Thesis (M.S.)--University of Wisconsin--Madison, 1949. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [112]-115).

Thesis (Ph. M.)--University of Wisconsin--Madison, 1937. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves i-ii).

Watter vorm moet die opvoering in die primêre skool aanneem ? Die opvoering in die skool, en veral in die primêre skool word, veral sedert Peter Slade (1959 : 41-57 ens.) en Brian Way (1970 : 2-3 + 6-8 + 186- 189 + 268-269) gewaarsku het teen die gevare van die opvoering, deur baie beoefenaars van skooldrama afgekeur. Daar het in Engeland, Amerika en ook in Suid-Afrika tweespalt begin ontstaan tussen die aanhangers van die sogenaamde formeIe drama en die sogenaamde informele of vrye drama. Daar behoort nie so 'n tweespalt te wees indien die hele aangeleentheid reg benader word nie. (Heathcote soos opgeneem in Hodgson en Banham 1972 : 41). Daar word beoog om in hierdie studie ondersoek in te stel na die moontlike benaderingswyses asook die wenslikheid van die opvoering in die primêre skool. Die doel van hierdie studie is am opnuut te besin oor die waarde wat die skoolopvoering vir die kind kan hê. Ons durf, as opvoeders, die kind nie uitsluit van 'n aktiwiteit wat 'n bydrae tot sy totale ontwikkeling sou kon lewer nie. Daar word dus gehoop om tot 'n herwaardering van die skoolopvoering te kom wat waardevol sal kan wees in die opvoeding van die kind

The purpose of this study was to examine the effects of modeling on the sociodramatic play of kindergarten and first grade subjects enrolled in an elementary school receiving Title I funding. One hundred and twenty-eight children selected from eight classrooms comprised the sample for the study. The children in the sample were randomly divided into eight equal cells on the basis of grade level, sex, and treatment condition. There were sixteen subjects in each cell.The experimental group subjects were exposed to four, ten minute videotapes of peers modeling sociodramatic play. These videotapes were produced and filmed by the investigator. The videotapes were filmed in the playroom, set up in the same manner as during the data collection phase of the experiment. Each of these videotapes had four different models (two male, two female). The sixteen models were selected through the use of a sociogram. Subjects in the control group viewed four, ten minute nature films, believed to have nothing to do with sociodramatic play. Treatment for both experimental and control groups took place on the four school days immediately preceding data collection.The sociodramatic play of each subject was rated during three, ten minute observation sessions. Thus, each subject's sociodramatic play was rated for thirty minutes. The rating was carried out by the two raters trained by the investigator. The instrument employed was the Christman, Werton, Schurr Observation Instrument, an adaptation of an instrument developed by Smilansky.- The C.W.S. Observation Instrument allowed for the recording of the frequency with which each of the six elements of sociodramatic play occurred during a ten minute observation period at thirty second intervals. The subject received a check mark for any of the elements present during each thirty second interval. The subjects were rated individually in play groups of four (two male, two female). The interrater reliability was established at .95.The data was analyzed through a multivariate analysis of variance with the six elements of sociodramatic play as the dependent variables and grade level, sex, and treatment condition as the independent variables. The following null hypotheses were tested: Hypothesis I: There is no significant difference in sociodramatic play between male and female subjects; Hypothesis II: There is no significant difference in sociodramatic play between kindergarten and first grade children and; Hypothesis III: There is no significant difference in sociodramatic play between experimental and control group subjects.While the three-way interaction was not significant (p < .25), each independent variable was involved in significant two-way interactions. This rendered the main effects uninterpretable. However, since grade level was involved in both significant two-way interactions the data was analyzed by nesting sex and treatment within grade level.There were significant differences in the sociodramatic play of kindergarten subjects due to sex, with males engaging in more sociodramatic play than females (p < .0001). The sex differences among first graders were not significant (p <.48).There were significant differences among kindergarten subjects due to treatment conditions with those exposed to peer modeling engaging in more sociodramatic play than those exposed to nature films (p < .0001). The differences due to treatment were not significant for first grade subjects (p < .43)

Thesis (PhD)--Technischen Universität Berlin, 2004. / Includes bibliographical references (p. 306-318). Also issued online.

No description available.

in the wind clothes dance on a line is the conceptualization and articulation of performative inquiry as a research methodology within the field of education. Performative inquiry invites innovative and non-linear investigations, playing upon the multiple realities and interpretations of co-evolving worlds realized and recognized through creative action and interaction between researcher/teacher and participants/students within individual and shared, existing and imagined environments through motivating (im)pulse(s) of inquiry. Performative inquiry is elusively and momentarily balanced on the "edge of chaos" within the interstices of enactivism, complexity, interpretation, and performance. In articulating an ecological-cognitive reading of performance, I am in company with curricular theorists who envision curriculum as a journey and expression of students' and teachers' shared investigations within co-evolving landscapes of action and interaction., in the wind clothes dance on a line is a playfull response to current conversations among researchers seeking recognition and articulation of arts-based processes as legitimate site(s) and praxis of research. Performative inquiry offers researchers —- in drama education, in particular, and in education, in general, — a theoretical and practical venue to investigate their fields of inquiry through an integrated vehicle of body, mind and imagination. This dissertation is informed by a three year science education research project (1995- 1997) conducted with science educator, Karen Meyer. Our research investigated the teaching and learning of science education through drama and storytelling, culminating in a performance piece, Light Sound Movin' Around: What Are Monsters Made Of? Follow-up interviews with pre-service teachers speak eloquently to the possibility and power of performative inquiry as a research tool and learning vehicle in science education, in the wind clothes dance on a line has been imagined "in the air" through moments realized and recognized during the science education research project and through my work as a performing arts educator. And it is these moments that set the clothes dancing in the wind. in the wind clothes dance on a line is a conceptual piece, a performative work through which the reader will hopefully realize and recognize his or her own imaginings and interstandings of possible universes within education.

Integrative drama/theatre is a process founded upon the principles and practices of educational drama/theatre, and incorporates approaches and techniques intended to facilitate the integration of students with disabilities into regular classrooms. This educational approach is open-ended, creative and child-centred. / This study explores the integrative drama/theatre process in two projects implemented in a regular high school in Montreal. Subjects for the study were 30 students from the school. The 17 students in the integrative drama project were from grade seven, and the 13 students in the integrative theatre project were from grade eleven. Three of the students in each project had disabilities and had had a significant portion of their previous education in segregated schools. / A variety of qualitative and quantitative data gathering instruments were incorporated into the design of each project in order to observe and record what happened. Data analyses suggest that both projects were effective in promoting the acceptance of students with disabilities by their non-disabled peers, and in providing students with disabilities experience and confidence working in integrated environments. The integrative theatre project seemed more successful than the integrative drama project. Student age, program content, teacher style and experience, the level of student social interaction skills and time management were found to be significant factors in influencing the relative effectiveness of the integrative drama/theatre process in these projects. The implication of these results, the study's limitations and suggestions for future research are discussed.

Thesis (M.I.T.)--The Evergreen State College, 2007. / Title from title screen viewed (4/10/2008). Includes bibliographical references (leaves 136-140).

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Includes tables. Sponsor: Margaret L. Clark. Dissertation Committee: Paul Kozelka. Includes bibliographical references.