The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.

Denna uppsats utgår ifrån författarens egna självupplevda erfarenheter från en turné med en barnteaterföreställning hösten 2012 och beskriver händelser och situationer som uppkom under turnéns gång. Uppsatsen problematiserar mötet mellan skola och teater och synliggör även de olika villkor, skola och teater har att förhålla sig till. Syftet med uppsatsen är att beskriva vad som sker i mötet mellan lärare, elever och teater, att förstå lärares relation till teaterformen samt den konstnärliga ledarens uppfattningar kring samarbetet med skolan. Undersökningsfrågorna lyder: Hur kan man förstå skolans respektive teaterns villkor? Vilka aspekter anser lärare och konstnärlig ledare är viktiga med hänsyn till samarbetet mellan teater och skola? Hur uppfattar lärare och konstnärlig ledare att mötet mellan teater och skola kan underlättas? Hur kan en dramapedagog bidra till samarbetet eller underlätta mötet mellan teater och skola? Studien är en fallstudie som knyter an till turnén. Det empiriska materialet består i deltagande observationer, frågeformulär och intervjuer som tillsammans bearbetats och analyserats. Resultatet visar att skola och teater står långt ifrån varandra i fråga om behov och önskningar, men att det finns beröringspunkter och möjligheter att finna vägar som underlättar mötet mellan skola och teater.   Nyckelord: dramapedagogik, teater, skola, barnteater, för-och efterarbete, konstupplevelse, estetiska läroprocesser.

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Thesis (MDram (Drama))--Stellenbosch University, 2008. / Theatre for young people (TYP) is the umbrella term for all theatre created by professional actors for the age group 2 to 25. Within this term there is a form or genre that creates theatre for the ages 13 – 18 with the specific purpose of entertaining these audiences rather than educating them through other forms such as Theatre-In-Education. The aims of this study are to firstly establish to what extent this phenomenon exist within the Western Cape and secondly, if it is found lacking to look at the challenges and opportunities that can arise when introducing this form into the market. There are three reasons why this form should be introduced into the Western Cape’s TYP market. Firstly, theatre is more than just an educational tool for younger audiences and young people deserve the same cultural rights as adults. Secondly, many industries already approach young people as a separate market and theatre needs to adopt the same approach. Lastly, theatre for the age group 13 – 18 is an important part of audience development and should be pursued if theatre wants to expand its market base. To establish what the current strengths and weaknesses of the TYP industry in the Western Cape are, an international frame of reference must be created. The government policy and TYP industry structure of four countries, namely Australia, Denmark, England and The Netherlands are used to create a broad framework from which specific TYP companies and festivals within these countries are discussed. Some general challenges facing TYP in these countries are also highlighted and these elements then form the framework for comparison. The same elements within the TYP industry of the Western Cape – government policy, the TYP industry, companies and festivals – are also discussed and then a comparison between the countries and the Western Cape is made. Based on this it becomes clear that the age group 13 – 18 is grossly neglected when it comes to theatre as form of entertainment as TYP companies in the Western Cape focus mainly on children and educational theatre. From this the challenges that face creators of TYP as entertainment within the larger South African society are highlighted and also made applicable to the Western Cape. The definition of theatre in a multicultural society, the economic situation of the country, the general attitude of society towards theatre, the problematic nature of the youth market and funding structures are identified as possible challenges for TYP in the Western Cape. There are, however, also opportunities for TYP as entertainment within the industry. By using the concept of branding and existing structures in the youth market it is possible to raise the presence of TYP as entertainment form. Youth theatre, educational institutes and the current adult festival circuit of the Western Cape are all possible platforms through which the brand of TYP as entertainment can be introduced and work in symbiosss with the current theatre industry.