher and other members of the artistic team exploring ideas and expressions and creating theatre together.

APA, Harvard, Vancouver, ISO, and other styles

39

Gottlieb, Vera. "Thatcher's Theatre — or, After ‘Equus’." New Theatre Quarterly 4, no. 14 (May 1988): 99–104. http://dx.doi.org/10.1017/s0266464x00002633.

Full text

Abstract:

A dozen years after the political and theatrical watershed of 1956 came those further shifts in social thinking of 1968. which were also reflected in major changes on the theatrical scene. Another twelve years on, any theatre people who were expecting such a collision of events in 1980 appeared to be waiting in vain. Yet, in retrospect, the impact of that first full year of a new kind of Conservative government can be seen as no less decisive, though its effects on the theatrical scene are only now beginning to make a kind of negative sense. Here, Vera Gottlieb argues that the tone of ‘Thatcher's theatre’ was already being set by such earlier plays as Peter Shaffer's Equus, in which she detects both the despair of rational solutions and the willing subjection to supposedly implacable forces that have since become characteristic of our national theatre as of our national mood. Vera Gottlieb. who is Principal Lecturer in Drama at Goldsmiths’ College. University of London, is the author of Chekhov and the Vaudeville (Cambridge, 1982), is presently collaborating with Peter Holland on a study of Stanislavsky as director, and has been co-author and director of Red Earth (Hampstead, 1985) and Waterloo Road (Young Vic Studio. 1987).

APA, Harvard, Vancouver, ISO, and other styles

40

Hluscu, Andreea, and Tita Kyrtsakas. "“I’m So Happy I’m Here Tonight”." Canadian Theatre Review 187 (July 1, 2021): 61–65. http://dx.doi.org/10.3138/ctr.187.020.

Full text

Abstract:

How valuable is youth artistry in Toronto theatrical productions? How important is including diverse and under-represented youths at cornerstone theatre festivals like SummerWorks? What are the barriers to youth theatre? In our article, we explore these questions by examining the AMY (Artists Mentoring Youth) Project, which seeks to provide accessible performing arts training and creation programs to women and non-binary youth from equity-seeking communities. In addition to examining the relationship the mentors of the program have with the participants, we look at how vital youth representation is at SummerWorks. The AMY Project works to break down barriers that are often felt by youths in performing arts, and, as a result, young people produce socially engaging work that is well received and necessary to the festival and the Toronto theatre community.

APA, Harvard, Vancouver, ISO, and other styles

41

Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (October 25, 2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

Full text

Abstract:

The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.

APA, Harvard, Vancouver, ISO, and other styles

42

Marshalsay, Karen Anne. "‘The Quest for a Truly Representative Scottish Native Drama’: The Scottish National Players." Theatre Research International 17, no. 2 (1992): 109–16. http://dx.doi.org/10.1017/s0307883300016217.

Full text

Abstract:

The Scottish National Players were the most interesting and important group in Scottish theatre in the 1920s, and the ‘national drama’ which they produced defined Scottish theatre for almost two decades. The SNP, as they were known, became the focus for the aspirations of young people wanting to progress to a professional career within theatre and were responsible for training a whole generation of Scottish actors. Later theatre groups, such as the Curtain and the Gateway, were greatly influenced by the Scottish National Players, who also made a major contribution to the early years of broadcasting in Scotland. Though mainly an amateur group, the SNP recognized the necessity for a national theatre company to tour as widely as possible, and in doing so helped to fire the enthusiasm for amateur drama which swept Scotland in the thirties. Many of the problems and debates which confronted them in their attempt to provide Scotland with a national theatre, such as the vexed question of whether production should be restricted to Scottish plays, irrespective of quality in the hope of better things to come, are still relevant issues.

APA, Harvard, Vancouver, ISO, and other styles

43

Blanco Martínez, Alfredo. "Promover la lectura de obras teatrales a través del blog docente Teatro en red." Investigaciones Sobre Lectura, no. 5 (January 31, 2016): 44–51. http://dx.doi.org/10.37132/isl.v0i5.108.

Full text

Abstract:

Nowadays, schools have a project for young people to acquire a taste and a habit of reading. However, it is also necessary that the educational community is configured as an important piece of the network of reading. For this reason, it is essential to show young people a variety of literature texts to learn and appreciate all literary genres. Probably, the play is the least consumed by teenagers, because they associate that kind of text to the theatrical production, and also, they omit the pleasure of reading it. In this sense, it is important that teachers, professionals and families promote reading plays. In this paper, we examine and describe the project Teatro en red from the perspective of its founders. The teacher blog has the aim to disseminate contemporary theatre and, at the same time, it expects to bring young people to the dramatic world from different perspectives.Specifically, we will focus on promoting reading and we will make a special emphasis on educational and cultural strategies pursued by the blog. In this case, we have used a qualitative methodology to make, on the one hand, a holistic understanding of the subject matter and, secondly, to respond to objectives of the study. With respect to the techniques of data collection, we have used the interview to reveal the voices of two teachers and, also, we have utilised the document analysis to know in depth the blog. For analysis of the data collected, we have started a systematic approach and, also, we have used a process of encoding to set the dimensions and categories that illustrate the work of teachers. In conclusion, we will discover that the blog is a social tool accessible to tell stories and, also, to form a reader taste in theatre between young people.

APA, Harvard, Vancouver, ISO, and other styles

44

Blanco Martínez, Alfredo. "Promover la lectura de obras teatrales a través del blog docente Teatro en red." Investigaciones Sobre Lectura, no. 5 (January 31, 2016): 44–51. http://dx.doi.org/10.24310/revistaisl.vi5.11091.

Full text

Abstract:

Nowadays, schools have a project for young people to acquire a taste and a habit of reading. However, it is also necessary that the educational community is configured as an important piece of the network of reading. For this reason, it is essential to show young people a variety of literature texts to learn and appreciate all literary genres. Probably, the play is the least consumed by teenagers, because they associate that kind of text to the theatrical production, and also, they omit the pleasure of reading it. In this sense, it is important that teachers, professionals and families promote reading plays. In this paper, we examine and describe the project Teatro en red from the perspective of its founders. The teacher blog has the aim to disseminate contemporary theatre and, at the same time, it expects to bring young people to the dramatic world from different perspectives.Specifically, we will focus on promoting reading and we will make a special emphasis on educational and cultural strategies pursued by the blog. In this case, we have used a qualitative methodology to make, on the one hand, a holistic understanding of the subject matter and, secondly, to respond to objectives of the study. With respect to the techniques of data collection, we have used the interview to reveal the voices of two teachers and, also, we have utilised the document analysis to know in depth the blog. For analysis of the data collected, we have started a systematic approach and, also, we have used a process of encoding to set the dimensions and categories that illustrate the work of teachers. In conclusion, we will discover that the blog is a social tool accessible to tell stories and, also, to form a reader taste in theatre between young people.

APA, Harvard, Vancouver, ISO, and other styles

45

Wallis, Richard. "Louder than words: making and performing theatre cross-culturally with young people. The Caedmon Project 2003." Studies in Theatre and Performance 25, no. 2 (August 2005): 145–52. http://dx.doi.org/10.1386/stap.25.2.145/3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Cook, Angelle. "Using an inclusive therapeutic theatre production to teach self-advocacy skills in young people with disabilities." Arts in Psychotherapy 71 (November 2020): 101715. http://dx.doi.org/10.1016/j.aip.2020.101715.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Jászay, Tamás. "Rend a rendetlenségben, avagy töredékek a színházi devising módszertanáról." Theatron 15, no. 1 (2021): 166–72. http://dx.doi.org/10.55502/the.2021.1.166.

Full text

Abstract:

The handbook published by Jess Thorpe and Tashi Gore in 2019 is an unorthodox introduction to the methodology of devised theatre. The authors’ theatre-making is process is exceptional, because they present the lives and problems of young people through works that are not simply about them but are created together with them. This work focuses on practice instead of theory and may be used as a textbook. Its greatest strength, however, is that it uses pragmatic suggestions, personal experiences, and provides a map of the paths already traversed by the authors to summarise all that needs to be known about the methodology of devising.

APA, Harvard, Vancouver, ISO, and other styles

48

Keller, Sarah N., and Timothy Wilkinson. "Preventing suicide in Montana: a community-based theatre intervention." Journal of Social Marketing 7, no. 4 (October 9, 2017): 423–40. http://dx.doi.org/10.1108/jsocm-12-2016-0086.

Full text

Abstract:

Purpose This study aims to examine whether a community-based suicide prevention project could increase willingness to seek professional help for suicidal ideation among young people. Design/methodology/approach Online surveys were administered at baseline (n = 224) and six months post-test (n = 217), consisting of the Risk Behavior Diagnosis scale; self-report questions on suicidality; willingness to engage with suicide prevention resources; and willingness to communicate with peers, family members, teachers or counselors about suicide. Findings A comparison of means within groups from pre- to post-test showed increases in self-efficacy for communicating about suicidal concerns with a teacher, school counselor or social worker; increases in self-efficacy for helping others; and increases in response-efficacy of interpersonal communication about suicide with a teacher, school counselor or social worker. Practical implications Young adults need to be willing and able to intervene in life-threatening situations affecting their peers. In step with narrative empowerment education, personal experiences can be used to communicatively reduce peer resistance to behavior change. Originality/value Health communicators tend to rely on overly didactic education and awareness-raising when addressing suicide prevention. This research shows the importance of direct and personal forms of influence advocated by social marketing professionals.

APA, Harvard, Vancouver, ISO, and other styles

49

Gembus, Malte. "Stories about Past, Present and Future: Memory and Narrative between Refugee Pasts and Migrant Futures among Young People in Chiapas, Mexico." Anthropology Matters 20, no. 1 (November 11, 2020): 43–70. http://dx.doi.org/10.22582/am.v20i1.541.

Full text

Abstract:

This article explores processes of memory among diasporic children and grandchildren of Guatemalan refugees, by reflecting on a postmemorial theatre project in Southern Mexico. The theatrical performances enable me to analyse how young research participants perform their ‘postmemorial repertoire’ and how their performances are being evaluated by older residents. The encounters and clashes between eye-witness accounts and postmemorial mediation and imagination are both conflictive as well as productive. In a second step, the postmemorial processes are put in conversation with the ways young people participate actively in the creation of other types of memory, which are anticipatory and contain narratives around migration.

APA, Harvard, Vancouver, ISO, and other styles

50

WOYNARSKI, LISA, ADELINA ONG, TANJA BEER, STEPHANIE BEAUPARK, JONAH WINN-LENETSKY, RULAN TANGEN, and MICHELLE NICHOLSON-SANZ. "Dossier: Climate Change and the Decolonized Future of Theatre." Theatre Research International 45, no. 2 (June 24, 2020): 179–208. http://dx.doi.org/10.1017/s0307883320000085.

Full text

Abstract:

This dossier opens up a set of questions about what theatre and performance can do and be in a climate-changed future. Through a series of practice snapshots the authors suggest a diversity of responses to decolonizing and environmental justice issues in and through theatre and performance. These practices include the climate-fiction film The Wandering Earth, which prompts questions about what decolonizing means for China and the impact of climate chaos on the mental well-being of young people; The Living Pavilion, an Australian Indigenous-led project that created a biodiverse event space showcasing Indigenous art making; Dancing Earth Indigenous dance company who use dance as a way to engage Indigenous ecological thinking and Indigenous futurity; water rituals in the Andes of Peru that problematize water policy and ethnic boundaries.

APA, Harvard, Vancouver, ISO, and other styles

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

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