Academic literature on the topic 'Workshop theater'
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Journal articles on the topic "Workshop theater"
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Shea, Christine M., Mary Fran Fran T. Malone, Justin R. Young, and Karen J. Graham. "Interactive theater: an effective tool to reduce gender bias in faculty searches." Equality, Diversity and Inclusion: An International Journal 38, no. 2 (March 11, 2019): 178–87. http://dx.doi.org/10.1108/edi-09-2017-0187.
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Purpose The purpose of this paper is to describe the development, implementation and impact evaluation of an interactive theater-based workshop by the ADVANCE program at the University of New Hampshire (UNH). The workshop is part of a larger institutional transformation program funded by the National Science Foundation. Design/methodology/approach This institutional transformation program relied upon a systems approach to diagnose potential causes for the underrepresentation of women faculty in certain disciplines. This revealed that increasing awareness of, and reducing, implicit gender bias among members of faculty search committees could, in time, contribute to increasing the representation of women faculty at UNH. A committee charged with developing a faculty workshop to achieve this change identified interactive theater as an effective faculty training approach. The committee oversaw the development of customized scripts, and the hiring of professional actors and a facilitator to implement the workshop. Findings The workshop’s effectiveness in fulfilling its goals was assessed using faculty hiring and composition data, program evaluations, participant interviews and questions in an annual faculty climate survey. Findings indicate that the representation of women faculty increased significantly at UNH since the implementation of the interactive theater workshop. Analysis of the multiple sources of data provides corroborating evidence that a significant portion of the increase is directly attributable to the workshop. Originality/value This paper demonstrates the effectiveness of interactive theater-based workshops in an academic environment and of the systems approach in diagnosing and solving organizational problems.
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Jogschies, Bärbel, and Doris Krohn. "Heaven – Theaterpädagogisch Vor- und nachbereitet." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 1 (January 1, 2009): 3–16. http://dx.doi.org/10.33178/scenario.3.1.2.
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Das Berliner Maxim Gorki Theater bietet wie viele deutsche Theater für Zuschauergruppen und Schulklassen theaterpädagogische Workshops an, die das Publikum auf den Theaterbesuch vorbereiten und in die Inszenierungen einführen. Diese Workshops enthalten interaktive Spiele und Übungen, die die Absichten der Theatermacher nachempfinden lassen und das Verständnis für die spezielle Theaterarbeit erhöhen. Die Autorinnen glauben, dass sich diese spielerischen Interaktionen für den Fremdsprachenunterricht eignen. Exemplarisch wird im Teil I von der Theaterpädagogin Bärbel Jogschies ein solcher Workshop beschrieben. Im Teil II reflektiert die Deutsch als Fremdsprache-Dozentin Doris Krohn über die Wirkungen, die dieser Workshop und der daran anschließende Theaterbesuch auf die Teilnehmer hatten. Nicht zuletzt ist der Artikel ein Kulturtipp, eine Leseempfehlung und eine Liebeserklärung an das moderne deutsche Theater. Das Berliner Maxim Gorki Theater bietet wie viele deutsche Theater für Zuschauergruppen und Schulklassen theaterpädagogische Workshops an, die das Publikum auf den Theaterbesuch vorbereiten und in die Inszenierungen einführen. Diese Workshops enthalten interaktive Spiele und Übungen, die die Absichten der Theatermacher nachempfinden lassen und das Verständnis für die spezielle Theaterarbeit erhöhen. Die Autorinnen glauben, dass sich diese spielerischen Interaktionen für den Fremdsprachenunterricht eignen. Exemplarisch wird im Teil I von der Theaterpädagogin Bärbel Jogschies ein solcher Workshop beschrieben. Im Teil II reflektiert die Deutsch als Fremdsprache-Dozentin Doris Krohn über die Wirkungen, die dieser Workshop und der daran anschließende Theaterbesuch auf die Teilnehmer hatten. Nicht zuletzt ist der Artikel ein Kulturtipp, eine Leseempfehlung und eine Liebeserklärung an das moderne deutsche Theater.
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Frimberger, Katja. "“Some People Are Born Strange”." Qualitative Inquiry 23, no. 3 (July 7, 2016): 228–39. http://dx.doi.org/10.1177/1077800416643995.
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The article explores the role of a Brechtian theater pedagogy as “philosophical ethnography” in four investigative drama-based workshops, which took international students’ intercultural “strangeness” experiences as the starting point for aesthetic experimentation. It is argued that a Brechtian theater pedagogy allows for a productive rather than representational orientation in research, which is underpinned by a love for the aesthetic “re-entanglement” of (dis-embodied) language and ethical concerns about mimetic representational acts. To show how a Brechtian research pedagogy functioned as philosophical ethnography, the article maps the aesthetic transformation of participant Jamal’s verbatim account in the drama workshops—from (a) its emergence in a post-creative-writing discussion in Workshop 2, to (b) its enactment as a body sculpture in Workshop 3, and (c) to its translation into a rehearsal piece in Workshop 4.
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Matthias, Bettina. "“Show, don’t tell!”." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 52–65. http://dx.doi.org/10.33178/scenario.1.1.3.
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While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom. While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom.
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Al Katuuk, Kamajaya. "PENDIRIAN SANGGAR TEATER DI SEKOLAH DALAM MENDUKUNG KEBERHASILAN PRESTASI SEKOLAH DAN KESUKSESAN BERKARIER (The Establishment of Theatre at Schools in Supporting School Achievement and Career Success)." METASASTRA: Jurnal Penelitian Sastra 7, no. 2 (March 11, 2016): 187. http://dx.doi.org/10.26610/metasastra.2014.v7i2.187-200.
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Penelitian ini bertujuan untuk mendeskripsikan potensi yang dikandung sanggar teater sebagai media yang memfasilitasi pengoptimalan potensi siswa, baik semasa mereka di sekolah maupun setelah mereka menempuh dunia karier. Penelitian ini menggunakan metode deskriptif kualitatif dengan menggabungkan kajian tekstual dan kontekstual mengenai potensi sanggar teater sekolah, kemudian diikuti oleh kisah alumni sanggar teater yang menjelaskan pengaruh konstruktif dari pengalaman bersanggar terhadap keberlangsungan karier mereka. Hasil penelitian ini menemukan bahwa keberadaan sanggar teater di sekolah masih belum terkelola dengan baik. Dari sepuluh SMA Negeri yang diteliti, hanya tiga sekolah yang memiliki sanggar teater. Tiga sekolah yang memiliki sanggar teater, pembinanya didatangkan dari luar sekolah karena sekolah belum memiliki pembina. berdasarkan kajian teks, terbukti sanggar menjadi media yang strategis untuk membina karakter unggul siswa, baik untuk kepentingan selama mereka di sekolah maupun setelah mereka berkarier. Potensi sanggar teater tersebut dibuktikan oleh pengakuan alumni yang menjadikan pengalaman bersanggar teater sebagai inspirasi pengoptimalan kesuksesan berkarier mereka.Abstract:The study aims at describing the potential of theater as a medium that facilitates the optimization of students’ potential either in their schooling period or in their career. The study applied a qualitative descriptive method by combining textual and contextual studies on school theater potential. The research also provided the alumni’s experiences about a constructive influ- ence taken from the workshop experience in theater on the sustainability of their career. The result of the study reveals that the presence of the theaters still has not been well-managed in schools. Out of the ten public high school samples, there were only three schools that have theaters. From the three schools, their coaches are hired from other school because the schools have not got any coaches. Based on the textual study, it is shown that theater becomes a strategic media to foster students’ superior character for either their interest in school or in their career after graduation. Potential theater is proved by the alumni’s recognitions that have made their workshop experience in theater as optimization inspiration of their career success.
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Barbara, Bennett. "Summer Program Turns into Children's Theater Workshop." Gifted Child Today 17, no. 1 (January 1994): 38–40. http://dx.doi.org/10.1177/107621759401700114.
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Adipurwawidjana, Ari Jogaiswara, Lestari Manggong, and Mega Subekti. "Pengenalan Teater sebagai Bentuk Literasi terhadap Alam bagi Warga Ponggok (Klaten)." JATI EMAS (Jurnal Aplikasi Teknik dan Pengabdian Masyarakat) 4, no. 2 (November 1, 2020): 149. http://dx.doi.org/10.36339/je.v4i2.297.
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The workshop activity outlined in this article is an introduction to theater with the topic of the body and its relevance to water empowerment for the citizens of Ponggok (Klaten) and surrounding areas. The workshop was motivated by a reaction to the need to titrate Ponggok residents to conserve natural resources in their villages. The provision of a medium for Ponggok Village residents in particular and GLC19 festival participants in general to be able to understand the importance of community survival water can help them experience an understanding of the sustainability of Ponggok Village's natural resources. The method used is to provide an introduction to the body's exercise in relation to respect for the existence and function of water in life. The activity was carried out on one occasion, in two stages: (1) an introduction to theater and theater functions for character education and introduction to the natural surroundings, and (2) the practice of theatrical approach through bodybuilding movements by empowering water. The result obtained is that this medium creates a creative space for participants to instill the values of understanding about the importance of water through theater approach.
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Van Bewer, Vanessa, Roberta L. Woodgate, Donna Martin, and Frank Deer. "Illuminating Indigenous health care provider stories through forum theater." AlterNative: An International Journal of Indigenous Peoples 17, no. 1 (February 23, 2021): 61–70. http://dx.doi.org/10.1177/1177180121995801.
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Learning about the historical and current context of Indigenous peoples’ lives and building campus communities that value cultural safety remains at the heart of the Canadian educational agenda and have been enacted as priorities in the Manitoba Collaborative Indigenous Education Blueprint. A participatory approach informed by forum theater and Indigenous sharing circles involving collaboration between Indigenous and non-Indigenous health care professionals ( n = 8) was employed to explore the above priorities. Through the workshop activities, vignettes were created and performed to an audience of students and educators ( n = 7). The findings emerging from the workshop illuminated that Indigenous people in nursing and higher education face challenges with negotiating their identity, lateral violence and struggle to find safe spaces and people due to tokenism and a paucity of physical spaces dedicated to Indigenous students. This study contributed to provoking a greater understanding of Indigenous experiences in higher education and advancing reconciliation.
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Alford, Jennifer Ginger, Lucas Jacob, and Paul Dietz. "Animatronics Workshop: A Theater + Engineering Collaboration at a High School." IEEE Computer Graphics and Applications 33, no. 6 (November 2013): 9–13. http://dx.doi.org/10.1109/mcg.2013.86.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
Dissertations / Theses on the topic "Workshop theater"
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Howell, Jenny. "Dance Theater Workshop." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/116.
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The following report documents the internship performed by Jenny Howell at Dance Theater Workshop (DTW) in New York, New York from January 11, 2010 to April 16, 2010. Since 1965, DTW has existed as a non-profit organization devoted to presenting and supporting contemporary dance and the artists who create it. DTW currently operates from its building located at 219 West 19th Street between Seventh and Eighth Avenues in the Chelsea district. During this time with DTW, I worked closely with the Marketing and Development Departments as the Audience Engagement intern responsible for the organization and execution of the audience engagement activities and special events. This report includes information regarding DTW's history and organizational structure. It explains the duties I performed and my overall contributions. It also discusses the strengths, weaknesses, opportunities, and threats of the organization. Finally, it presents current best practices in areas of the non-profit field, and makes recommendations for DTW based on this research.
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Tanner, Pamela Graham. "The LSUNO Workshop Theatre: The Little Theatre That Could." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/635.
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This brief history of the Workshop Theatre at Louisiana State University in New Orleans (LSUNO -- now UNO) relates events that played an important part in defining the racial integration of all student extracurricular activities at the university and the genesis of the current University of New Orleans (UNO) Department of Film, Theatre, and Communication Arts, during the period between the early 1950s and the early 1970s. The origin of the university is discussed briefly to inform the reader about the university's origin, its location, and how racial integration was advanced by actions at the Workshop Theatre. The remainder of the thesis traces the development of a major department of the university, its location on campus, the measures taken to extend the budget, and the faculty and students involved in the Theatre in the period prior to the construction of the Performing Arts Center on the UNO campus.
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Goncarovs, Sarah Beth. "[Re]animate a puppet theater workshop for Silver Spring /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3306.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2005.Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Copteros, Athina. "Workshop theatre in post-apartheid South Africa : a case study." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007477.
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This is a qualitative study exploring the use of workshop theatre in post-apartheid South Africa, with the objective of making a contribution to the knowledge-base regarding its use in current times. Workshop theatre is changing in response to a new socio-political reality and emerging trends in theatre practice. The case study, of developing a play on Oystercatchers with a Grahamstown group of artists, revealed the difficulties and challenges of using workshop theatre in this dynamic context. Data collection included a focus group, observation, reflective discussion and in-depth interviews that were analysed in relation to available literature on workshop theatre in apartheid and post-apartheid South Africa. It is proposed that workshop theatre has continued relevance in post -apartheid South Africa. The process of creating workshop theatre with diverse artists has great potential to transform relationships, address issues of personal identity and to provide an underlying purpose to a workshop theatre -making context.
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Mao, Yuen-jean. "Stan Lai and his Performance Workshop : the Chinese imagination and the Taiwanese identity from 1980 to 2000." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180451653.
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Fleishman, Mark. "Workshop Theatre in South Africa in the 1980s : a critical examination with specific reference to power, orality and the carnivalesque." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/14236.
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This study attempts to critically examine the form of theatre practice which in South Africa has become known as workshop theatre focussing on the period of the 1980s. It examines the history of the form; the process by which it is made; and the kinds of plays it produces. The examination is centered around three philosophical concepts: discourse and power as understood within poststructuralist critical theory; orality and the oral tradition; and the carnivalesque as it is conceived of in the writing of Mikhail Bakhtin. Chapter One is a general introduction to the dissertation. In Part I of the study, it is argued that workshop theatre forms part of a power struggle within the field of theatre practice in South Africa because it is essentially an oral form. Chapter Two describes the rise of authorship within the European theatre practice in the seventeenth century resulting in the marginalisation of the improvisatory 'carnival' tradition, and suggests that it was this literary tradition of theatre practice that was imported to South Africa as part of the British colonial project. Chapter Three examines the indigenous oral performance forms that pre-existed the arrival of the literary theatre in southern Africa with particular reference to the Nguni oral narrative. Similarities are indicated between these oral forms of performance and the carnivalesque forms of the European tradition. Chapter Four traces the gradual involvement of members of the non-hegemonic group in theatre practice in South Africa from a predominantly literary practice limited to a select few participants to oppositional practice involving larger numbers across a wide range of social contexts. It is argued that workshop theatre facilitated this movement because it is an essentially oral form and incorporates popular carnival elements first introduced in the theatre of Gibson Kente. Part II of the study it is argued that workshop theatre is itself a site of numerous power struggles. Chapter Five examines the workshop process with specific reference to the role of improvisation. It is argued that improvisation potentially frees the performer to participate in the meaning-making process but that the extent of this participation is limited by struggles for power within the workshop group. Chapter Six examines the product of the workshop. It is argued that there is a dominant form of workshop play produced in the 1980s and that this form displays many oral and carnivalesque elements. It is further argued that there are movements away from this dominant form towards more literary forms and styles as a result of changes in the make-up of the workshop group and its relationships of power. In Chapter Seven the conclusion is drawn that workshop theatre reflects the current struggles within the South African social and political body, and that it continues to be a relevant form of theatre practice in South Africa because it diffuses strong centres of authorial power and presents possibilities for radical participatory democracy.
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Brand, Amelda. "Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoek." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52858.
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Thesis (MDram)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk. Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is. Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid- Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by ontwikkelde lande se beskouings aansluit. Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik. Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees. Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in die voorafgenoemde teatervorme. Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater en is dikwels in die praktyk omruilbaar.
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Moura, Christian Fernando dos Santos. "O teatro experimental do negro - estudo da personagem negra em duas peças encenadas (1947-1951) /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/86877.
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Orientador: Reynuncio Napoleão de LimaBanca: José Leonardo do Nascimento
Banca: Dagoberto José Fonseca
Resumo: Até a década de 1940, o negro no teatro brasileiro, mesmo quando em personagens de destaque, quase sempre foi retratado por meio de certas caricaturas ou estereótipos herdados do período da escravidão. Entre o final do século XIX e começo XX, as personagens negras aparecem muitas vezes representadas em figuras dramáticas femininas como a mulata bela e sensual (reboladeira e carnal, pernóstica ou faceira), a bá (ama-de-leite geralmente negra beiçuda e gorda, confidente, chorosa e prestativa), a baiana macumbeira (em especial a vendedora de quitandas, vestida com saia rodada, bata de renda, turbante, pano-da-costa, colares e balangandãs), a preta velha (africana idosa conhecedora de segredos); em personagens masculinos, como o negrinho espertalhão (agregado da casa-grande), o bobalhão (pouco inteligente; estúpido, ignorante, imbecil); o malandro (astuto, bon vivant); o pai João (na maioria das vezes negro velho, dócil, conformado e submisso). Nos idos de 1944, surge no Rio de Janeiro um grupo de teatro formado por atores negros propostos a problematizar e revisar a tradição cênica de representação da "raça" levando aos palcos textos ligados aos temas das culturas afro-brasileiras, aos conflitos raciais e ao estigma da cor negra. Trata-se do Teatro Experimental do Negro (TEN). A presente investigação visa compreender as propostas dramatúrgicas deste grupo para a construção da personagem negra, tendo como base os estudos de Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) e Sábato Magaldi (1962), e partindo da analise de duas específicas peças do repertório do TEN, que estão reunidas na coletânea Drama para negros e prólogo para brancos, publicada em 1961. São elas: O filho pródigo (1947), de Lúcio Cardoso e Sortilégio (1951), de Abdias do Nascimento. Palavras-chave: Teatro... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Until the nineteen forties decade, the Negroes in the Brazilian drama were represented, even when taking up major parts, throughout some stereotyped characters and caricatures inherited from the slavery period. Between the end of the nineteenth century and the beginning of the twentieth, the feminine negro character so many times appears in dramatic parts like the "mulata" beautiful and sexy (with good dancing skills and body performance), the "babá" (wet-nurses regularly black, thick lips and fat, confidant, tearful and helpful), the "bahiana macumbeira" (normally in voodoo style, seller of grocer's shops, dressing wide skirts, sewed smock, turban, necklaces and local baubles), the "black old lady" (old African having knowledge of ancient secrets), and the masculine characters like the "smart young black" (a lodger of the Brazilian 'greathouse'), the "fool" (lacking intelligence, lout, ignorant and idiot), the "father John" (mostly old black, docile submissive and conformist). Around nineteen forty-four, there is within Rio de Janeiro the foundation of a new drama group, created by black actors intended to revise the stage tradition for representation of race, bringing to stage different works related to African-Brazilian culture subjects, to the racism conflicts and the Negroes stigma. It was the Negroes Workshop Theater ("Teatro Experimental do Negro", TEN). This investigation intends to understand this group's theatrical proposal to build the Negro character, having as a direction the works of Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) and Sábato Magaldi (1962), as well as coming from the analysis of two specific plays from the 'TEN's repertoire united in the collection: "Drama para negros e prólogo para brancos", released in... (Complete abstract click electronic access below)
Mestre
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Moura, Christian Fernando dos Santos [UNESP]. "O teatro experimental do negro -: estudo da personagem negra em duas peças encenadas (1947-1951)." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86877.
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moura_cfs_me_ia.pdf: 2324681 bytes, checksum: 663dee1c58746e9427ccedc33035e930 (MD5)Universidade Estadual Paulista (UNESP)
Até a década de 1940, o negro no teatro brasileiro, mesmo quando em personagens de destaque, quase sempre foi retratado por meio de certas caricaturas ou estereótipos herdados do período da escravidão. Entre o final do século XIX e começo XX, as personagens negras aparecem muitas vezes representadas em figuras dramáticas femininas como a mulata bela e sensual (reboladeira e carnal, pernóstica ou faceira), a bá (ama-de-leite geralmente negra beiçuda e gorda, confidente, chorosa e prestativa), a baiana macumbeira (em especial a vendedora de quitandas, vestida com saia rodada, bata de renda, turbante, pano-da-costa, colares e balangandãs), a preta velha (africana idosa conhecedora de segredos); em personagens masculinos, como o negrinho espertalhão (agregado da casa-grande), o bobalhão (pouco inteligente; estúpido, ignorante, imbecil); o malandro (astuto, bon vivant); o pai João (na maioria das vezes negro velho, dócil, conformado e submisso). Nos idos de 1944, surge no Rio de Janeiro um grupo de teatro formado por atores negros propostos a problematizar e revisar a tradição cênica de representação da “raça” levando aos palcos textos ligados aos temas das culturas afro-brasileiras, aos conflitos raciais e ao estigma da cor negra. Trata-se do Teatro Experimental do Negro (TEN). A presente investigação visa compreender as propostas dramatúrgicas deste grupo para a construção da personagem negra, tendo como base os estudos de Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) e Sábato Magaldi (1962), e partindo da analise de duas específicas peças do repertório do TEN, que estão reunidas na coletânea Drama para negros e prólogo para brancos, publicada em 1961. São elas: O filho pródigo (1947), de Lúcio Cardoso e Sortilégio (1951), de Abdias do Nascimento. Palavras-chave: Teatro...
Until the nineteen forties decade, the Negroes in the Brazilian drama were represented, even when taking up major parts, throughout some stereotyped characters and caricatures inherited from the slavery period. Between the end of the nineteenth century and the beginning of the twentieth, the feminine negro character so many times appears in dramatic parts like the “mulata” beautiful and sexy (with good dancing skills and body performance), the “babá” (wet-nurses regularly black, thick lips and fat, confidant, tearful and helpful), the “bahiana macumbeira” (normally in voodoo style, seller of grocer's shops, dressing wide skirts, sewed smock, turban, necklaces and local baubles), the “black old lady” (old African having knowledge of ancient secrets), and the masculine characters like the “smart young black” (a lodger of the Brazilian ‘greathouse’), the “fool” (lacking intelligence, lout, ignorant and idiot), the “father John” (mostly old black, docile submissive and conformist). Around nineteen forty-four, there is within Rio de Janeiro the foundation of a new drama group, created by black actors intended to revise the stage tradition for representation of race, bringing to stage different works related to African-Brazilian culture subjects, to the racism conflicts and the Negroes stigma. It was the Negroes Workshop Theater (“Teatro Experimental do Negro”, TEN). This investigation intends to understand this group’s theatrical proposal to build the Negro character, having as a direction the works of Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) and Sábato Magaldi (1962), as well as coming from the analysis of two specific plays from the ‘TEN’s repertoire united in the collection: “Drama para negros e prólogo para brancos”, released in... (Complete abstract click electronic access below)
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Lima, Cleber de Carvalho. "O hipertexto como ponto de partida em processos de aprendizagem e criação da cena contemporânea." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-28022014-162725/.
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Esta pesquisa tem como objetivo investigar a proposição do hipertexto didático sobre poéticas cênicas contemporâneas como ponto de partida em processos de aprendizagem e de criação do teatro, utilizando como principal aporte metodológico a abordagem da pesquisaação fundamentada por Michel Thiollent. A revisão bibliográfica resultou na elaboração de um hipertexto didático (MARTINS, 2006), a ser publicado na internet, sobre o Teatro da Vertigem (São Paulo), produzindo um material hipertextual e multimodal para uso pedagógico, que articula textos teóricos, análises críticas, registros de espetáculos e processos, depoimentos dos artistas, descrição e análise de procedimentos de criação e fragmentos de dramaturgia. A realização e a análise de dois experimentos de aprendizagem e encenação realizados na cidade de Campo Limpo Paulista (SP), com um grupo de iniciantes em teatro e outro formado por atores amadores na faixa etária de 18 a 42 anos, permitiu a sistematização de princípios e procedimentos metodológicos de ensino e aprendizagem do teatro contemporâneo. O jogo teatral a partir de modelos estéticos (KOUDELA, RYNGAERT, PUPO, MARTINS) e procedimentos da abordagem colaborativa desenvolvida por ARAÚJO, são os eixos norteadores das práticas de criação propostas nos experimentos realizados a partir do hipertexto didático criado pelo coordenador e ampliado pelos participantes. A seleção das referências teóricas se deu a partir da perspectiva de teóricos do teatro contemporâneo como LEHMANN, FERRAL, FERNANDES, ARAÚJO, PAVIS e SARRAZAC. Os resultados obtidos poderão contribuir para o debate acerca de abordagens metodológicas que integrem estudos teóricos e históricos com práticas colaborativas de criação da cena e que possam interessar para professores, coordenadores de oficinas e encenadores envolvidos na reflexão a cerca dos processos de aprendizagem e criação da cena contemporânea.This work investigates the proposition of hypertext courseware on contemporary scenic poetic elements as a starting point for theater creation and learning processes, having primarily relied, as a methodological input, on Michel Thiollent\'s action-research approach. The bibliographical review has resulted in hypertext courseware (MARTINS, 2006), to be published on the internet, about Teatro da Vertigem (São Paulo), having thus generated a multimode, hypertext material for educational use, which puts together theoretical texts, critical reviews, records of spectacles and processes, testimonials of artists, a description and analysis of creation processes and procedures, and figments of theater practice. The conduction and analysis of two learning and staging experiments held in the city of Campo Limpo Paulista (São Paulo, Brazil), comprising a group of theater novices and another group made up of amateur actors aged 18 to 42, allowed me to systematize some learning principles and methodologies of the contemporary theater. The theater game based on esthetic frameworks (KOUDELA, RYNGAERT, PUPO, MARTINS) as well as on collaborative approach procedures devised by ARAÚJO are the guiding pillars for the creation practices proposed during the experiments based on the educational hypertext as devised by the coordinator and further expanded by the players. Selection of theoretical references has drawn on such contemporary theater theorists as LEHMANN, FERRAL, FERNANDES, ARAÚJO, PAVIS, and SARRAZAC. The results may contribute to debates over the methodological approaches that bring together theoretical and historical studies, on one part, and collaborative staging practices, which might be useful for teachers, workshop coordinators and stage directors involving in a reflection over the contemporary theater creation and learning processes.
Books on the topic "Workshop theater"
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Saraiva, Luiz. Theatre workshop: Dramatic techniques. Ottawa, ON: Punch's Theatre L.S., 1988.
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Joan Littlewood l'insoumise et le Theatre Workshop: Une aventure théâtrale. Montpellier: Entretemps, 2010.
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Puppet plays: From workshop to performance. Englewood, Colo: Teacher Ideas Press, 1993.
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Carson, Neil. Harlequin in Hogtown: George Luscombe and Toronto Workshop Productions. Toronto: University of Toronto Press, 1995.
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Carson, Neil. Harlequin in Hogtown: George Luscombe and Toronto Workshop Productions. Toronto: University of Toronto Press, 1995.
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Mĩriĩ, Ngũgĩ wa. Community based theatre skills: Report of Bulawayo workshop, 19-20 July, 1986. [Harare?]: ZIMFEP, 1987.
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Polsky, Milton E. Drama workshop for seniors: Improv, games & scenes. Studio City, CA: Players Press, Inc., 2011.
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ACFOD/ASR South Asian Theatre Festival cum Workshop (1992 Lahore, Pakistan). ACFOD/ASR South Asian Theatre Festival cum Workshop report, Lahore, Pakistan, February 11th-22nd, 1992. Bangkok: ACFOD, 1992.
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Zoysa, Asoka De. A presentation of findings of the "Yathra" theatre workshop project. Colombo: Centre for Povertry Analysis, 2003.
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Dockrill, C. F. Dynamic dramatics: Four drama scripts with workshop activities for the secondary student. Cambridge: Cambridge University Press, 1991.
Find full textBook chapters on the topic "Workshop theater"
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Dörger, Dagmar, and Martin Geisler. "Workshop: Impro Theatre." In Interactive Storytelling, 329. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-89454-4_41.
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Cornford, Tom. "Remnants of Theatre Workshop." In Theatre Studios, 217–42. Abingdon, Oxon ; New York : Routledge 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781315644325-7.
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Cornford, Tom. "Practices of Theatre Workshop, 1945–1955." In Theatre Studios, 243–74. Abingdon, Oxon ; New York : Routledge 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781315644325-8.
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Cornford, Tom. "Models of practice in Theatre Workshop." In Theatre Studios, 275–98. Abingdon, Oxon ; New York : Routledge 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781315644325-9.
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Bala, Sruti. "Workshops." In The Routledge Companion to Theatre of the Oppressed, 304–8. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-33.
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Phillips, James, and John R. Severn. "It Begins with the Theatre: Barrie Kosky’s Workshop." In Barrie Kosky’s Transnational Theatres, 1–30. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75028-2_1.
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Heggstad, Katrine, Kari Mjaaland Heggstad, and Stig A. Eriksson. "Visiting Schools for Visiting Theatre. Researching a Drama Workshop and Young People’s Response." In Education and Theatres, 227–39. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_15.
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Barbuzzi, Donato, Bachir Boussahel, Francesca De Carlo, Angelo Galiano, Donato Impedovo, and Annalisa Longo. "CLICK TEATRO Project: Augmented Reality and Promotion of Theater Events." In New Trends in Image Analysis and Processing -- ICIAP 2015 Workshops, 267–74. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-23222-5_33.
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Shyba, Lori M. "“Making Interactive Stories Meaningful” Workshop on Story and Character Development through Theatre Games." In Interactive Storytelling, 364–65. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-25289-1_51.
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Perrotta, Maria Antonella. "Theater School." In Handbook of Research on Didactic Strategies and Technologies for Education, 462–72. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2122-0.ch041.
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The “Teatro a Scuola” (Theater School) project, directed at 14-18 year-old, Real innovation lies in the involvement of students as writers, in a collaborative theatrical storytelling. During the theater workshop the teacher in charge of the project planned and implemented with the participants experimental activity that was inserted within the Italian program. Its purpose is to stimulate participants’ creativity. It aims at to become an integral part of the activities foreseen by the school syllabus and to offer, next to the traditional learning method, a form of learning by doing. The project consists in three distinct, yet interdependent, moments: a first theoretical stage, which foresees a short series of lessons on the history of theater; a second stage dedicated to a theater workshop (elocution, lively reading, mime, song, dance etc.); and a final show, i.e. a genuine theatrical representation for the whole school and all citizens. Characteristics of innovation and experimentation of the project were that: students were not only actors but also authors and screenwriters; also, the project involved elders of the University of the Third Age (NGO)
Conference papers on the topic "Workshop theater"
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Wu, Qiong, Pierre Boulanger, Maryia Kazakevich, and Robyn Taylor. "A real-time performance system for virtual theater." In the 2010 ACM workshop. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1878083.1878087.
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Kim, Yeonhee, and Ghang Lee. "A Study of Sight Area Rate Analysis Algorithm on Theater Design." In International Workshop on Computing in Civil Engineering 2011. Reston, VA: American Society of Civil Engineers, 2011. http://dx.doi.org/10.1061/41182(416)87.
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Zeglin, Garth, Aaron Walsman, Laura Herlant, Zhaodong Zheng, Yuyang Guo, Michael C. Koval, Kevin Lenzo, et al. "HERB's Sure Thing: A rapid drama system for rehearsing and performing live robot theater." In 2014 IEEE Workshop on Advanced Robotics and its Social Impacts (ARSO). IEEE, 2014. http://dx.doi.org/10.1109/arso.2014.7020993.
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Ballal, Tanya. "Emote ~ Theatre and Movement Workshops as Research Tools." In CHI '20: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3334480.3381445.
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Araki, Shigeru. "Mime and physical theatre workshop for CG animators and directors." In ACM SIGGRAPH ASIA 2009 Educators Program. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1666611.1666629.
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Gabay, Simon, and Giovanni Pietro Vitali. "A theatre of places." In GIR'19: 13th Workshop on Geographic Information Retrieval. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3371140.3371146.
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Chaudhary, Sheetal, Ankit Jhunjhunwala, Swaraj Acharya, Snehal Bodke, and Rohan Dalvi. "Theatre at my desk." In ICWET '10: International Conference and Workshop on Emerging Trends in Technology. New York, NY, USA: ACM, 2010. http://dx.doi.org/10.1145/1741906.1742141.
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Hong, Seyi. "TR7 Practical skills workshop." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.72.
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Kurosaki, Masayuki, Ryuta Imashioya, Masateru Matsuo, Baiko Sai, Yoshimitsu Kuroki, and Hiroshi Ochi. "4K digital cinema home theater over high throughput wireless transmission system." In 2010 Ieee Globecom Workshops. IEEE, 2010. http://dx.doi.org/10.1109/glocomw.2010.5700453.
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de Brito, Walderes Lima, Newton Camelo de Castro, and Carlos Roberto Bortolon. "Young Readers Transpetro Program: The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.
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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.