Relevant bibliographies by topics / Theatre for children and young audiences

Contents

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

Academic literature on the topic 'Theatre for children and young audiences'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Theatre for children and young audiences"

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Reason, Matthew. "‘Did You Watch the Man or Did You Watch the Goose?’ Children's Responses to Puppets in Live Theatre." New Theatre Quarterly 24, no. 4 (November 2008): 337–54. http://dx.doi.org/10.1017/s0266464x08000481.

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Puppets are inanimate objects that, when watched by an audience, are invested with life and motion and character. This is particularly the case, we imagine, with children's theatre, where there is a cultural assumption that young audiences engage with the illusion and imaginative experience. In this article Matthew Reason uses innovative visual arts-based audience research to explore this question, asking how children respond to puppets in live theatre. In doing so he engages with questions of reality, illusion, belief, and disbelief in the theatre, as well as with questions about the respect and sophistication of young audiences. Matthew Reason is a Senior Lecturer in Theatre and Head of Programme for MA Studies in Creative Practice at York St John University. In 2006 he published Documentation, Disappearance, and the Representation of Live Performance (Palgrave), and a full-length exploration of children's experiences of live theatre, The Young Audience, will be published by Trentham Books in 2010.
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Goldfinger, Evelyn. "TV-theatre: TV Presence in Contemporary Theatre for Children and Young Audiences in Buenos Aires." Youth Theatre Journal 23, no. 1 (May 14, 2009): 30–38. http://dx.doi.org/10.1080/08929090902851544.

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Shevelova, Oleksandra. "Children's and youth repertory of the modern musical theater in Ukraine: research problems of the director's concept." Ukrainian musicology 46 (October 27, 2020): 30–44. http://dx.doi.org/10.31318/0130-5298.2020.46.234590.

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The aim of the study is to determine the degree of research of the repertoire policy of the Ukrainian musical theatres in the context of works for children and youth; to emphasize the role of the director in selecting the appropriate techniques and artistic expressions aimed at young auditory. The object: children's and youth repertoire of modern Ukrainian musical theatre and its directorial incarnations, the nature of interpretations and their compliance with the young viewers' perception. The methodology implies the use of a system and analytical method, which allows carrying out theoretical and methodological generalization of scientific concepts, works and proposals of leading scientists in order to find a new scientific understanding of children's and youth repertoire of modern Ukrainian musical theatre. Functional-structural analysis makes it possible to determine the functional component of musical theatre and repertoire focused on the young audience, in particular, to form the principles and values of the influence of theatrical art on the individual. With the help of traditional methods of art research: genre, stylistic, interpretive approaches to directorial modifications of the repertoire in accordance with the modern requirements. The relevance of the study: exploring the little-studied topic of children's musical theatre in Ukraine, drawing the experts’ attention to the gaps that arise in the process of vector determination in the groups’ repertoire policy. The appeal to these aspects is signified by the need of finding the new directorial approaches if solving modern problems of children's and youth repertoire of musical theatres in Ukraine at the time of global changes in artistic culture. Art education of the young generation of the information technology era is an important component of comprehensive personal development. Findings and conclusion: the study of the problem of solving children's and youth subjects in Ukrainian musical theatres at the time of modern socio-cultural challenges allows us to state the lack of a systematic differentiated approach to the theme choice, directing techniques, artistic expression which are appropriate for the children's, teenagers’ and youth perception. The review of domestic and foreign researches on the chosen problems testifies to the existence of some separate developments in psychological and pedagogical, culturological, musicological, theatrical sciences. Unfortunately, there is still no comprehensive intersectoral scientific research that integrates the various achievement in order to create an artistically holistic performance for children and youth. The format of directorial incarnations of musical and theatrical performances of the specified repertoire implies the differentiation of directorial approaches to its interpretations in accordance with the peculiarities of the musical drama of works which are focused on the relevant audience. The further research prospects lay in the opportunity to identify examples of relevant works for the re-pertoire of the musical theatre in Ukraine and to establish the relevant directorial concepts that can be embodied in musical and theatrical performances aimed at children and youth audiences.
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Kempe, Andrew J. "Widening Participation in Theatre through ‘Relaxed Performances’." New Theatre Quarterly 31, no. 1 (January 30, 2015): 59–69. http://dx.doi.org/10.1017/s0266464x15000068.

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In this article Andy Kempe discusses how a nationwide project has marked a significant step forward in improving access to the theatre for UK audiences who have hitherto felt largely excluded from theatre by mounting a number of ‘relaxed performances’. He makes particular reference to autistic spectrum disorders to illustrate how, in order to widen participation, theatres need to cater for a diverse range of individual needs. The article explores the challenges of catering for children and young people who may be, variously, under- or over-sensitive to sensory stimuli, in both the way performances are adapted and how the front-of-house is organized. A case study is offered of how one small regional theatre sought to address these challenges by giving a ‘relaxed performance’ of its annual pantomime. The impact of the production is considered as well as insights that have emerged from the enterprise. Andy Kempe is Professor of Drama Education and a Teaching Fellow of the University of Reading. His work with students of all ages and abilities has informed his numerous publications on a variety of issues in drama and arts education, including Drama, Disability, and Education (Routledge, 2012).
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Bedard, Roger L. "The Cultural Construction of Theatre for Children and Young Audiences: A Captive Eddy of Recursive Harmonies." Youth Theatre Journal 23, no. 1 (May 14, 2009): 22–29. http://dx.doi.org/10.1080/08929090902851551.

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Scullion, Adrienne. "‘And So This Is What Happened’: War Stories in New Plays for Children." New Theatre Quarterly 21, no. 4 (October 19, 2005): 317–30. http://dx.doi.org/10.1017/s0266464x05000199.

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In this essay Adrienne Scullion explores the representation of war – and in particular of the Second World War – in contemporary theatre for children, considering how the narrative and performative conventions of drama communicate ideas about the conflict to young audiences. She argues that a taxonomy identified in relation to juvenile war literature – discourses of testimony and documentary, propaganda and escapism, myth and metaphor – resonates just as significantly in drama. This proposition is investigated in readings of three recent plays – Stephen Greenhorn's King Matt (TAG, 2001), David Greig's Dr Korczak's Example (TAG, 2001), and Nicola McCartney's Lifeboat (Catherine Wheels, 2002). She proposes that all three plays make different use of the conventions of telling war stories and those of theatrical performance to represent and describe war and, thereby, to explore contemporary values and expressions of citizenship – a declared goal of public policy-making in the UK. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow.
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Mages, Wendy K. "Educational drama and theatre pedagogy: An integral part of training English-as-a-Foreign-Language teachers." Scenario: A Journal for Performative Teaching, Learning, Research XIV, no. 1 (July 3, 2020): 11–23. http://dx.doi.org/10.33178/scenario.14.1.2.

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This mixed-methods research documents the integration of educational drama and theatre into a teacher-preparation program for Austrian teachers-in-training who plan to teach English-as-a-foreign-language to Austrian school children. Observations were conducted of the plays developed and performed in English by two cohorts of Austrian teachers-in-training who participated in the teacher-preparation program. Observations were also conducted of the second cohort’s process developing a script based on an English young adult novel, as well as their process of producing and performing the play in English for middle-school and adult audiences. In addition, a survey of participants’ perceptions of the program was conducted. This study investigates how the teachers-in-training responded to the process of creating and performing a play in English, and their perceptions of its benefits and challenges for themselves, as well as for their future students.
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Hald, Niklas. "On the art of reflection in the arts!" Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (July 1, 2018): 76–78. http://dx.doi.org/10.33178/scenario.12.2.12.

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I was invited to the symposium in order to hold the workshop A crash course in RPK (Reflections on Practical Knowledge). Since I work both as a lecturer and as an actor, and of one the key ingredients in RPK is reflecting on our personal experiences, I thought the best way of introducing my workshop, during the introductory Sunshine speeches, would be through telling a story about my life as an actor. This story starts with myself as a young actor performing for small children. It all begins in an early November morning with chaotic weather, snowstorm and myself as the “lone hero” trying to solve everything that comes in my way, being late and constantly exposed to new problems. After running around like a mad man on a problem-solving mission while building the set, I can finally open the doors and let the young audience in. However, a couple of minutes into the performance I hear a young girl say loudly: “When does the theatre begin?” I’ve used this story in a lot of situations to explain some of the circumstances I can face as an actor in a small company on tour. To me it is a typical ...
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Yu., Filipchuk, and Kubai R. "DESIGN RESULTS OF CULTURAL AND EDUCATIONAL, THEATRICAL AND ENTERTAINMENT BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 143–48. http://dx.doi.org/10.23939/as2020.01.143.

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theatrical and entertainment buildings, designed by teachers and students of the Department of architectural environmental design, Institute of Architecture, National University of Lviv Polytechnic. Nowadays, the theater architectural industry in Ukraine that specializes in youth audiences and students has no clear answer to the question of what the architecture of contemporary theater for children and young people should be and what functional colors and scenographic palette it should include. The theatrical architecture of buildings for children and youth in modern Ukraine continues to be a copy of the building since the Soviet Union. At the beginning of the 21st century nothing new appeared except analogs of the Theater of Young Spectators and the Puppet Theater of the former era. The analysis of more than 25 projects of all ranks has shown that most of them are based not only on the ideas of architects of the second half of the twentieth century but also those that made up a network of cultural and educational, theatrical and spectacular buildings in the former USSR. However, in recent years the projects of the Lviv School of Architecture, and especially after the creation of the Department of Architectural Environmental Design, have changed direction towards finding solutions for the architecture of the future. Evidence of the results of both educational, competitive design and the creation of special courses that reanimate the ideas of the architecture of futurists of the twentieth century - F. Kiesler, I. Leonidov and other architects of futurists in the applied sphere A. Quarmby, K. Tange, B. Fuller and those engaged in the search for architecture, which is at least partially called the architecture of the future - G. Holmin, Wolf D. Prix, G. Krieger. The materials of the article highlight the main principles of designing cultural and educational, theatrical, and entertainment centers in the 21st century. The author outlines the factors that continue to harm the future development of cultural and educational, theatrical, and entertainment centers in Ukraine. Highlighted experience of designing search, educational and competition projects on the example of the activity of the Department of architectural environmental design proves that it can find application in the applied architectural and construction industry of the country as a whole.
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Beauchamp, Hélène. "Theatre Research as (Theatrical) Practice: Recognizing Theatre for Young Audiences." Theatre Research in Canada 14, no. 2 (January 1993): 178–95. http://dx.doi.org/10.3138/tric.14.2.178.

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This article is about research on theatre as an ongoing theatrical practice. It discusses the often contradictory demands of proximity and distance, ofinvolvement and observation/recording, of advocacy and objective analysisall using the author's approximately twenty years of activity in the field oftheatre for young audiences as the basis for the discussion. It asks questions,and does not always provide answers. It proposes that the artists of the stageare researchers in their own right. Without them, there would be no theatre,and no theatre research. It points to the fact that theatre is a living art, in aconstant state of transformation, and that to try to pin it down is hazardous.
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Dissertations / Theses on the topic "Theatre for children and young audiences"

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Kibler, Amanda H. "Once upon a time making fairy tales relevant in contemporary theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002988.

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Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-year-old children, and two preschool drama teachers were asked about their opinions after attending one or more of the theatre plays which were chosen for the study. The theatre plays which were chosen for the study were also scored according to the five different essential characteristics by two coders by using the &ldquo
theatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.
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Wolgast, Amanda. "EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002172.

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Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.

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McCoy, Allen. "TYA Methodology Twentieth-Century Philosophy, and Twenty-First Century Practice: An Examination of Acting, Directing, and Dramatic Literature." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3943.

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Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Tauscher, Bryanna Nicole. "Theatre for Young Audiences and Educational Study Guides: Design, Implentation and Teachers' Perceptions." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193261.

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The purpose of this study was to evaluate a Theatre For Young Audiences (TYA) paper and multimedia study guide and to investigate teachers' perceptions of study guides created for TYA. It used current literature surrounding TYA performances, supplemental materials for the elementary classroom, and multimedia in performance and education, to glean critical elements for creating a useful TYA study guide. These elements provided the framework for creating a rubric to evaluate a TYA study guide's potential success in the classroom. The mixed methods study then used the created rubric to evaluate etc . . .'s (Educational Theatre Company) 2005 Hey Diddle Diddle! The Rhymes and Rhythms of Mother Goose study guide. This data was combined with surveys administered to elementary teachers. The study guide rated high on the rubric and teachers' perceptions were generally positive. Overall the analysis yielded information useful for the creation of future guides and research.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.

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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.

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Wäisänen, Linnéa. "Barndomsrevolution på Unga Klara : En föreställningsanalys av För att jag säger det utifrån ett genusperspektiv." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184638.

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CHILDHOOD REVOLUTION AT UNGA KLARA - A performance analysis of ’För att jag säger det’ from a gender perspective LINNÉA WÄISÄNEN Abstract The Swedish professional theatre for children and young audiences is in a constant change, development and renewal due to adulthoods shifting view and understanding of the child and childhood through the ages. The shifting discourse of childhood can be seen both in the various theatre performances for children and young audiences throughout the 20th century, but also in the constant shifting discussions and debates about what sort of performances are appropriate for children. The base of this thesis is a performance analysis of a recorded version of Unga Klara’s För att jag säger det from a gender perspective, with a focus on the stage setting and the mise-en-scène, along with the actors’ performative actions. The purpose is to examine if and how these theatrical signs counteracts or correlates with gender and hetero norms, but also investigate if the complex relationship between childhood and adulthood can be seen in the performance. To do this, I use a combination of hermeneutics, theatre semiotics and phenomenology as my main methodological starting point. Theories about gender performativity and discourse analysis in childhood studies serve as perspectives to the analysis and interpretation of the performance. The analysis starts with a brief introduction to the performance along with a discussion about the dramaturgical structure and the course of events and situations taking place in För att jag säger det. The analysis continues with a discussion about the theatrical space, in particular the stage space in relation to the starting point of the performance, along with the theatrical communication between the actors and the audience. Then, I discuss the theatrical signs that first caught my attention; the actors’ performative bodies and the music and stage sounds, where I analyse my comprehension of the actors’ performative bodies from a gender perspective. The analysis then continues to a more argument based interpretation of the interactions between the actors and the audience, and follows by a discussion of the actors impersonation of childhood and adulthood. In the last part of the analysis I identify and discuss my understanding of various themes and messages in För att jag säger det. The result of the study implies that a few sequences of the staging along with the actors’ performative bodies in För att jag säger det correlates to gender and hetero norms, but mostly the performance discourages normativity in general. The complex relationship between childhood and adulthood are however well established in the performance’s staging, and can be found in how the actors portraits childhood versus adulthood. It is also visible in the interactive communicational parts between the stage and the auditorium, which only occurs under the terms and conditions of the actors. Keywords: Unga Klara, gender, performativity, performance analysis, childhood revolution, theatre for children and young audiences
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Anderson, Kelly King. "Pretend Play at Home: Creating An Educationally Enriched Environment for Emergent Literacy Among Preschool-Aged Children." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd962.pdf.

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Books on the topic "Theatre for children and young audiences"

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1933-, Jennings Coleman A., ed. Nine plays by José Cruz González: Magical realism and mature themes in theatre for young audiences. Austin: University of Texas Press, 2008.

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1930-, Shaw Ann M., and Krzys Katherine, eds. Discovering a new audience for theatre: The history of ASSITEJ, the International Association of Theatre for Children and Youth. Santa Fe: Sunstone Press, 2008.

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Harris, Aurand. The theatre of Aurand Harris: America's most produced playwright for young audiences, his career, his theories, his plays : including fifteen complete plays by Aurand Harris. New Orleans, La: Anchorage Press, 1996.

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O'Toole, John, Ricci-Jane Adams, Michael Anderson, Bruce Burton, and Robyn Ewing, eds. Young Audiences, Theatre and the Cultural Conversation. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-7609-8.

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Blackwood, Gary L. The Shakespeare stealer: (full-length version) : a historical drama for young audiences. New York: Playscripts, Inc., 2008.

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Eek, Nat. The history of ASSITEJ, the International Association of Theatre for Children and Youth. Santa Fe: Sunstone Press, 2008.

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Anna, Herrmann, ed. Making a leap: Theatre of empowerment : a practical handbook for drama and theatre work with young people. London: Jessica Kingsley Publishers, 1999.

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Caltagirone, Dennis. Theatre arts: The dynamics of acting. 4th ed. Lincolnwood, Ill., USA: National Textbook Co., 1997.

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Shakespeare, William. A midsummer night's dream for young people. Fair Oaks, Calif: Swan Books, 1986.

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Abraham, Erin Vanessia. Anticipating Sin in Medieval Society. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462983717.

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Composed between the sixth and ninth centuries, penitentials were little books of penance that address a wide range of human fallibility. But they are far more than mere registers of sin and penance: rather, by revealing the multiple contexts in which their authors anticipated various sins, they reveal much about the ways those authors and, presumably, their audiences understood a variety of social phenomena. Offering new, more accurate translations of the penitentials than what has previously been available, this book delves into the potentialities addressed in these manuals for clues about less tangible aspects of early medieval history, including the innocence and vulnerability of young children and the relationship between speech and culpability; the links between puberty, autonomy, and moral accountability; early medieval efforts to regulate sexual relationships; and much more.
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Book chapters on the topic "Theatre for children and young audiences"

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Fisher, Teresa A. "Theatre for Young Audiences." In Post-Show Discussions in New Play Development, 90–99. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137410962_8.

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van de Water, Manon. "Taboos in Theatre for Young Audiences." In Theatre, Youth, and Culture, 59–79. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_4.

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Maguire, Tom. "Theatre for Young Audiences in Ireland." In The Palgrave Handbook of Contemporary Irish Theatre and Performance, 151–64. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_10.

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Bedard, Roger L. "Theatre for Young Audiences and Cultural Identity." In Key Concepts in Theatre/Drama Education, 283–87. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_46.

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Ardal, Maja. "Theatre for Young Audiences and Grown-up Theatre: Two Solitudes." In How Theatre Educates, edited by Kathleen Gallagher and David Booth, 191–97. Toronto: University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442627574-017.

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Klein, Jeanne. "Criticism and Appreciation in Theatre for Young Audiences." In Key Concepts in Theatre/Drama Education, 289–93. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_47.

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van de Water, Manon. "Theory and Theatre for Young Audiences: Marginalization and Cultural Production." In Theatre, Youth, and Culture, 41–57. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_3.

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Garcia, Lorenzo. "Adding to the Dialogue with Latina/o Plays for Young Audiences." In Theatre, Performance and Change, 89–98. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65828-5_11.

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van de Water, Manon. "The Representation of “Troubled Youth” in US Theatre for Young Adults: Gay and Lesbian Theatre for Young Audiences." In Theatre, Youth, and Culture, 81–100. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137056658_5.

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van de Water, Manon. "The Historical Role and Cultural Function of Russian Theatre for Young Audiences." In Moscow Theatres for Young People, 41–61. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403984692_3.

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Conference papers on the topic "Theatre for children and young audiences"

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Righetti, Ambra, and Georgia Weaver. "P25 Students as educators: how to raise awareness on sepsis among undergraduate children and young people’s nursing students within a simulated learning experience." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.117.

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

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Marlowe, Joseph, John Smith, Dravin Thomas, and Subha Kumpaty. "A Minimalistic and Historically-Based STEM Learning Approach." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-10465.

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Abstract As part of Milwaukee School of Engineering’s (MSOE) 2019 Senior Design program, a design team has worked with Old World Wisconsin (OWW) — a museum in Waukesha County — to incorporate STEM education into their historical platform. This involved introducing methods to teach STEM concepts to visitors, most of which are school children in the K-12 system. Background research on current Science, Technology, Engineering and Mathematics (STEM) methods for K-12 audiences show that there is an overall lack of STEM introduction for students in the United States, and as such, students in the U.S. fail to meet averages for international testing standards for STEM concepts. Research shows that young students require hands on programs in which they can form hypotheses, test hypotheses, and question how these concepts can be applied to real life scenarios. The physical designs in this project consist of stations which relate to OWW’s current exhibits, and introduce statics and dynamics concepts, such as the concepts of mechanical advantage. These concepts are introduced through physical mechanisms that visitors to OWW can interact with in a safe manner, without the need of close supervision. With the guidance of facilitators, school children on field trips will learn mechanics concepts in a tactile and visual manner while being taught key points by the facilitator. The physical designs in this project exist in OWW’s Bicycle Shop, Peterson Wagon Shop, and Loomer Barn. The bicycle shop station consists of a sprocket and chain setup in which visitors can drive a sprocket using a handle, to discover how gear ratios can affect output speeds and torque for a given input speed and torque. The station in the wagon shop has a table with multiple tracks on which a scale wheel can be rolled, to show the relationships between translational and rotational dynamics. In the Loomer Barn, there is a lever station which shows the concepts of moments and moment arms, as well as mechanical advantage, which visitors can solve problems with to understand the relationship between moment arms, and the applied forces required to balance a lever. Also in the barn, a pulley station explores the use of multiple pulleys to make lifting require less force, while increasing the required pulling distances. Each station is accompanied by worksheets that can be distributed to teachers and other visitors via e-mail, which will serve as further supplementary learning tools to enhance visitors’ understanding of the subject material. Design specifications are defined for the size, weight, and types of components to be allowed in the wagon and sprocket modules. These design specifications are met by the finalized designs. The separate stations have undergone some revision over time through different design prototype phases. In the prototype phases, 3D printing was the main means of design, but since these devices are meant to be large and sturdy to offer permanent visual cues to young students, these prototypes were not only temporary solutions, but impossible to 3D print or manufacture within a reasonable cost and time frame. Because of this, the use of externally sourced parts from McMaster-Carr and Menards was decided upon to fulfill the goals of this project. This project was feasible in that it was accomplished by meeting standards related to the background research on STEM education, as well as falling within the realm of historical relevance to OWW’s exhibits. The project was assembled and distributed to OWW within the desired time-frame of both MSOE, and OWW.
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