Thesis--Universität zu Köln, 2007. / Includes bibliographical references (p. 194-220).

Issued also as inaugural dissertation, Tübingen. / Half-title: Neue deutsche forschungen, hrsg. von Hans R.G. Gün-ther und Erich Rothacker. bd. 29. "Literaturverzeichnis": p. [179]-183.

Issued also as inaugural dissertation, Tübingen. / Half-title: Neue deutsche forschungen, hrsg. von Hans R.G. Gün-ther und Erich Rothacker. bd. 29. "Literaturverzeichnis": p. [179]-183.

Thesis (Ph. D.)--Catholic University of America, 1943. / With facsimile of original t.p. Includes bibliographical references (p. 121-140).

Thesis--Cologne. / Bibliography : p. 306-324.

This thesis is an investigation into the influence of documentary methods, both their principles and their practice upon BBC Television Drama between the years 1946-1962 with particular reference to the Dramatised-Documentary and its successor the Documentary-Drama. The first of these, the Dramatised-Documentary was an original form of television writing and production pioneered in the 1940s by Robert Barr and Duncan Ross together with the Documentary Group which worked as a unit until 1955. The second form, the Documentary-Drama was a development of the first, but was by the late 1950s 'fiction based on fact' and the concern of the BBC Television Drama Department. The aims of this thesis - though not necessarily in this order - are to:- 1. Show the historical background of Documentary by tracing the origins of the idea and its development from the early 'realist' films; The British Documentary Movement of of John Grierson (and in particular the 'dramatisations' of Harry Watt); to the BBC Sound 'Features' Department under Laurence Gilliam. 2. By descriptive analysis to consider the pioneer work of the Television Documentary Group, first under the leadership of Robert Barr (1946) and later Paul Rotha (1952) until its dissolution in 1955. To illustrate the methods and output of that tiny group of writer-producers by an examination of a selection of their Dramatised-Documentaries from scripts, production records and BBC files, and to reveal an emerging form of television writing, supported and developed later by Colin Morris, which culminated in the rise of 'Series' to become the mainstay of the medium. 3. As an integral part of this creative side of television, to show throughout, the major technical advances which made so much of the above possible, from the inception of the Service in 1936 to the commencement of Z-Cars in 1962.

This thesis seeks both to chart the dissemination of German drama 'on the London West End Stage between 1900 and 1914 and to provide an account of the ideological factors which inevitably underlie such a considerable programme of translational activity. In other words, the play a particular group or individuals decide to translate, the nature of the translational choices and strategies which are employed at every stage of the translation process, the particular time, place, and manner of staging, and the issues of reception are never ideologically neutral events. Translation always exists within a historical and cultural context. The main set of premises for a study of this kind - indeed, for all work which might come under the heading Descriptive Translation Studies - is the notion that all translation involves re-writing (see Lefevere 1985), that such re-writing "is never innocent" (Bassnett & Lefevere 1990:11), and that "all translation implies a degree of manipulation of the source text for a certain purpose" (Hermans 1985: 11). It should be stressed, however, that although Descriptive Translation Studies might be described as the dominant methodology within the relatively new discipline of Translation Studies this thesis represents one of the first extended attempts to apply that methodology to the English stage.

The excellence of the work of Dorothy Heathcote was first made known beyond the field of drama teachers by BBC television in the 1960s. Since that time, her travels abroad and the writings and teaching of others, world wide, have acknowledged her as a forceful model of the teaching of Drama in Education. Many of those who have written about her work are former students who have enjoyed the benefit of working closely with her, sharing her thoughts and observing her working with children. They have written about many aspects of her approach, comparing it with other famous practitioners such as Brecht, analysing her concepts and techniques and describing her methods. No one, however, has attempted to examine either her practice of teaching or her writings in order to discern her work as a system. Her example has been followed by hundreds of teachers all over the world who eagerly welcomed this innovative way of working and attempted to implement it in their classrooms. While her charismatic personality has aroused admiration in many teachers it has on the other hand overawed some, as it seemed to encourage responses from children that were beyond the viewers' expectations. Nevertheless, to enable teachers to recognise the essential pedagogy that lay behind her performances and to enable them to adopt her approach requires an analysis far more searching than has existed hitherto. This research thesis aims to satisfy those who might search for a system in the teaching of Heathcote and is deeply rooted in extensive and very detailed observation of her classroom practice. Although familiar with her actual classroom practice, I used the extensive archive of three hundred and twenty hours of videotapes that exists at the University of Central England (UCE), through theresearch method of 'grounded theory', in order to produce verifiable results. From my observations I have been able to identify the Key Features of her work - the Structural Elements of the Lesson and the Internal Key Features - the teacher's Key Skills and their associated functions to finally arrive at the discovery of the Emergent Dramatic Form Teaching / Learning System that encapsulates the totality of Heathcote's methodology. The different emphases of the dynamic of the Structural Elements of the Lesson within this system are explored through four different Methods, namely the Improvised Playing Role, the Questing Role, the Mantle of the Expert and the Rolling Role. I have been able to consult Dorothy Heathcote herself to be assured that the conclusions reached about her intentions and achievements were acceptable and not contradictory. Finally, I believe that through this research Heathcote's pedagogy can be made accessible to all teachers by relating her approach to their own classroom practice

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