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Thesis (ED.D.)--Teachers College, Columbia University, 1963. / Typescript; issued also on microfilm. Type C project. Sponsor: Magdalene Kramer. Dissertation Committee: Paul Kozelka, Arthur T. Jersild. Includes bibliographical references (leaves 245-255).

This thesis explores the merits of reflexivity in the processes of creating a performance and of performing research in Drama Studies. In it, I make a case for the validity of autobiographical material as an aid to generating such reflexivity. Through an autoethnographic case study of my work entitled Compositions (a series of performance projects) in which I focus on the theme of migration, I provide an indepth account of my experiences, focusing specifically on the interrelated concerns of body, space and journey in my ritualistic performance. My examination explores the dynamic effects of liminality within identity politics, through which I foreground several issues of concern which I have encountered as an emerging scholar and theatremaker working within an academic institution. I propose that the process of studying drama in a University ultimately requires one to continually negotiate a range of subject positions, whilst finding connections between these various identities that one may take up during the course of one’s studies. By developing an awareness of the overlapping of such identities and inhabiting the spaces in-between subject positions, I demonstrate how taking into account one’s personal lived experience can help illuminate one’s understanding of both the work of art and the research report, as well as the broader contexts in which such practice-based work exists. I illustrate how such an understanding has ultimately maximised the knowledge and learning that I have gathered, and has contributed to the crucial project of developing my authorial voice in writing and performance, which is central to the aims of the Master of Arts degree in Drama.

The researcher has attempted to gain an understanding of how Drama teachers perceive the teaching of the curriculum and curriculum change. The data were obtained through the use of the qualitative mode of engaging in research. The researcher, who is also a Drama teacher had come to experience the need for teachers to be given an opportunity to express their views on curriculum as the area of curriculum is complex and always in need of reappraisal. Also, teachers needed a medium through which they could share their perspectives on curriculum. The researcher collected the relevant information by using the interview context as a means of data collection. Ten Drama teachers responded to questions focusing on curriculum teaching and curriculum change. The Drama teachers' perspectives were recorded and analysed. Marxist theorists like Bowles and Gintis( 1986) view teachers as mere state functionaries and agents of the system. Drama teachers in this study contradicted the view of teachers as technicians within the system. They were not reflective of typical teachers. Rather Drama teachers challenged and mediated the curriculum, they did not accept and abide by the syllabus document and their classroom practice was determined by the immediacy of their particular teaching context. Finally through engaging in this research study the researcher has achieved the following objectives: 1. An understanding of the view that knowledge is a socially constructed concept. 2. Has provided a medium through which the perspectives of Drama teachers are heard. 3. Has provided an invaluable experience of documenting the processes of qualitative research. / Thesis (M.Ed.)-University of Natal, Pietermaritzburg, 1998.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 275-278; 280-283).

If America wishes to see the day when good music drama shall become her best and at the same time her most popular form of entertainment she must investigate the condition of music-drama as it is at present and then decide upon a future method of action to improve that condition. In a small way, that may be blazing the trail, I have set about to follow the above suggestions. l have made an investigation of music-drama in America, with particular emphasis on music-drama in the colleges and the universities and, as a result, have a definite suggestion to make for a future method or action -- namely: the addition of a good course in applied music-drama to the curriculum of every four-year liberal arts college and university (there are some six hundred and forty-six of them) in the United States.

In presenting The Case for High School Dramatics the writer wishes, in advance, to be relieved of any charge of specious pleading. It is not maintained that the dramatic method offers a panacea for the teaching of English, for she is also an advocate of continuous drill in the fundamental processes. In this case of special pleading, however, the effective points of the dramatic method are emphasized to the best of the pleader's ability, and wholly without prejudice to other satisfactory methods of motivating oral and written English. Several years of study arid observation in the milieu, and the pragmatic teaching by trial and error have placed the writer in a position to plead the case with good conscience. From the theoretical as well as the practical point of view the method stands the pragmatic test — it works. The case is sound. In brief, dramatics is a method particularly applicable to the present-day student material, and, in combination with thorough drill in the fundamentals, seems to justify its constantly increasing influence in the senior high school curriculum.

This thesis records data on the development of The Park Boulevard Players, Plano, Texas, as an innovative school district theatre arts program. Data is organized to illustrate program growth based on educational and performance needs of involved students and community citizens. It proves that high school students are capable of producing summer entertainment worthy of community viewing. Being original in form and content, this thesis should serve as a resourceful guide for similar programs. The thesis contains five chapters arranged in chronological order. After Chapter I, Introduction, three chapters span three separate company seasons: June, 1978; June, 1979; June, 1981. The final chapter summarizes the program and presents evaluations and conclusions.

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