Dissertations / Theses: 'Theatre for Social Change'

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Cooper, Britney. "THE SEARCH FOR THEATRE FOR SOCIAL CHANGE." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2248.

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Throughout history people have sought to prompt social change through theatrical experiences. The theatre has moved the masses in ways that have frightened governments and religious establishments into closing down theatres and banning theatrical material. History proves that theatre which causes change exists and works, but it also proves there is no one definition or formula for this type of theatre. Depending on the culture, time period, issue, resources and people involved Theatre for Social Change takes a variety of forms. However, theatre affecting change does tend to maintain two common threads: the creation of a new work and the pursuit of the uncertain elements which will ensure the work affects change in its audience. With no more than two common threads, where does a young actor, recognizing a social problem and desiring change prompted through a theatrical experience begin his or her journey? How does one create Theatre for Social Change? How does one know the theatrical work has successfully caused change within an audience? If there is no certain definition, no one way to pursue it, what direction should one follow? Following Peter BrookÂ s example as set in his 1966 production of US, I will create my own original work in the form of a one-person show and use it as the canvas to apply BrookÂ s ideas and techniques. I hope to find that in order for an audience to change they must first be willing to participate in a performance, even if it is a performance demanding a harsh confrontation with an ignored social problem. Through this thesis I aim to prove that through an actorÂ s personal journey with a social issue, the actor leads the way for the audience to be willing to participate and take the journey themselves resulting in change. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, the original script of my performance work Knowing Fires and a reflection on the completed process including audience feedback. All of these elements will hopefully lead to a conclusive and useful approach to creating Theatre for Social Change.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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Ferguson, Sarah Alexandra. "Canadian feminist women directors : using the canon for social change." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/541.

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This thesis explores how five Canadian women directors who define themselves as feminists have engaged with work from the traditional Western theatre canon. However, that world actually is created by the social expectations, cultural mores, and theatrical conventions of its time. Audiences have been indoctrinated to accept unquestioningly the value of these texts while the plays’ valorized status masks social constructs that are continually reinforced and surreptitiously naturalized through their repetition. At the crux of this thesis is the notion that while repetition is used as a tool for social instruction, it can also be used as a tool for social change. Therefore, I explore how the Canadian feminist women directors whom I have interviewed use the uniqueness of performance in different ways to challenge social structures within canonical texts. In the individual chapters, each director first shares her education, training, experience, and influences; then she articulates her own feminist perspective and discusses its impact on her career and work process; and finally she reflects on how she directed a text from the Western theatre canon and used the liminal space of performance to challenge the text’s embedded gender constructs. At the end of each chapter, I present the critical response I found for each production, including reviews, individual statements, and academic investigations, and assess the extent to which the director’s intent was understood by her audience and reviewers. In the final chapters, I examine each individual director’s interview responses in the context of the others’ and situate them within the spectrum of feminisms. In general, the directors used liminal space to expose gender as a construction and destabilize social expectations based on gender. However, what also emerged from these interviews is that while there is no broad consensus of what constitutes ‘feminist’ work, each director must temper her feminist perspectives if she wants access to the upper echelons of directing in Canada and the benefits that it entails.

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Jackson, Jonathan. "interACTionZ: Engaging LGBTQ+ Youth Using Theatre For Social Change." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5950.

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Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition&"174;. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences

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Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.

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This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.

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Mottin, Monica. "Rehearsing for life : theatre for social change in Kathmandu, Nepal." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28933/.

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The objective in this research is to examine the production and performance of theatrical activities aiming at bringing about social change in both development and political intervention. My investigation began with Aarohan Theatre Group, a Kathmandu-based professional company and subsequently extended to Maoist cultural troupes. I have taken a critical perspective considering theatre as a mode of socio-cultural practice embedded in the wider socio-political reality. Thus, I present an account of what it means to do theatre and live by theatre in contemporary Nepal, from 2005 to 2006, through the artists' perspective. Co-performance, that is participation in some performances, complemented participant observation as a methodology. Theatre provides an outstanding context for both social reflection and symbolic action. In a manner similar to ritual, theatrical performances can become deliberate means for both constructing and de-constructing power and symbolically legitimizing or de-legitimizing authority. In Nepal, modern artistic and political theatre developed side by side. First, an historical overview of its development will set the scene for understanding the role played by theatrical performances in the years 2005-2006. In fact, during my fieldwork, history repeated itself. The restrictions on civil rights imposed by the king through the 2005 Emergency affected both street and proscenium theatre activities. Subsequently, ethnographic descriptions will illustrate the theatrical apparatus that the king employed to legitimize his power and how autocracy was similarly resisted and fought against in the streets through theatrical forms of protest and street theatre, loktantrik natak. I will then narrow my focus to a specific form of participatory street performance, kachahari natak, to describe how it was adopted and adapted in Nepal and how the theatre group developed as an organization. In conclusion, 1 will draw comparisons between different forms of 'theatre for social change', kachahari natak, loktantrik natak and Maoist cultural programmes.

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Robinson, Dashanyua Sharonda. "CREATING NEW REPRESENTATIONS OF DISABILITIES IN THEATRE." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438622848.

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Bliznik, Sean. "WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2288.

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Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes, and at times, even dismisses accepted societal truths. As a didactic tool, it is in this vein of truth-seeking that theatre has entered the fickle work of social change. First and foremost, what is social change? Who can create change? How is this change measured? How does one measure the effected change on a particular audience? These questions (and more) as well as their subsequent answers are the job of the social change theatre artist and are explored in this study. This thesis is presented in several distinct chapters. Chapters one and two examine the foundations of theatre for social change and its place in the contemporary theatre world. Chapter three explores writing theatre for social change and yields the development of two original theatrical pieces of theater for social change as a direct result of the aforementioned research complete with a stage presentation of those pieces and an audience assessment (before the performance). The concluding chapters explore the results of the audience survey which explains my understanding of theatre for social change's effect on society and the need for society to continually be exposed to theatre which is socially conscious and contributive in order to firmly define America's socially conscious theatrical identity.
M.A.
Department of Theatre
Arts and Humanities
Theatre MA

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Coaker, Jaime Morgan. "From Commodity to Conversation: Applied Theatre, Public Higher Education, and the Miami University Theatre Department." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1448290982.

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Sonderstrup, Soren. "Film for Change, Communication Rights and Social Change in Tanzania." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21495.

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The thesis presents a view of film for change set against the manifold approaches, practices or ideologies influencing it, and analysis it as a tool for the self-representation, self-determination and mediation of marginalised people in the face of globalization and the democratization of communication. It seeks to find an answer to the question of how film for change works as a method to empower the disadvantaged inhabitants of three villages in Tanzania, where fieldwork was carried out. The thesis tracks down core parameters that connect the visual communication experience to the social reality and bear the potential to change it. The use of visual communication technology, interactive and horizontal communication practices, fictionalizations and empowerment strategies enable processes among spectators and participants that permit them to reframe or reconsider representations that they witness. Film for change potentially reaches beyond the community and through convergence with Web 2.0 into the much larger public sphere, nationally as well as globally. The thesis suggests that film for change should be adapted to the present day media environment as citizens’ media, whereby media users also become media producers and start broadcasting self-communicated alternatives to the images and interpretations produced by established media corporations that dominate the global flows of information. In this way film for change connects to the right to communicate and becomes a tool for citizens to influence power relations and advocate social change.

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Harrison, Kiersten Rose. "A Theatre for Change: Applying Community Based Drama Practices into Ontario Middle Schools." Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20511.

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Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

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Smith, Andrew James. "What we can do with what we have got : a dematerialised theatre and social and political change." Thesis, Lancaster University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.726835.

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Everett, Patricia Hews. "Neo-Futurism and Creating a Twenty-First Century High School Theatre Curriculum." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193395.

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Thirty-two students worked together for eight weeks to write nearly fifty short plays from which thirty were selected, produced and performed in a production titled Warning May Cause Irritation, inspired by the Neo-Futurists' signature show: Too Much Light Makes the Baby Go Blind. Nineteen students were also involved in the concurrent case study of the project and kept journals, participated in focus group sessions, developed scripts and filled out worksheets. Data generated was analyzed for evidence of student empowerment, relevancy of the work to student's lives, and their ability to work democratically.In the end, it seems the students enjoyed and felt empowered by the democratic process used to generate the final production and the result was an educative, relevant and fulfilling experience that may inspire some to continue working in the theatre and the students seemed open to continuing to explore nontraditional theatre projects in the future.

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Page, Leah. "REFLECTIONS: A THEATRICAL JOURNEY INTO THE LIVES OF ADOLESCENT GIRLS." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4312.

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Adolescence is a difficult time for young women. Their bodies are changing and they are being asked to conform to a new set of feminine standards if they are to be accepted (Pipher 39). Studies have found that girls experience a decrease in self-esteem during this time. They are less likely to speak their minds openly and honestly, which can lead to depression and a feeling of falseness. As young women attempt to comprehend this turbulent time in their lives, they often find strength through positive relationships with others as well as from their own knowledge and self-awareness. Reflections is a one-woman show that investigates the current challenges associated with adolescence. The play uses short monologues as well as songs from musical theatre repertoire to tell the story of three separate and unique women. The protagonist of Reflections is an eleven-year-old girl whose personality and sense of self changes drastically during the course of the show. At the beginning of the show, she speaks her mind freely and openly and is unafraid to express her true feelings. When she discovers there are consequences to acting this way, she immediately alters her behavior to ensure her peers accept her. When she witnesses her sister's strength and becomes aware of her mother's intelligence, she realizes she no longer wants to act in ways that do not reflect her true feelings. Her sixteen-year-old sister wants so badly to be accepted that she has begun altering her appearance in dangerous ways in order to fit in. Their mother is struggling to comprehend how to raise two daughters in a culture that does little to support and nurture adolescent girls. Reflections: A Theatrical Look at the Lives of Adolescent Girls outlines each characters distinct journey, using research and analysis to support their stories. In the end it offers advice on how to prevent young women from losing their sense of self during adolescence. This part of the document will present a companion piece to the production in the form of a theatre workshop. This workshop will give young women the opportunity to explore important issues in a safe space. Participants will be able to express their thoughts and feelings without fear of retribution and can begin to investigate ways to challenge social forces that oppress them.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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Beare, David Merritt. "Social art effect : the a/r/tography and complexity of theatre education learning systems, developmental stages, and change mechanisms." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/39663.

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This study examined how the Compassion Project, a collective theatre and social learning program, fostered positive youth and group development. The Compassion Project involved over 200 secondary students who participated in four theatre-making and social learning phases, where they inquired upon the topic of safe and caring schools. Through the process of collective theatre-making, students co-created two original plays (The Flip Side and Focus) about their social and emotional experiences in school. A/r/tography, the arts education research methodology for this study, emphasizes living inquiry and reflective practice through the examination of the in-between spaces of art-making/researching/teaching (a/r/t). Expanding upon the field of a/r/tography, this study introduces the rendering of the fourth wall as a theatre education research lens. By conceptualizing the theatre classroom as a stage, the rendering of the fourth wall directs attention to several perspectives: to the students, teacher-directors, players, and audience on both the classroom and stage sides; to the spaces in between the imaginary world of the play and the real life experiences of the inquirers; and, to the theatre-making and reflective practices. Based on observations, interviews, circle talks, and students’ written reflections, stories, and scripts, the data are analyzed and presented throughout the dissertation. The findings are conceptualized as the social art effects, which are the benefits that result from students’ social and theatre-making actions and interactions. The conceptualization also combines psychological, pedagogical, and theatre-based theories, such as positive psychology, complexity in education, and collective theatre. As a way to organize the data, the findings on the social art effect are categorized into three components: learning systems, developmental stages, and change mechanisms. This study illustrates how students’ social conditions are critical, and precede learning conditions. Furthermore, this study emphasizes the importance of integrating social learning and complex systems theories into the curriculum as a way to optimize learning spaces and to foster positive youth and group development.

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Wellman, Elizabeth Joanne. "Re-Enter Backwards: form and function in theatre for survivors of sexual violence." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306857438.

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Froese, Michelle Mazza. ""We seem to belong nowhere" : locating Missouri Repertory Theatre's identity in the field of cultural production of Kansas City, Missouri /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9712800.

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Delgado, Falcón Gaudi. "Exploring Theatre as a Medium for Change: A Critical Discourse Analysis of Measure for Measure in the Post #MeToo Era." Thesis, Linköpings universitet, Tema Genus, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166664.

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This paper identifies the discursive practices and power mechanisms in passages of Measure for Measure where certain characters are ruled by the belief of superiority of one over all others. It examines how gender norms are constituted, reproduced, and challenged by drawing on Judith Butler’s theories on gender as a performative act to explore how meaning is reproduced dialogically. Also a Foucauldian understanding of power relations, Augusto Boal’s theatre theories and practices, and Sara Ahmed’s feminist theory.This study contributes to critical-reflexive analyses of gender, language, and literary criticism. The analysis here illuminates how theatre serves as a medium for social change. In doing so, this study offers a feminist perspective in theory and methodology that enables an understanding of how class, gender and power are factors intertwined in social relations. In short, the findings draw attention to the gendered social relationship processes, and thus, demonstrates that theatre is a valuable tool for social change in creating agents of change.

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Cloeren, Nicole Birgit. "Acts of reciprocity: Analyzing social exchange in a university theater for social change project." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1550154040.

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Page, Cody Allyn. "Toward The Horizon: Contemporary Queer Theatre as Utopic Activism." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616591424515655.

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Zurn, Elizabeth. "Celebration and Criticism: The State of Present Day Scholarship on Community-based Performance." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1241034400.

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Klatt, Maryanna Danis. "The social construct of the doctor-patient relationship : Origins and potential for change /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486457871784932.

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Animbom, Ngong Paul. "Towards the development of a therapeutic theatre in Cameroon: Investigating its practice and reception through a cross-case evaluation." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209340.

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Le théâtre thérapeutique est une espèce de spectacle vivant qui augmente la sensibilité des participants afin qu’ils puissent améliorer leur habileté à exprimer des émotions et des pensées verbales et gestuelles. Comme genre hybride, il fonctionne de la même manière que le théâtre pour le changement social (TPCS) dans lequel la praxis théâtrale est utilisée pour le changement des participants et des communautés ainsi que pour la promotion du bien-être. Cette pratique (le TPCS) est donc utilisée pour le changement social, mental, et surtout émotionnel. Au cours de ces dernières décennies, ces deux pratiques ont été considérées et traitées distinctement. Contrairement à cette perception historique, cette thèse prétend qu’il existe un paradigme dans lequel ces formes se rejoignent. Appelé théâtre thérapeutique, il est beaucoup plus appliqué au Cameroun dans des communautés. Ce cas hypothétique est examiné sous le titre :« Pour un Développement du Théâtre Thérapeutique au Cameroun :enquête sur sa pratique et sa réception à travers une évaluation de cas. » Trois productions du TPCS/théâtre thérapeutique sont donc utilisées :The Boomerang, Ndop et SOS Village Mbalmayo workshops.

Le cadre théorique convoqué à cet effet est la sémiologie théâtrale telle que vue et énoncée par André Helbo. Développée de la pragmatique, sa sémiologie théâtrale est basée sur l’émission et la réception d’un message dans le spectacle. À cet égard, il existe des fonctions réciproques d’acteurs et de spectateurs dans l’événement théâtral. Ceci signifie que la distinction entre la production et la réception est tout simplement considérée comme une « distinction pédagogique ».

Le langage du théâtre dans sa production et/ou sa réception fonctionne dans un contexte d’expérience sociale partagée. Dans cette perspective, Helbo parle de « codes de spectacle (conventions spécifiquement applicables au spectacle, au genre, à la période historique), de codes généraux (linguistiques, idéologiques/culturels, perceptuels), et de codes mixtes (codes généraux fonctionnant dans un contexte spécifique de spectacle) » .Néanmoins, dans la démarche sémiologique d’Helbo tout comme dans ce travail, le privilège est accordé au dépassement de la division précédemment mentionnée, pour aboutir à ce qu’il nomme « l’énonciation collective » et la « notion d’observateur actant ».

Ces concepts dépassent le modèle de la communication linéaire évoqués par Mounin, pour souligner que les participants dans un phénomène théâtral sont impliqués dans le processus de création collective ou de l’énonciation collective sous des normes culturelles spécifiques. Dans ce processus, l’observateur représente une fonction spécifique, l’une des conditions de l’existence de l’énoncé spectaculaire. La notion de l’observateur actant « raffine considérablement l’analyse de l’identification initiée par Brecht », notion qui a été incorporée ou prolongée dans le théâtre thérapeutique de la même manière que le processus de co-création. Ce qui est central dans l’application de la sémiologie théâtrale dans cette thèse, c’est le postulat selon lequel le destinataire d’aujourd’hui deviendra le destinateur de demain.

À la fin de cette étude, nous montrons (sans chercher une reproduction du modèle occidental), que le théâtre thérapeutique est pratiqué au Cameroun. L’utilisation des techniques théâtrales favorise le bien-être des participants et contribuent au changement à tous les niveaux de la vie. Cette approche est orientée vers la communauté et par conséquent constitue un paradigme thérapeutique à visé communautaire nommé « théâtre communautaire à visé thérapeutique ». Considéré comme tel, ce paradigme peut être utilisé concomitamment dans le cadre de la santé mentale et de la santé communautaire au Cameroun. Dans ce cas, il sert comme une modalité thérapeutique intégrée et établit un lien entre le spectacle vivant, la santé en générale et la santé mentale en particulier.

Therapeutic theatre is an improvisational method of performing arts that heightens participants' sensitivity to improve their ability to communicate feelings and thoughts verbally and by gestures. As a hybrid form, it functions in the same way as theatre for social change (TFSC) wherein theatre praxis is used to change participants or communities and promote wellbeing. TFSC is seen as an articulated intention to use theatre praxis in the service of change (social, mental, and emotional). Tradition has held these practices distinctly for the past decades. This thesis however, contends that despite these historic perceptions, there is a paradigm where these forms, previously viewed as distinctly different, come together in a spectacle that is therapeutic and applied to mental health in hospitals and community settings in Cameroon. This hypothetical case is examined under the general topic: ‘Towards the development of a therapeutic theatre in Cameroon: investigating its practice and reception through a cross-case evaluation.’ This thesis is based on the analysis of three TFSC/therapeutic theatre productions from the same practitioner: The Boomerang, Ndop and SOS Village Mbalmayo workshop productions respectively.

The research is inserted under theoretical considerations of theatre semiology and particularly, André Helbo's semiotic concepts. Developed from pragmatics, this method of theatre semiology focuses on the manner in which a message is sent and received. In this respect, there are reciprocal functions of actor and spectator in the theatrical event. From this, semiology is applied to understand the theatrical phenomenon in its entirety: production and reception. This implies, the division between production and reception is viewed as “a pedagogical distinction” only. Privilege in this thesis therefore is given to the surpassing of the aforementioned division to what he terms “enunciating collective” (co-creation process), and the “notion of the observer actant”.

These concepts go beyond the linear form of communication in theatre evoked by Mounin to highlight that the participants in a theatrical phenomenon are involved in a collective creation process or enunciating collective under specific cultural norms, and the observer represents a specific function, one of the conditions of existence of the performance utterance (l’énoncé spectaculaire). The notion of the observer actant in effect “refines considerably the analysis of identification initiated by Brecht” and which has been incorporated or prolonged in therapeutic theatre in the same way as the process of co-creation. Vital therefore to the application of theatre semiology in this work is the postulate that the theatrical phenomenon is an act of interaction wherein today’s receiver can be transformed into tomorrow’s sender.

At the end of this research, it is proven that without seeking a reproduction of a Western form, "therapeutic theatre" is practised in Cameroon. The utilisation of theatrical techniques fosters participants’ wellbeing and enhance change at all levels. It is community centred thereby constituting a community-based therapeutic paradigm which is named "community-based therapeutic theatre". Understood as such, this paradigm can be used concomitantly in cases of mental and community health in Cameroon. In this case, it serves as an integrated therapeutic modality and bridges the gap that exists in the health domain in general and mental health in particular.

Doctorat en Information et communication
info:eu-repo/semantics/nonPublished

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Nursey-Bray, Rosemary. "Getting the message across : theatre as a medium for instruction and a strategy to influence social change: historical background, current examples and select practices in South Australia /." Title page, abstract and contents only, 1996. http://web4.library.adelaide.edu.au/theses/09ARM/09armn974.pdf.

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Erenrich, Susan J. "Rhythms of Rebellion: Artists Creating Dangerously for Social Change." Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.

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

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

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Litwak, Jessica. "My Heart is in the East: Exploring Theater as a Vehicle for Change, Inspired by the Poetic Performances of Ancient Andalucía." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1432152428.

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Rowley, Ben. "Festival or carnival? : the 2002 Adelaide Festival of the Arts and cultural activism /." Title page/ table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arr8838.pdf.

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Tiendrebeogo, Pingdewinde Issiaka. "L'Impact du théâtre d'intervention sociale sur le développement du Burkina Faso." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA039/document.

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Le théâtre est un outil de communication qui participe au développement social et économique du Burkina Faso. C’est autour des années quatre-vingt qu’une poignée d’artistes et d’intellectuels africains ont conceptualisé cette pratique artistique afin qu’elle devienne un moteur de développement pour nos masses laborieuses. En effet, cette thèse est partie de l’hypothèse selon laquelle, le théâtre d’intervention sociale contribue aux efforts de sensibilisation. Il s’est agit d’une part d’étudier l’histoire de ce théâtre, ses thèmes, ses formes, son évolution, ses enjeux esthétiques et d’autre part, à travers un corpus, une collecte de matériaux audiovisuels et une enquête sociologique auprès des spectateurs et des compagnies théâtrales de montrer l’incidence de son action sur les populations burkinabé. L’ensemble des matériaux de cette enquête scientifique nous a permis de réaliser un film documentaire qui accompagne cette recherche.Les résultats auxquels nous sommes parvenu attestent enfin qu’à travers la sensibilisation par le théâtre d’intervention sociale, les populations adoptent des comportements favorables aux changements de comportements et de mentalités
Theatre is a communication tool that participates in the social and economic development of Burkina Faso. It is in the eighties that a handful of African artists and intellectuals conceptualized this artistic practice to make it a driving force of development for our working masses. Indeed, this doctoral thesis has started from the hypothesis according to which the theatre of social intervention contributes to the efforts of awareness. It consists, on the one hand, in the study of the history of this theatre, its themes, forms, evolution, aesthetic stakes and, on the other hand, through a corpus and a sociological survey with spectators and theatre companies, in showing the impact of its action on the Burkinabe populations.The bulk of materials gathered in this scientific enquiry helped me to produce a documentary film that illustrates this research.The results to which I have reached are that through sensitization by the theatre of social intervention, people adopt behaviours that are favorable to the changes of behaviours and mentalities

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Smith, Alison. "Raising environmental awareness through performance art." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession86-10MES/Smith_A%20MESThesis%202007.pdf.

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DeLisa, John. "Setting the Stage for a Sober Community on Campus." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1583.

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In the last thirty years, a movement in America helps students struggling with substance abuse and dependency. Only recently, in the 1970s to be precise, has there been any significant documentation that unveils the problem of substance abuse in college. Schools like Texas Tech University and Kennesaw State University are in the forefront helping hundreds of thousands of students who struggle to have a safe and productive college experience. These schools provide support systems, scholarships, and mentorship to those students who are free from drug use and dependence and are looking to further their education. It is my intent to demonstrate a growing need for these support systems and present a theatrical work that will raise awareness of this issue. Oftentimes, the issue of substance abuse is an embarrassing and uncomfortable topic for people to discuss. There are issues of denial at both the personal and academic level. By using theatre as a means to present this topic in a non-confrontational, engaging, and thoughtful manner, I contend that there can be progress in bringing Collegiate Recovery Programs to colleges nationwide. My play, A Way Back, will add to the canon of substance abuse plays with an emphasis on substance abuse recovery in college.
B.F.A.
Bachelors
Theatre
Arts and Humanities

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31

Westling, Carina E. I. "The making of postdigital experiential space : Punchdrunk Company, 2011-2014." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68360/.

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This thesis presents my original contribution to knowledge, a combination of critical media and performance theories to analyse the production and augmentation of postdigital experiential spaces in Punchdrunk Theatre Company. Distributed agency is key to Punchdrunk's work, with makers within the company and audiences both being active participants in meaning-making, across complex and detailed interfaces. In order to investigate the making cultures on ‘both sides' of the interface, I undertook a two-year participant study as a researching designer within the company during the build of the productions The House Where Winter Lives and The Drowned Man in 2011-2014, gathering field data in the form of extensive interviews with members of the company and audience participants, supported by diary notations and photographs. I studied the processes and methods that extend, distribute and regulate agency to both audiences and makers within the company, and identified devices and features of the interaction design of the company that produce the immanent subject-event relationships that support immersion in their work. A core aspect of this research concerns the relationship between immersion and the sublime, and how subject-event relationships (immanent vs. transcendent) contribute to engendering sublime interactive experiences. I have analysed the consequences of this for the modelling of participation in interaction design, and how it influences conditions of possibility within interactive systems across physical, digital and blended media. The conclusion of this research includes the definition of a postdigital sublime, and proposes a delinquent system aesthetic that integrates proxies for gravity through articulation of the ‘shadow side' of interaction design.

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Kiess, Kolter. "Rhizomatic Resistance: A Pedagogy for Social Transformation." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1248147584.

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Thesis (M.A.)--Kent State University, 2009.
Title from PDF t.p. (viewed Mar. 26, 2010). Advisor: Masood Raja. Keywords: Rhizomatic; resistance; social transformation; pedagogy; radical; education; literature. Includes bibliographical references (p. 157-161).

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Soto, Aisha M. "Through the Eyes of the Homeless." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1946.

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When reviewing the entire project from start to completion, I can honestly say, Through the Eyes of the Homeless is a play about ten women and their plight. It illustrates their dealings with everyday issues of hurt, disappointment, abuse, love, and hope. I believe the true impact of this play is the undeniable prayer for help and hope within each monologue. Despite the horrors that are unveiled and released through hidden secrets, the undertone of betterment is truly resonating. My own expectation for this play is simply to strike awareness and understanding in the eyes of the people. It is my objective to have each audience member leave the show with a completely different perspective on homelessness. Homelessness seems to be one of those taboo societal problems the world chooses to turn away from because of lack of awareness. I believe it is fear of the unknown that keeps us blind, deaf, and dumb about certain issues. After all is said and done, I am simply asking anyone who reads this play, watches it, or hears it to listen to each voice carefully and the message it conveys.

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Hillman, Rebecca Anne. "(Re)constructing political theatre : negotiating discursive and practical frameworks for theatre as an agent for change." Thesis, University of Reading, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632830.

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The main aim of this research is to offer a reconceptualisation of the efficacy of live performance for instigating social and political change. In order to do so, it explores a range of practical forms and theoretical contexts for creating political performance in Britain. It also formulates new perspectives and methodologies to encourage and add to the production of political performance for the twenty first century. The perceived failure of the organised Left after the end of the Cold War, and the relativism of postmodern theoretical perspectives, has signalled for many the demise of political theatre. In 2013, the concept of live performance as having efficacy to instigate political change remains contested. Yet in fact, some politically motivated performance has demonstrably facilitated change, and critical frameworks have been developed that account for contemporary performances that hold definitive political stances. Meanwhile, political activism has continued to fluctuate and transform rather than simply to dissipate since 1989. As part of this transformation, activist movements have arguably incorporated and generated philosophies and forms associated with postmodernism, rather than having been straight forwardly defeated by them. Today, Capitalism is once again being resisted with renewed urgency. Meanwhile, theatre practitioners in Britain and elsewhere are harnessing theatre as a tool to fulfil the agitprop mantra: 'educate, agitate, organise'. As the written component of a practice based Ph.D., the arguments contained in this thesis developed out of direct engagement with my research-practice. This was a site-specific performance devised in Reading in 2011 , which considered the impact of current economic policies and political systems on the lives of local people. As well as finding agency in a 'deconstructive' aesthetics associated with postmodern art, the performance also looked back to theatrical forms and methodologies developed by practitioners working in Britain in the 1970s. In light of the successful deployment of such forms and methodologies, and the popular conception that much 1970s practice is outmoded today, this thesis argues for the enduring relevance of agitprop forms specifically. It questions how 'political theatre' has been discursively constructed from the late 1960s-present, and demonstrates how, in combination with other theatrical models, agitprop forms can operate effectively in contemporary contexts. This research theoretically and practically (re)constructs political theatre with a view to the agency of old forms for strengthening new forms of resistance, whilst locating possibilities for politically progressive art in diversity and definitiveness.

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Nyoni, Frowin Paul. "Conformity and change : Tanzanian rural theatre and socio-political changes." Thesis, University of Leeds, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436092.

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Spires, Laura Ann. "Striving for Success in Times of Change: Leadership in Nonprofit Theatres." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429176930.

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37

Larsen, Henry. "Spontaneity and power : theatre improvisation as processes of change in organizations." Thesis, University of Hertfordshire, 2005. http://hdl.handle.net/2299/14236.

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Theatre has gained wider use in organizational change processes, either as Forum Theatre inspired by Boal (1998, [1979] 2000) or as improvisation inspired by Johnstone (1981,1999); and in recent years, a number of authors have reflected upon this when seeking to understand its impact. Some suggest that theatre is a kind of laboratory where change takes place beside and after the work with theatre. Others, such as postmodernists, see theatre as a forum for revealing the oppression that can exist within organizations. This thesis takes another direction. Forum Theatre has been an inspiration; but, based on my experience of working with theatre improvisation as processes for organizational change, I have come to negate Boal's understanding of Forum Theatre as Theatre of the Oppressed. Instead I see conflicts between people in the organization as key. I argue for a link between theatre improvisation and understanding human interaction as complex responsive processes, and I come to see organizations and organizational change as temporal and constantly recreated through local interactions among people, where power relations, seen as dependency, are essential. The processes of relating involve responding to each other in recognisable and yet surprising ways, that is, with spontaneity. Spontaneity can be recognized as liveliness: one finds oneself in spontaneous activity when one becomes unsure of the response the other will take to one's gesture. Daring to be spontaneous is essentially risky because it challenges power relations, which themselves are maintained only by continuously responding to each other in ways that are mutually expected. Working with theatre improvisation is seen as paradoxically fictitious and real at the same time, because the actor's supposedly fictitious work is constantly met by a real response from the audience - real in the sense that people react from their own experience. By experiencing this together, power relations are immediately changing - not as a result of the work, but as a part of it. Theatre improvisation serves as an invitation to spontaneity, an invitation to be aware of changes in each other's reaction. The apparently fictitious character of the work makes it appear safe to do so.

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Asagba, O. A. "Festival drama : Aspects of continuity and change in contemporary Nigerian theatre." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372955.

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Willis, Craig Allen. "Step, ball, change? : a queer historical analysis of recent commercial theatre /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080600.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 261-271). Also available for download via the World Wide Web; free to University of Oregon users.

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Ferner, Susan M. (Susan Marie) Carleton University Dissertation International Affairs. "Drama, action and change; sistren, a women's theatre collective in Jamaica." Ottawa, 1986.

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Abraham, Nicola. "Witnessing change : problematising the impact of participatory theatre for vulnerable groups at Kids Company." Thesis, Royal Central School of Speech & Drama, 2014. http://crco.cssd.ac.uk/463/.

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This research proposes a new conceptual framework combining ideas of witnessing (observing) and change to understand possibilities for participatory theatre practice (PT) to impact vulnerable youth. This thesis was arrived at after longitudinal studies investigating the possibilities for change offered by responsive participatory theatre projects designed in collaboration with and for vulnerable groups at Kids Company. The findings emerging from the enquiry are the importance of humanising the facilitator, the necessarily temporary nature of participant performances of change in volatile settings, ‘witnessing change’ as a new type of impact relevant to vulnerable youth and the risks involved for vulnerable youth performing change in unresponsive or counter-responsive institutional settings. This research suggests that further enquiries are needed to investigate the concept of witnessing change as a new type of ‘impact’ which is necessarily temporary and multi-layered. Current perspectives of impact and impact assessment place value on achieving measurable outcomes. This research argues that current models of impact assessment should value temporary change even if it is confined to the workshop space where participants witness change in one another and the facilitator witnesses change in participants. This research is positioned within a framework incorporating ideas of witnessing, change and impact. The research is contextualised within the current socio-economic climate. The projects took place with vulnerable youth who accessed Kids Company’s support in South-East London. The urgency of this research is discussed in relation to the aftermath of the August 2011 UK riots. The research investigates the possibilities of using PT as a tool to expose and challenge constructs and found that PT can provide opportunities for impact and value to be witnessed as a way of sustaining change. The methodology of this research combined ethnographic and practice-based approaches to capture a plurality of voices to understand multiple readings of impact. It was important to include multiple voices to triangulate findings and address key challenges that arose due to the collaborative nature of this research conducted with Kids Company. Balancing a fair representation of Kids Company with critical readings of the provisions provided by the charity was one of the challenges within this research. A reflexive approach to the enquiry was employed to note researcher subjectivity and multiple perspectives were included to capture the complexity of Kids Company settings. The research will contribute a new holistic approach for practice in the field of PT, where PT is used as a process of humanisation. The research will also contribute new strategies of facilitation for practitioners working with vulnerable youth in similar contexts. In addition, the research may also contribute to the fields of child development and social change strategies through the concept of witnessing change as a new approach to understanding the impact of participatory theatre.

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Dick, Loretta A. ""Are we doing Readers' Theatre today?", the implementation of Readers' Theatre exploring social studies themes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0017/MQ54701.pdf.

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Hipp, John R. Bollen Kenneth A. "Social distance and social change how neighborhoods change over time /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,404.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Sociology." Discipline: Sociology; Department/School: Sociology.

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Stockil, Emily. "Development, belonging and change : a study of a community theatre-for-development initiative in KwaZulu-Natal." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8166.

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Includes abstract.
Includes bibliographical references (leaves 82-86).
This dissertation seeks to address issues related to community change within the field of Theatre-for development. It proposes and then investigates various ways in which a community may seek to retain a sense of collective ideology in the light of both positive and negative developmental change, as promulgated by agents outside their community. Chapter one, Introduction, begins by introducing the reader both to the fieldwork project and the community, Khethani township, in which the masters degree filedwork was undertaken. It was this fieldwork which prompted the research enquiry covered by this dissertation, to which the reader is introduced. It delineates the research methodologies of both the fieldwork project and this dissertation, and positions the writer in relation to this study. The initial aim of the fieldwork project was to do a practical enquiry into the methods of workshop theatre and the development of a distinct theatre aesthetic that emerges from a community as a result of workshop theatre practices. Having completed the fieldwork project and having considered the results of the initial fieldwork aims a larger research enquiry developed as to the role of workshop theatre within the broader context of community development and this has now become the focus of this dessertation.

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Bhatti, Yohan. "Social change and social representation." Thesis, University of Surrey, 1998. http://epubs.surrey.ac.uk/838/.

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Brown, Paul. "Early modern theatre people and their social networks." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/14955.

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This thesis contributes new knowledge to an understanding of how people's social networks in the early modern theatre shaped the drama they created. By studying the lives of people working in the theatre, attending to biographical details not hitherto fully considered, it recasts received narratives of theatre history. Where theatre historians often tell stories of competition and combat, it finds evidence too for considerable amity across webs of relationships that are here called 'social networks'. This thesis offers new biographical facts about life events for the actor Richard Bradshaw and the actor-writer William Rowley. In addition, it endeavours to change the way historians think about collaborative playwriting in the period. Based on quantitative analysis, this thesis shows the rates of collaboration to be about half the rate of heretofore accepted estimates. Chapter One considers in detail the narratives that historians construct about the early modern theatre and the problems associated with them. It reviews the various classes of evidence used in later chapters and the uses to which such evidence can reasonably be put. Chapter Two explores an industry in expansion in the 1590s, re-examining the well-known duopoly narrative and reconsidering the various professional pursuits and diverse residences of actors and playwrights in the period. Chapter Three looks at the following decade, the 1600s, and the re-emergence of troupes of boy actors into an expanding and stabilising industry. Chapter Four shows how collaborative writing, though prevalent, was not as frequent as is usually thought; it also shows stark differences in rates of staging collaborative drama between companies. Each chapter closes with a biographical case study of a theatre person whose life is considered in terms of their social network. An examination of such networks is then used to reshape the way we understand events in their life and broader currents that involve the entire early modern theatre industry. Thinking about who interacted with whom and why adds a new layer of complexity to our collective model of how this entertainment industry produced the period's extraordinary proliferation of highly valued plays.

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Wright, Elizabeth. "Narratives of continuity & change : British theatre design, 1945-2003 : an oral history." Thesis, University of the Arts London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526745.

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This thesis contends that continuity is evident within British theatre design practice across the second half of the twentieth century despite the concurrent emergence of new performance spaces and revolutionary approaches to theatre making. During this period, British practitioners have been internationally commended for the standard of their work at the Prague Quadrennial, yet access to knowledge about the practice which has realised this success is limited: the individual approaches of theatre designers are largely undocumented and a critical discourse of theatre design has not been firmly established. Themes of continuity and change within British theatre design 1945 - 2003 are examined on the basis of evidence from 23 in-depth oral history life story recordings created with a representative sample of theatre design practitioners. These are analysed in combination with three existing life stories available at the British Library Sound Archive to encompass almost half a century of practice. The recordings uncover a rich web of otherwise undocumented knowledge and reveal threads of commonality across generations of the profession, tracking influences and shared values across the period. The relatively isolated nature of practice, which seldom brings theatre designers into contact with one another, is shown to add especial emphasis and importance to the influence of established practitioners during education and training. The lack of critical discourse and the inaccessibility of theatre designers' own reflections on practice is understood to have contributed to a situation in which attitudes and approaches remain largely unchallenged from one generation of the profession to the next. Oral history life story methodology offers an appropriate means to capture knowledge that exists otherwise only in an ephemeral form, redressing to some extent the scarcity of reflective analysis emerging from practitioners. The recordings created for this research have been preserved and made publicly accessible at the British Library Sound Archive, providing a resource for future research.

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Anderson, Colin. "Teaching Social Studies Through Drama." DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.

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Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices, cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely & Savage, 2011; Lement & Dunakin, 2005}.

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Meyer, SalomÃ© Jeanette. "Social change and Bredasdorp." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/14280.

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Bibliography: leaves 113-120.
The purpose of this study is to ascertain the effects of the Overberg Test and Evaluation Facility on a rural town. Bredasdorp, the town in question, up until the announcement of the proposed Overberg Test and Evaluation Facility had developed historically on the basis of the natural needs and requirements of a rural community. Bredasdorp thus, provided services and facilities for its and the surrounding population as a natural growth point and service-centre for complimentary economic activities - mainly of an agricultural nature. The introduction of the Overberg Test and Evaluation Facility impacted on the functioning of this local farming community. This study traces this social change on the various systems operating in the community. Specifically, this study looks on the areas of economic and social change as a result of demographic change in a community. It was hoped that the introduction of the Overberg Test and Evaluation Facility would have long-term influences on the character, make-up and functioning of Bredasdorp as a rural town. In-depth interviews were held with 30 old and new inhabitants of Bredasdorp to determine their attitudes with regard to the project as primary data. Documents such as census reports, Municipal and town planning reports, education related statistics, the Hey Committe report as well as official documents from Armscor were utilized for secondary data. Findings indicate that Bredasdorp experienced a demographic growth as a result of the introduction of the Overberg Test and Evaluation Facility. This demographic growth had a trickle-down effect on the infrastructure such as water reticulation, sewerage, housing, schools, business and community facilities. Adjustments were made by the various systems involved in the change process in order to accommodate the demographic change positively. The economic/militaristic development project at Bredasdorp can be seen as a positive influence on Bredasdorp and environs.

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Greiner, Karen P. "Exploring Dialogic Social Change." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1273197688.

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Dissertations / Theses on the topic 'Theatre for Social Change'

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