Based on theories from: Educational or Process Drama. Improvisaiional Theatre. Drama Therapy and Psychology: this thesis is an in depth exploration of a methodology for educational drama that can be used lo examine values. This method proposes a system that will assist participants to discover and assess their own altitudes and bring them into dialogue with other value systems. The theoretical focus of this thesis was drawn from selected theorists: Roai. Iz/.o. Panely, Vogler and Heathcole amongst others: which conlribuled to the establishment of a practical methodology that provides a process of self discovery through improvisational drama and role-play. The dichotomous relationship between art and nature (perceived rcalitx), allows the participant lo engage in the discourse of self evaluation and social conscientisaiion. The methodology is based on the narrative structure of myth and the archetypes that populate mythic landscapes. Myths relate the journey of a hero, who undergoes personal growth as the result of a change of perspective. This occurs during the hero's journey from her ordinary world to a special world where adventure and danger awaits. The hero must find the elixir that will heal her own wounds and the wounds of her communitw Ihe archetypes play a unique role in helping the hero lo face her own desires, values and altitudes and to lest these \ allies in the Ileal of physical battle or emotional turmoil. With Participatory Action Research as main methoclologv. the thesis used questionnaires, interviews, journal entries and dramatic workshops for data gathering. The longitudinal nature of this exploration look place over a period of two years and the cohort group comprised of adolescent girls and boys, aged 14 to 16 years. The research found that the method was very successful for inciting critical discussion and moral debate. In the safety of the dramatic context, the cohort group gained new understanding about the conflict between the good of the community verses the individuars desires. Consequently they were able to come to terms with those desires that influence their behaviour and talk about these in relation to other values. Keywords: Values interrogation, educational drama, process drama, drama therapy, drama journeys, improvisation, role-play, social conscicntisation. Tcmenos, dramatic play, educational play, archetypes, psychological transference, meaning making process, practical methodology, dichotomy. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.

This dissertation analyses the influence theatre space and the dramatic genre have on the design process, by examining three designs of Greg King: Aladdin (2007), a pantomime presented at the Playhouse Drama Theatre, Oleanna (2008) a drama at the Seabrooke's Theatre, and The Wizard of Oz (2008), a musical presented at the Elizabeth Sneddon Theatre. Through a semiotic analysis of the productions, the scenographic choices of King are interrogated to ascertain the ways theatre space and dramatic genre affected his design choices. The theories around sign systems in the theatre of Keir Elam (1980), Martin Esslin (1987), and Elaine Aston and George Savona (1991) are examined and used to decode King's designs. This dissertation theorises that the theatre space has influenced and continues to influence the decisions and choices of the scenographer, and it is this linkage that informs the discussion around the historical development of the proscenium arch theatre and the scenographer. The case studies offered in this dissertation highlight the challenges involved with the physical limitations of the theatre space, as each venue selected differs in size, shape, and the technical equipment available for the designer. The dramatic text provides the primary basis for both the director and the designer to develop a production concept. However, dramatic texts can be divided into many different genres and the following three genres, namely drama, musical and pantomime, provide the focus for this study. As these three genres have evolved from earlier forms, the historical development of the three genres is examined to ascertain how the genre affects the scenographic process. Atheatre production is the result of a collaboration between many specialists and therefore, the relationship between the designer and other member of the production team is examined. A set design is a visual image of an imagined environment and many designers use symbols, consciously or subconsciously, to communicate their ideas. A theatre production is the result of a collaboration between many specialists and therefore, the relationship between the designer and other member of the production team is examined. A set design is a visual image of an imagined environment and many designers use symbols, consciously or subconsciously, to communicate their ideas. The work of three international designers, Josef Svoboda, Ming Cho Lee and Ralph Koltai is examined further to understand the influence theatre space and the dramatic genre have on the design process. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2012.

This thesis is an exploration of contemporary practice in the field of theatre for development as HIV and AIDS communication. The thesis explores the theoretical fields of communication for development, entertainment education and empowerment, in an attempt to understand how different approaches to communicating about HIV and AIDS can influence personal and social change, and impact on both personal empowerment and community development. An examination of the literature on using theatre as a means to bring about development leads to the identification of key areas for investigation, including how participation is envisioned and implemented in theatre projects that focus on HIV and AIDS, and how participants are empowered through these processes. My study includes a broad survey of practitioners who use theatre in this way, the results of which inform an examination of three specific case studies. The research data reflects that participation is used as a strategy in different ways in theory-driven interventions that are consciously designed to meet specific goals. While many practitioners highlight participation, this is often in interventions that are guided by the modernisation approach to development, where external organisations attempt to bring about pre-determined change within a beneficiary community. The low levels of participation in essential decision-making processes in these projects mean that these projects preclude some of the elements essential to bringing about empowerment, such as the development of a greater critical consciousness and encouraging community-based problem solving. Such practice cannot bring about substantial long-term changes and empowerment for the project beneficiaries or for society more broadly. My research identifies a need to reconsider HIV and AIDS communication within the context of development, if change is to be brought about. In my concluding chapter, I suggest a number of ways to bring practice closer to the paradigm of meaningful participation as informed by empowerment theory. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.

This dissertation aims to explore problems of gender, masculinity and cultural memory shared by men in the theatre workshop process through looking at the workshop process of four HIV/AIDS plays. The narrative that evolved in the process of creating each play carries an important and current documentation of story and myth that illustrate a unique social understanding of varied but relevant HIV/AIDS issues. In this dissertation the scripts will act as primary text in an exploration of the importance of workshop theatre in documenting the creation of stories and myth in the HIV/AIDS context. The focus of the exploration is on the male participants, with the intention of gaining a greater understanding of contemporary masculine issues in the context of HIV/AIDS. / Thesis (M.A.) - University of KwaZulu-Natal, Pietermaritzburg, 2008.

This dissertation examines three plays by South African theatre practitioner Brett Bailey as / Thesis (M.A.)-University of KwaZulu-Natal, 2006.

This dissertation combines African philosophical discourses with perspectives on cultural performativity to explore the theme of ‘deconstructing the native’ and ‘imagining the postnative’ through theatre. The dissertation consists of two main parts, a theoretical and a ‘practical’ section. The latter consists of ideas on how to translate the insights gained from the theory section into a strategy for making theatre. The theory section focuses on the aesthetically groundbreaking early works of South African theatre director Brett Bailey (Chapter 1), and their relevance to themes of African philosophy (Chapter 2). Using the concept of ‘engendering space’ as a point of contact between African discourse and theatre praxis, I show how Bailey’s theatre engendered a physical and metaphysical space in which to deconstruct the native and imagine the post-native. I consequently argue that Bailey’s aesthetic revolution has immense political and ethical consequences for contemporary African society. I imagine what these consequences are by deconstructing the cultural and moral discourse generated through critical and public responses to Bailey’s often controversial work. The practical section comprises an academically extended version of the professional theatre project proposal for my play, Hondo Love Story, which will be staged subsequent to this dissertation. The contents of the section include my strategy for engendering an aesthetic space similar, but not identical, to that of Bailey’s plays (Chapter 3). The similarities include aspects of form, theme and content, which I imagine may result in Hondo Love Story having a similar relevance to the theme of deconstructing the native and imagining the post-native through theatre. While I do not systematically deconstruct the play to fully elucidate this, I explain (Chapter 4) the more ‘intellectual’ aspects of content such as historical subtext and psycho-mythical narratives underlying story structure and characterisation. The complete script for the play is appended. / Thesis (M.A.) - University of KwaZulu-Natal, Pietermaritzburg, 2009.

Based on theories from Applied Drama, Dramatherapy and Psychology, this thesis explores the application of applied drama workshops with a group of educators at a school for children with barriers to learning, with a view to not only enhance their personal and professional development, but to facilitate positive outcomes for the children whom they teach, due to their implementation of various applied drama techniques into their teaching programmes. The theoretical focus of this thesis was drawn from theorists including Carl Rogers, regarding the Humanistic approach and Emunah regarding the creative methodology, amongst others, which contributed to the establishment of a practical methodology that provided a process of self- discovery and empowerment through the applied drama workshops. (Emunah, 1994). With Participatory Action Research as the primary research methodology, the thesis used applied drama workshops, classroom application of various techniques, journal entries, questionnaires and interviews for data collection. The longitudinal nature of this exploration took place over a period of eighteen months, with the group being comprised of special needs’ educators. The research found that the workshops were highly successful as the catalyst for positive change in the participants, encouraging sharing and reflection previously suppressed in their professional setting, thus provoking personal growth and empowerment. Furthermore, professional growth and new explorations in their teaching methodology positively materialised. The group gained greater understanding about themselves, one another and the children they were teaching as the workshops heightened their perceptions. Consequently the participants generally became more tolerant and empathic of one another and towards the children. The children in the participating educators’ classes participated enthusiastically, and developed in their socialisation and selfconfidence. Their communication skills improved and they externalised their inner feelings more readily. The participating educators did not highlight any negatives regarding applied drama as a medium in the school. If anything, as the researcher, I was overwhelmed that the results were unanimously so positive, with not a single participant reporting that they felt that its implementation had not been beneficial. The research project thus reportedly had a constructive outcome for all those who either participated or were directly influenced by the project. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.

Stuttering has been a complex problem ever since the early history of man. It has been found to exist in some cultures to a greater extent than in others. In certain primitive cultures the phenomenon of stuttering was reported to be unknown, yet when members of these cultures were influenced by western environments some incidence of stuttering occurred among them. The influence of the environment therefore cannot be disregarded when considering causes of stuttering. Although much research has been done by speech pathologists among various world cultures they have by no means completed their task for there are many groups, living in a variety of societies, which are yet to be studied. The present rudimentary investigation into stuttering among Indians living in Durban may be regarded as a contribution to the knowledge that has already been accumulated. / Thesis (M.A.)-University of Natal, Durban, 1971.

This dissertation aims to analyse the re-creation and transformation of animated films into theatrical spectacles, by examining two Walt Disney animations and productions as case studies: Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997), designed by Stanley Meyer (Beauty and the Beast [1994]) and Julie Taymor (The Lion King [1997]), respectively. Through a semiotic analysis of the productions viewed in the Monte-Teatro in Johannesburg (Beauty and the Beast [2007]) and the Lyceum in London (The Lion King [2010]), the scenographic choices of the designers are examined to ascertain the ways in which the re-creation and transformation from animation to theatre occurs. A study of the different styles is conducted, as the case studies were visually different from each other, and from their animated counterparts. Each case study contributes to an understanding of the process whereby an animated film can be transformed and re-created for the theatre. An investigation into The Walt Disney Company, from its inception to its present day theatrical productions, is undertaken to illustrate how The Walt Disney Company has become an influential force in the international performance industry. Responses by reviewers are used to demonstrate how The Walt Disney Company was influenced to alter the conceptual approach for its subsequent theatrical production. To aid in the analysis of the scenographic designs, the theoretical writings of Martin Esslin (1987) and Keir Elam (1980) are consulted to develop an understanding of how designs are integral to the reception of any production. Developments of scenography are explored from Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of the performance, to Sternfeld’s analysis of megamusicals which illustrates the spectacular designs that have become integral to the development of certain productions, and genres. Using Wickstrom’s article on The Lion King an examination of how the commodities produce meaning from the production is undertaken. This dissertation provides insight into the development of scenographic designs and the recreation and transformation of specific elements from animated film to theatrical spectacle through an appropriation of theories about transposing theatre into film (Egil Tornqvist, 2009). This, in conjunction with Guy Debord’s theories (1995) on the society of the spectacle, aids in the analysis of the spectacle/scenography. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.