Relevant bibliographies by topics / Theatre history pedagogy

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

Academic literature on the topic 'Theatre history pedagogy'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Theatre history pedagogy"

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ANANTHAKRISHNAN, B. "Pedagogy, practice and research in Indian theatre." Theatre Research International 35, no. 3 (October 2010): 291–92. http://dx.doi.org/10.1017/s030788331000060x.

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Modern academic training for theatre in India has a history of just over fifty years (since independence). The National School of Drama (NSD) was set up in 1957, but the prime objective of the institution at that time was to generate professionals to develop children's theatre and rural theatre. Although India possessed a wide range of traditional performance cultures throughout the country, from rituals to folk performances and classical performances, the NSD was modelled on the Royal Academy of Dramatic Arts (RADA) since the new institution was led by a graduate of RADA, Professor Ebrahim Alkazi, who put the institution on a functional track. Thus the toolkit used during the initial days was primarily based on Western models conducive to realism rather than growing organically out of the actual practices of the different forms of Indian performance. This early orientation remains today, emphasizing the creation of referential meanings on the stage through conventional methods and devices, taken as the unshakable organizing principle of theatre practice.
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Sperrazza, Tyler. "Equity in Black theatre history classrooms." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (December 1, 2020): 105–7. http://dx.doi.org/10.1386/peet_00023_7.

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This article reflects on the experiences of a white male faculty teaching Black theatre history at a predominantly white institution. It views the Black theatre history classroom as a potential haven for theatre students of colour, and highlights the critical role of a white faculty member in honouring and protecting that space. It argues for the importance of self-reflection and humility on the part of white faculty as we engage with topics surrounding Black history. This piece references the traditional power dynamics between students and faculty, and reimagines those power dynamics when white faculty members teach Black theatre history to Black students. In our current moment of racial upheaval and reckoning within the rehearsal rooms and on our stages, this reflection contends that we must also examine the ways in which our pedagogy in Black theatre history can be actively antiracist. Ultimately, this piece advocates that white faculty work to de-centre their own whiteness in their theatre history classrooms and commit to humility and a willingness to learn from their students of colour.
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Denzin, Norman K. "Performing Critical Pedagogy in a Politicized Public Sphere." Qualitative Inquiry 26, no. 2 (October 14, 2019): 238–41. http://dx.doi.org/10.1177/1077800419879082.

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Here, I outline a performative approach to the politicized public sphere specifically drawing on Moises Kaufman’s Laramie Project,1 Saldaña’s call for a critical ethnotheatre that engages key moments in a culture’s history, and Augusto Boal’s Theatre of the Oppressed.
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Poskakalova, T. A. "The history of the development of theatre practices in education: foreign and Russian experience." Современная зарубежная психология 10, no. 2 (2021): 96–104. http://dx.doi.org/10.17759/jmfp.2021100210.

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The article briefly describes the history of the development of theatrical practices in education in Russia and abroad. The main dimensions of theater and drama in contemporary pedagogy are considered. The article demonstrates that various forms of theater in education are more widespread and better developed in foreign pedagogy, where theater is not limited to the framework of school disciplines as it is used as a means for providing complex solutions of problems related to development, learning and socialization. It is substantiated that in the practice of Russian schools, theater is much less in use, since it is so far applied exclusively as a means of introduction to culture, its traditions and values.
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Lewis, Tyson E. "Walter Benjamin’s radio pedagogy." Thesis Eleven 142, no. 1 (September 3, 2017): 18–33. http://dx.doi.org/10.1177/0725513617727891.

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This paper investigates the unique educational relevancy of Walter Benjamin’s radio broadcasts. While much has been written about Benjamin’s approach to both children’s literature and children’s theatre, his own pedagogical practice as a radio pedagogue remains largely marginalized in these discussions. In order to address this gap in the literature, I focus on the implications of shifting from the largely visual world of children (celebrated in color illustrations) to the auditory world of radio. Through a careful reading of the radio scripts, I argue that a perceptual alteration unique to the sonic medium of radio jumpstarts historical thinking in children. The following pedagogical principles which I extract from the radio broadcasts support and enhance this mode of historical materialist education. In conclusion, the article argues for the ongoing relevancy of Benjamin for thinking through the pedagogical implications of new information technologies within a postmodern era such as podcasts.
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Silwadi, Najwa, and Peter Mayo. "Pedagogy under Siege in Palestine: Insights from Paulo Freire." Holy Land Studies 13, no. 1 (May 2014): 71–87. http://dx.doi.org/10.3366/hls.2014.0078.

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This paper analyses the relevance of Paulo Freire's pedagogical and philosophical ideas within the context of occupied Palestine. It specifically focuses on the work in continuing community action and education carried out by a particular centre established at Al-Quds University in Jerusalem, and at the heart of the ‘old city’, for this purpose. The major focus here is on community theatre foregrounding issues related to women in Palestinian society. Major themes broached include the politics of education, social mobilisation, women and the Intifada, the collective dimensions of knowledge, learning and praxis, purging oneself of the ‘oppressor within’ to break the cycle of violence, education for liberation.
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Dickey, Jerry, and Judy Lee Oliva. "Multiplicity and Freedom in Theatre History Pedagogy: A Reassessment of the Undergraduate Survey Course." Theatre Topics 4, no. 1 (1994): 45–58. http://dx.doi.org/10.1353/tt.2010.0045.

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Vieites, Manuel F. "Teatro y educación en la Ley General de 1970. Avances y retrocesos." Cuestiones Pedagógicas 2, no. 29 (2020): 501–63. http://dx.doi.org/10.12795/cp.2020.i29.v2.04.

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The General Education Act, enacted in 1970, appears as the first attempt to regulate Theatre Education in Spain, considering all its diversity. On the one hand, this new law places Art Education in the General Education curriculum and provides it an expressive approach. This showed the pedagogical potential of different procedures of dramatic and theatrical nature, confirmed its educational legitimacy, and produced developments in both their empirical and scientific cultures. On the other hand, the Act stated and promoted the integration of Schools of Dramatic Art and its courses in the university, in tune with what had been its status since 1857 with the Moyano Education Act, and with similar transitions taking place in Europe in the same direction. This paper, which has been written after an analysis of the educational norms derived from the application of the Act, combined with a review of the literature generated at that period, shows the advances the change enhanced. Also, reveals that later Educational Acts were not always confirmed or consolidated, and that provoked important setbacks causing persistent of problems. Also, further research lines particularly relevant in the development of the further research lines particularly relevant in the development of the History of Theatre Education and also of the History of Theatre Pedagogy in Spain have been provided.
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Yerushalmi, Dorit. "‘Proximity is Not a Simple Co-Existence’: an Interventionist Work at the Haifa University Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 370–84. http://dx.doi.org/10.1017/s0266464x13000699.

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He production of Haifa / haifa, performed in winter 2011 at the Haifa University Theatre, based on Tamar Berger's essay Rooftop, Cellar, 1, 100 Stairs and Four-Way Exposure, directed by Helit Michaeli with Jewish and Arabic theatre students, was a piece of devised or ‘post-dramatic’ theatre. The title of the play hints at its general stance, not only by using both languages, Hebrew and Arabic (here represented by italic caps), but also by replacing the hyphen, symbolizing co-existence, with an unsettled slash. In this article Dorit Yerushalmi examines the various layers of Haifa / haifa: first, the literary context of Berger's essay; second, the participants‘ voices which reflect the whirlpool of interpersonal relationships in which they found themselves when confronted with conflicting narratives; and finally, the theatrical means of expression which comprise what, following Emmanuel Levinas, she terms the ‘poetics of proximity’. As a case study, the Haifa / haifa project illustrates how an interventionist work in a university theatre may provide a shared space in which a new understanding of dialogical practice can be constructed – dialogue not merely as a meeting of equals but also (and mainly) a call for responsibility for the ongoing suffering of the others among ‘us’. Dorit Yerushalmi is a lecturer in Theatre Studies at the University of Haifa. Her research interests include Hebrew-Israeli theatre history, theatre and gender, theatre and pedagogy, and interventionist theatre.
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Hossein Esmkhani, Amir. "Iran – Infrastructure, historical and current developments in performative pedagogy." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (July 1, 2016): 99–106. http://dx.doi.org/10.33178/scenario.10.2.9.

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Theatre and other forms of art have played an unarguable part in the formation of cultures and civilizations all around the world. There is some proof that performance began even before language was invented by man. In their rituals and traditions, our earliest ancestors used their body to convey messages and performed rituals on different occasions. The history of our culture and civilization is replete with various forms of art and performance narrating the stories of generations. From mothers’ bedtime stories to religious ceremonies, for a wide range of purposes, art in general and performance-based art in particular gave shape and meaning to human’s everyday life experiences. This article will present an overview of the history of performative arts in Iran, how it has come to contribute to foreign language teaching, and outline its limitations and future projections. Performative arts have a rather long history in Iran. In one of the most authoritative books on Iranian Performance Tradition, William O’Beeman (2011) presents the rich “tapestry” of Iranian traditional performance which took root many centuries ago, before Iran came into contact with the West. He believes that those who are not familiar with Iranian culture may be truly surprised to discover ...
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Dissertations / Theses on the topic "Theatre history pedagogy"

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Polycarpou, Charis. "(RE) creating a theatre of myth : pedagogy and cultural heritage in a theatre for Cypriot youth." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3648/.

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This thesis will argue that the contemporary educational system of Cyprus denies young people opportunities to participate in the creation of their culture, which can provide the nest for the exploration and understanding of their individual and collective lives. Culture, in schools, is treated not as a dynamic process in which the young people can play the main role but instead as a static field of knowledge that should be studied and learnt. This approach, however, contradicts the same principles that were the foundations of the ancient culture that the young Greeks have inherited from the past whose performative and participatory nature ascribed to it a proactive and democratic public life that guaranteed everyone the right to speak and act. This thesis argues that the Greek young people of contemporary Cyprus should be entitled to participation in recreating and reconstructing the meanings and values of those stories that have inherited from the past and that bind them together as one people in ways that help them make sense of their contemporary private and public roles. The thesis argues that the myths of the past should be reinterpreted and repositioned again in the present to respond to the immediate social context of the young people in a participatory and democratic way so as to enable a progress of this culture and a connection between the past, the present and the future. The thesis shows that culture is under continuous reconstruction taking on the example of fifth century BC Athens where theatre and public life fed one another and developed to respond to the current socio-historical context of the time. Throughout, the thesis shows in what ways theatre can provide the means for the investigation of the inherent meanings in the myths of the past and also its significance in playing the role of the social agent that can enable transformation and progress. The thesis consists of an introduction, eight chapters and a conclusion. In the Introduction I identify the problem that exists in the contemporary educational system of Cyprus concerning the way that the field of culture is approached and present the conceptual framework that provides the foundation for proposing a new Theatre of Myth. Chapter one provides a critical reflection on and analysis of the oral culture of Homer to the democratic fifth century BC Athens and the birth of tragedy. Chapter two studies, both from the ideal and the material aspect, the social role of the Athenian tragic theatre and its polis during the fifth century. Chapter three seeks to base the arguments made in the thesis of the educational and political role of the fifth century theatre through a critical analysis of its form and content. Chapter four identifies and supports the principles of the proposed Theatre of Myth, drawing from the twentieth century developments in Modem Drama whilst chapter five shows how the Drama-in-Education tradition attempts to bridge the practices in the Modem Drama paradigm to come closer to the proposed theatre model. Chapter six provides the methodology followed for a pilot case study that attempts to transfer the Theatre of Myth into practice, which is the preoccupation of chapter seven. Chapter eight discusses and analyses the findings of the case study to inform the theoretical lines of the model of the Theatre of Myth. Some conclusions are discussed concerning the potential and the limitations of the Theatre of Myth in the end of the thesis.
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.

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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Sander, Lydia Grace. "Conversations and Collaborations: The Impact of Interdisciplinary Arts in Pre-College Piano Pedagogy." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619184539734014.

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Choate, Catie. "The Action to the Word, The Word to the Action: Teaching Shakespeare as Performance Litearture." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4234.

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This paper details a class taught in the Virginia Commonwealth Theatre Department in Fall of 2015 on the works of William Shakespeare. Within both the class and this paper, I attempted to form the beginnings of a pedagogy of Shakespearean literature that incorporated elements of literary criticism, historical context and performance theory. Dramatic literature, including Shakespeare, is a moving target, as the text is reimagine and reinterpreted on stage again and again. My goal with this paper is to examine both how dramatic literature can be taught and the special challenges present in teaching it using Shakespeare as a case study, and to explore what is particularly meaningful about Shakespeare in the classroom.
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White, David Maurice. "Pedagogical Fusion." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/993.

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During the five semesters that I have been at VCU I have learned a great deal from the courses that I have been enrolled in but I have learned the most through my experiences as a Teaching Assistant. These experiences have been so valuable because of the wide range of subject areas in which I have been involved and the diverse instructors that I have assisted. Although I hesitate to use the word "problem" I feel that there is a tendency in teacher training for a student to latch onto one professor and model their teaching practices after that one mentor. While this is not always a bad thing I feel that it can lead some students down a dead-end path of self-exploration and individualization of their personal teaching style. I feel that I have been given a rare and invaluable opportunity in that I have been permitted to assist so many different teachers in such a wide array of subjects. In this thesis, I propose to examine the widely varied experiences that I have had here at VCU as a Teacher and Teaching Assistant. I will look at the teaching styles that I have witnessed, the methodologies and approaches of each course, and most importantly I will put forth my personal teaching philosophy that I have developed from my experiences here at VCU.
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Mayer, Rebecca F. "Speaking of, Talkin 'bout, Riffing on Tap." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4173.

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This paper examines the dialects of the language that is tap dance. Unlike more codified forms of dance such as ballet, which utilize a universally-accepted technique system, the evolution of tap dance has been largely rooted in oral tradition. During Broadway’s early years, entrepreneurs in the dance training business published manuals and dictionaries on tap, as did several self-styled experts in the 1990s; because many of these books are self-published, referring to them requires educated discrimination. Drawing on my own experience as a dance student, performer, choreographer, and educator, I have observed the preferred verbal language, dance styles, and technical applications of professional and amateur dancers in the Midwest, Mid-Atlantic, New England, and the Pacific Northwest. This research combined with a comparative analysis of tap dance as portrayed in commercial theatre as well as concert dance lays the groundwork for future study in tap dance pedagogy.
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Howard, Rebecca. "A Pedagogy of One’s Own: Bricolage, Differential Consciousness, and Identity in the Translexic Space of Women’s Studies, Theatre, and Early Childhood Education." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1272174018.

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Gilliam-Smith, Rhonda. "FREEDOM ACTS: A HISTORICAL ANALYSIS OF THE STUDENT NON-VIOLENT COORDINATION COMMITTEE AND ITS RELATIONSHIP TO THEATRE OF THE OPPRESSED." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218820340.

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Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.

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Carvalho, Marcelo Braga de 1967. "Myriam Muniz: uma pedagoga do teatro /." São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/86876.

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Orientador: Berenice Albuquerque Raulino de Oliveira
Banca: Armando Sérgio da Silva
Banca: Reynúncio Napoleão de Lima
Resumo: A matéria de que trata essa dissertação é a pedagogia teatral desenvolvida por Myrian Muniz, que consiste em uma prática que lança um olhar muito particular sobre o trabalho do ator e é resultado de um amálgama composto por experiências de formação, vivências importantes e influências decisivas. Tendo formado várias gerações de artistas, ela ocupa, sem dúvida alguma, posição de destaque no cenário de ensino do teatro no Brasil. Myrian acreditava que a atividade teatral possibilitava um intercâmbio de conhecimentos, criando assim um espaço para olhar e ser olhado, tocar e ser tocado, influenciar e ser influenciado: base fundamental sobre a qual desenvolveu sua atuação como pedagoga do teatro. Este trabalho resgata os processos pedagógicos utilizados por Myrian Muniz e identifica uma linha de trabalho dentro do ensino do teatro que está apoiada no autoconhecimento, na reflexão crítica do trabalho do ator e no estabelecimento de uma relação harmoniosa entre indivíduos interessados em desenvolver uma prática teatral
Abstract: The subject of this thesis is the theatrical pedagogy developed by Myrian Muniz based on a practice that sets a very unique look over the acting work, resulting in an amalgam made of important lifelong and upbringing experiences and decisive influences. Being responsible for the formation of many generations of artists, she has, without questioning, a distinctive place in the Brazilian theatrical education. Myrian believed that theatrical work allowed an exchange of knowledge, opening a space to see and be seen, to touch and be touched, to inspire and be inspired: the stone bedding over which she evolved her work as a theatrical educationalist. This work proposes a recovery of the educational procedures applied by Myrian and identifies a work method for the theatrical teaching, based on self knowledge, critical thought of acting and in establishing a suitable relation between people that search developing theatrical experiences
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Books on the topic "Theatre history pedagogy"

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Valentin Smyshli︠a︡ev--akter, rezhisser, pedagog. Sankt-Peterburg: Sankt-Peterburgskai︠a︡ gos. akademii︠a︡ teatralʹnogo iskusstva, 2004.

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Registi pedagoghi e comunità teatrali nel Novecento e scritti inediti. Roma: Editoria & spettacolo, 2006.

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Fra le invenzioni della scena gesuitica: Pedagogia e debordamento. Roma: Bulzoni, 2008.

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Teatro nel Novecento: Registi pedagoghi e comunità teatrali nel XX secolo. Firenze: Sansoni, 1985.

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Næss, Trine. Thora Hansson: En pionér i norsk teater : skuespillerinne, pedagog, instruktør, teatersjef. Oslo: Teatermuseet i Oslo, 1989.

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Performing pedagogy in early modern England: Gender, instruction and performance. Farnham, Surrey: Ashgate, 2011.

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Från sagospel till barntragedi: Pedagogik, förströelse och konst i 1900-talets svenska barnteater. [Stockholm]: Carlsson, 1998.

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Riccò, Laura. La "miniera" accademica: Pedagogia, editoria, palcoscenico nella Siena del Cinquecento. Roma: Bulzoni, 2002.

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Voci dal Piccolo teatro di Roma: Orazio Costa dalla pedagogia alla pratica teatrale. Roma: Bulzoni, 2001.

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Moncrief, Kathryn M., and Kathryn R. McPherson. Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance. Taylor & Francis Group, 2016.

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Book chapters on the topic "Theatre history pedagogy"

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Darnley, Lyn. "Theatre-Voice Pedagogy within the Royal Shakespeare Company: A Historical Perspective." In The History of Voice Pedagogy, 5–30. Routledge, 2020. http://dx.doi.org/10.4324/9780429319938-2.

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