There has been very little research into play production in schools, as distinct from drama in education and theatre in education, and none at all with specific attention to the Eastern Cape. The proliferation of dramatic productions in the schools of the Eastern Cape during the 1960s and 1970s coincided with the establishment at Rhodes University of a Department of Speech and Drama. The particular interest of this Department in the educational aspects of dramatic work of all kinds led naturally to a desire to investigate what was being done, and had been done, in the schools in the area. Added to this, interest in the history of the Eastern Cape has been stimulated by the building of the 1820 Settlers' Monument, which was opened in 1974, to mark the hundred and fiftieth anniversary of the arrival of the British Settlers. In order to set the social and political scene for the beginnings of cultural activity in the schools, I have given a brief account of the historical events leading up to the English settlement in the Eastern Cape. Because the evolution of the towns has affected that of the schools, an account of this development has been included¹. To prevent this work from becoming unwieldy, the detailed investigation of the cultural milieu has been limited to that of two frontier towns and two seaports, as being the most representative in the Eastern Cape². So much that was done in the schools had grown out of the ideas brought from Britain and its public schools that it was necessary also to look at the basis upon which the schools in the Eastern Cape were founded, and the lines along which their ethos developed. To facilitate a consideration of the work done in play production and related activities over a period of approximately a hundred and fifty years, I have separated the account into four natural historical divisions: from 1820 until the turn of the century; 1900 to 1918; the period between the two world wars; and that which follows the Second World War. Of these, the first three have been considered from the historical point of view; but with regard to the years between 1940 and 1977 it seemed more interesting and profitable to examine specific trends and developments in dramatic activity within the schools. I wished, further, to find more detailed information about what is happening in the schools at present than could be gathered from school magazines and the local press. For this purpose, two questionnaires were sent to the schools. The evaluation of these will be found in Part III and in Appendix B. The investigation was confined to the English and parallel medium schools in the area. The catalogue of plays produced since 1860 which is given in Appendix E is not necessarily exhaustive, though as comprehensive as it was possible to make it. It has been drawn up from the information in school archives and the press, as well as that given in the answers to the questionnaires, but there are occasions when these sources do not give titles of plays (this is especially the case with one-act plays) and there are also times when productions may not have been reported, or magazines are missing. It is not the purpose of this thesis to give details of the best production procedures. Teacher-directors may find these in many excellent books on the subject, some of which have been suggested in Appendix F. ¹While not strictly part of the subject under investigation, a consideration of musical activity is relevant to developments in drama . A short section on music has therefore also been included in Appendix A. ²My researches have pointed to the fact that there is an interesting field for further investigation in the smaller towns such as Cathcart and Uitenhage. (Pref. p. ii-iii)

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published_or_final_version / abstract / Linguistics / Master / Master of Arts in Applied Linguistics

published_or_final_version / abstract / toc / Linguistics / Master / Master of Arts in Applied Linguistics

M.Ed. (Subject Didactics) / There is growing concern that high school pupils and especially those pupils in the senior secondary phase, are no longer interested in reading ., Afrikaans books. The result is that the pupils' knowledge and understanding of literature is fast diminishing. A further consequence is that the formative possibilities that literature holds for the pupil are also lost. It can therefore be accepted that literature and the teaching of literature has a substance which contributes to the forming of young people on their way to adulthcod, A paradoxical situation prevails in that the high school pupil and specifically pupils in the senior secondary phase do not realise what formative value literature holds for him. The fact is that prescribed prose and drama hold little significance for the majority of pupils in this phase of their achonl, careers, as it is nei ther relevent nor actual. It is therefore necessary that serious attention be given to the goals we wish to achieve in the teaching of Afrikaans First Language literature. The goals we wish to achieve in the teaching of Afrikaans First Language literature (senior secondary phase) as evaluated in a curriculum rational and compared to the syllabus, results in a discrepancy between the goals (ideals), the syllabus content and the teaching (practical). The reason for this can possibly be attributed to the following factors: the syllabus content does not accommodate sufficiently the formative value of literature the criteria for prescribing prose and drama are too limited too much emphasis is placed on examination the teaching of literature is possibly too closely tied to the text * addressing of modern life situations via literature is not given sufficient recognition. From a didactical-pedagocical approach the nature of the discrepancy between goals, syllabus content and teaching have been analysed. The criteria for prescribing prose and drama have been examined and curriculum rational has been brought into line. A situation analysis as a component of curriculum rational is discussed and attention has been paid to the present situation in respect of Afrikaans First Language...

The focus of aesthetic education is reflected in an arts curriculum designed for students to learn skills that make it possible for them to experience the world in a satisfying and meaningful manner. Incorporating aesthetics into school curriculum can be approached through the use of coordinated programs. In the state of Texas, over 1100 schools participate annually in the One-Act Play contest (OAP). The contest is governed by the University Interscholastic League (UIL), which has designed and recommended a structure in which students actively participate in the fine art of theatre. This curriculum is the roadmap for instruction that leads students to learn the value of the aesthetic. This study examines teacher and student perception in the Texas One-Act Play contest and its implications for teaching and learning the aesthetic. The qualitative data were collected through a series of interviews and observations during the spring 2006 with five schools in the north Texas area. Students and teachers at each school were interviewed. Data revealed how the goals of the UIL OAP system are being met based on teachers' practices, perceptions, and experience. Implications of the study are seen through the teachers' attitude toward winning as well as how the elements of teaching, rehearsal technique, and external support systems affect the teachers' contest preparation.