This study sets out to develop a framework for the analysis of a school subject and uses as a focal study the NAC drama syllabus developed in1994. Drawing in the main on Basil Bernstein's theory of curriculum, an analysis is made of how a syllabus is constituted through recontextualizing, using the theoretical concepts of voice and identity, classification and framing, and hierarchy. The discourses that have been recontextualized in the formation of the syllabus are identified. Two sets of discourses are identified: educational policy discourses (namely the discourses of progressivism, utilitarianism and reconstruction and development) and educational drama discourses. The specialization of voice in the syllabus marks out the academic identity, and is an indicator of educational drama discourses evident in the syllabus. The specialization of identity marks out projected social identities, indicating the recruitment of educational policy discourses in the constitution of the syllabus. The field in which the syllabus is constructed is also examined, which following Bernstein is defined as the recontextualizing field. The syllabus writers, located in this field, act selectively on the educational policy and educational drama discourses in constituting the syllabus. The rules for selection in the development of the syllabus are examined, and these are related to the syllabus writers' situation within the recontextualizing field. It is argued that the syllabus writers are positioned subordinately within the field, and that this factor to a large extent regulates the operation of educational policy discourses as rules for selection in the drawing up of the syllabus .

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The purpose of this study was to determine attitude and attitude change toward,student teaching as expressed by students who were pursuing certification to teach speech and/or drama courses in the public school at the secondary level.

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"It was clearly the Government (by a great section of the electorate) that brought politics into the theatre, and we, the producers, the actors, the theatre-goers must pay the price for it." Alan Paton. This thesis attempts to analyse the way South African Theatre is developing against a background of social transition within a political framework which has enforced a policy of separate development based on racial distinction and ethnicity. Signs of political reform are beginning to show - not only as a result of pressure from within and without - but also because economic interdependency between the groups is breaking down barriers as the third world sector of the population aspires to the attractions of the first world urban sector. Polemical issues in the performing arts, which have risen out of the prevailing socio-economic climate, range from global attempts at cultural isolation of South Africa to such pragmatic matters as absorbing into actor-training programmes the various sectors of the community with their particular ethnic and linguistic identities preserved in an apartheid system. The research takes into account the history of the South African people and the various modes of theatre which have evolved as a result of natural and, later, imposed segregation of the various cultural groups. It examines, too, the dominant cuItural trends imported from Europe which have formed an infra-structure for South African theatre from training programmes to theatre managements, as well as criteria for critical assessment of theatre as a codified form of dramatic performance. It analyses the politically sensitive but vital issue of arts funding where most sponsorship emanates from public sources. It looks at actor-training programmes in terms of cultural service to the community and the diverse needs of the performance industry and takes into account the changing focus in some tertiary drama departments in an effort to adapt to transitional social conditions. It also takes cognisance of the prevailing mood of social consciousness amongst those artists who sense the need to move towards a theatre which expresses the collective experience of the South African situation. Whether this is possible in a country as culturally diverse as South Africa and whether the socio-political climate and reform measures which the government has adopted are conducive to the growth of a genre of theatre uniquely South African in its synthesis of endogenous and exogenous traditions - a theatre that will have cross-cultural appeal - is one of the major thrusts of this research. / Thesis (Ph.D.)-University of Natal, Durban, 1988.

No abstract available. / Thesis (M.Ed.)-University of Natal, Durban, 1984.

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The problem of this study is that of developing a speech and drama program for Tyler State College which is consistent with the philosophical framework of the college as well as with the scope of upper-division institutions in Texas as stated by the Coordinating Board, Texas College and University System. Emphasis is placed on the matriculation of students from junior colleges within commuting distance of Tyler.