Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-02-16T19:28:54Z No. of bitstreams: 1 Rubens Fernando de Souza Lopes.pdf: 4494759 bytes, checksum: 7fb31a627bc87494155d5c97cb953194 (MD5) / Made available in DSpace on 2018-02-16T19:28:54Z (GMT). No. of bitstreams: 1 Rubens Fernando de Souza Lopes.pdf: 4494759 bytes, checksum: 7fb31a627bc87494155d5c97cb953194 (MD5) Previous issue date: 2018-02-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis aims to analyze how technical college students and their professor collaborate to develop their linguistic repertoire in English class, using theatrical performance activities and reflections conducive to the creation of an online crowdfunding project video. The development of this research paper involved twenty-one undergraduate students attending a Database course at a technical college in the State of São Paulo. Originating from a divergence between the college and its students on the curriculum for the English course, the necessity to design a specific syllabus to appease both parties was determined. On the one hand, the institution prescribed its English class format with an emphasis on speaking and the use of Business English material; on the other hand, students expressed their desired educational focus on reading, writing, and learning the English used within the Information Technology (IT) field. The proposal to tackle this issue derived from a student’s suggestion: to make an online crowdfunding project video, which would relate to the IT field and allow not only the emphasis on their oral skills, but also the development of their reading and writing skills. For this to transpire, a syllabus was designed (with a duration of one school semester), which initially included the study of the 'crowdfunding project video' genre, and the linguistic elements necessary for its production. These two components were part of the foundation for the creation of in-between theatrical performance activities and reflections for the participants. In this research paper, which focuses on the agency of individuals in the collective, all those involved construct knowledge by participating together in the proposed activities. We can categorize this work as Critical Collaboration Research that, according to Magalhães and Fidalgo (2010), focuses on the transformation of individuals and their collaboration in the process in which they participate. Using the socio-historical-cultural perspective, this research seeks to understand the concept of collaboration, development and relational agency from discussions carried out by Vygotsky (1933/2007, 1934/2007, 1935/2007, 1966/2007), Edwards and D'Arcy (2004), Edwards and Mackenzie (2005), Edwards (2011), Pontecorvo (2005), Orsolini (2005), Magalhães (2016), Van Oers and Duijkers (2013), Ninin and Magalhães (2017), among others. To discuss the linguistic repertoire, we rely mainly on Busch (2012; 2015), Blommaert e Backus (2011; 2013) and Blommaert (2017). The discussion that we propose of genre is based mainly on the constructs of Bakhtin (1952-53/2016, 1953/1997). When we approach language teaching and learning, theatrical performance and reflection, we refer to Larsen-Freeman (2008), Newman and Holzman (1993/2002), Vygotsky (1933/2007), Newman (1996), Holzman (2009), and Lobman and Lundquist (2007). Results show that the students and their professor, through performance and reflection activities, established collaboration and became active subjects in their teaching-learning process, making use of discursive actions promoting the development of their linguistic repertoire, with resources in the English language surpassing those needed for the production of the genre in question – the online crowdfunding project video / Esta pesquisa tem como objetivo analisar como alunos e professor de ensino superior tecnológico colaboram para o desenvolvimento do repertório linguístico em aulas de inglês que envolvem atividades de performance e reflexão conducentes à elaboração de um vídeo projeto de crowdfunding online (financiamento coletivo). O desenvolvimento desta investigação ocorreu em uma faculdade de tecnologia no Estado de São Paulo, com vinte e um alunos do curso de Banco de Dados. A necessidade de elaborar um plano de ensino específico para esses alunos surgiu de um conflito de interesses entre a faculdade e os estudantes – por um lado, a instituição prescrevia a ênfase na produção oral e uso de um material de inglês para negócios; por outro, os alunos apontavam para a necessidade de aprender inglês da área de Tecnologia e Informação (TI) e de desenvolver a compreensão e produção escrita. A proposta para lidar com a questão partiu de uma sugestão vinda dos próprios alunos – elaborar um vídeo projeto de crowdfunding, algo relacionado à área de TI que, enfatizando o desenvolvimento da oralidade, possibilitaria momentos de compreensão e produção escrita. Para que isso ocorresse, foi elaborado um plano de ensino (com duração de um semestre letivo), que incluiu, primeiramente, o estudo do gênero ‘vídeo projeto de crowdfunding’, apontando para elementos linguísticos necessários para a sua produção e que foram tomados como base para a proposta de atividades intermediárias de performance e reflexão. Nesta pesquisa, que valoriza a agência de indivíduos no coletivo, todos os envolvidos constroem conhecimento ao participarem, juntos, das atividades propostas. Podemos entender este trabalho como uma Pesquisa Crítica de Colaboração (PCCol) que, conforme Magalhães e Fidalgo (2010), visa à transformação dos indivíduos e à colaboração no processo em que participam. Esta pesquisa, pautada na perspectiva sócio-histórico-cultural, busca compreender colaboração, desenvolvimento e agência relacional a partir de discussões realizadas por Vygotsky (1933/2007; 1934/2008; 1935/2007; 1966/2007), Edwards e D’Arcy (2004), Edwards e Mackenzie (2005), Edwards (2011), Pontecorvo (2005), Orsolini (2005), Magalhães (2016), Van Oers e Duijkers (2013), Ninin (2013), Ninin e Magalhães (no prelo), entre outros. Para discutir o repertório linguístico, apoiamo-nos principalmente em Busch (2012; 2015), Blommaert e Backus (2011; 2013) e Blommaert (2017). A discussão que propomos de gênero está fundamentada principalmente nos construtos de Bakhtin (1952-53/2016; 1953/1997). Ao abordarmos o ensino-aprendizagem de línguas, performance teatral e reflexão, consultamos Larsen-Freeman (2008), Newman e Holzman (1993/2002), Vygotsky (1933/2007), Newman (1996), Holzman (2009) e Lobman e Lundquist (2007). Resultados mostram que alunos e professor, em atividades de performance e reflexão, estabelecem colaboração e tornam-se sujeitos ativos em seu processo de ensino-aprendizagem, fazendo uso de ações discursivas que promovem o desenvolvimento de seu repertório linguístico, com recursos em língua inglesa que vão além daqueles necessários para a produção do gênero em questão, o vídeo projeto de crowdfunding online

The diploma thesis "Development of the methodology of correct posture and its verification in drama lessons within the school educational program" connects the correct posture with the teaching of dramatic education. In the area of posture, however, it is not as a theoretical discourse of what is known to every teacher, as is proved by this quote dating back over four decades: "The positive influence of proper body posture on healthy growth and development of all organs and the development of their functions is stated by medical literature and confirmed by everyday experience." The aim of the thesis is to examine the problems through practice, in particular by connecting with the already established subject and also the way of teaching in other subjects - dramatic education. The theoretical part is divided into two areas: correct posture and dramatic education. Both of them are first defined and put into context, then I deal with selected aspects that are relevant to this work. In the practical part I define the circumstances and conditions of creation and verification of the methodology of correct posture verified in drama lessons. The ensemble then combines methodological validation and rehearsing the fairytale The Princess and the Pea and the poems A Short Fairytale on Beet and Gingerbread...

University of Macau / Faculty of Education

The present study investigates the impact of a school play on the identity formation of six English as a Second Language (ESL) learners attending a local EMI secondary school. Data pertaining to students’ perception of their participation in the school play was collected through semi-structured interviews and diary entries over a period of four months. The findings show all participants generally view the group experience and the social interaction in the school play community as the major factors boosting their sense of belonging and engagement with the community at large. A number of generally positive (and evolving) multiple identities have been identified in the study as a result of the of social, cultural and symbolic capital accumulated by acquiring the English speaking proficiency needed on the stage. However, there is a slight difference between participants who assume a more major role and those who take up a minor role in regard to their level of engagement in the school play. Some informants acknowledge the difficulty in gaining a legitimate membership in the school play. Nevertheless, the general findings all point to the view that the school play supports the participants in the process of becoming a member of an ESL Community of Practice. / published_or_final_version / Education / Master / Master of Education

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The thesis affirms the relevance of "Theatre for Young Audiences" as a valid and distinctive genre; a performance genre that should entertain, educate and provide meaning in terms of its creative interaction with personal, social, artistic and cultural issues. The practice of playwrighting is removed from the assumption that it relies exclusively on inspiration, intuition and spontaneity; it is placed within a creative, experiential and discursive mode in which dramatic, theatrical, performance and structural issues can be researched, analysed and evaluated culminating in the crafting, making and presentation of innovative and challenging theatre. The research component of the thesis attempts to identify the social and moral responsibility of the playwright writing for young audiences. It is asserted that knowledge about the maturation of young people is crucial in the creative processes of writing plays and making theatre. The second chapter in Part One of the thesis, asserts that knowledge about the physical, emotional and intellectual maturation of the intended audience should clearly impact on the delineation of plot, action, character, language, audience participation, ethics and morality. The thesis clearly identifies the importance of this knowledge for the Arts Educator. However, "Theatre for Young Audiences" does not function solely in the realm of education. The thesis distinguishes this genre from those of "Theatre-in-Education" and "Drama-in-Education". The thesis firmly supports this distinction and affirms the status of "Theatre for Young Audiences" as a performing art. This argument is given further credence by the creative interaction of original scripts with the "living tradition" of the Commedia dell' Arte. The Commedia dell' Arte is examined from an historical perspective; pertinent features are addressed, selected, utilised and transformed into a dynamic theatrical experience for young audiences in contemporary South Africa. The Commedia dell' Arte serves as a theatrical model and becomes a creative device for further and renewed innovation. The inclusion of three original plays in Appendices 1, 2 and 3, plus numerous references to selected, original texts and performances provide an illustration of the concept that playwrighting for young people can effectively and imaginatively transpose theoretical inquiry into imaginative and challenging theatre experience. The thesis attempts to utilise a clear conceptual basis for the development of argument - the educational and psychological perspectives provide a foundation for ideas and critical writing. The theatre heritage becomes a catalyst for innovative and pertinent theatre that affirms the status, purpose and nature of "Theatre for Young Audiences" in contemporary South Africa. / Thesis (Ph.D.)-University of Natal, Durban, 1992.

This dissertation investigates how disability has been defined, and focuses on the shift in the conception of disability as an individual and medical problem to disabi1ity as a form of social oppression. Starting from an historical perspective the position of disabled persons in society is traced. The advance of disabled persons, from a condition of enforced social invisibility, to one in which they make themselves seen and heard through social movements fighting for their rights, is outlined as an introduction to a record of practical engagement through pedagogy in a concrete South African context. . After examining the way myths and stereotypes continue to perpetuate discriminatory practices against disabled persons, attention is drawn to the representation of disability through negative and positive images reflected in media as discourse. Thereafter, the material conditions that help, construct the confined, isolated position of disabled persons within society are considered. Attention is drawn to the theoretical positions of Foucault, Fanon and Bulhan to understand how disabled persons have been excluded and/ or exclude themselves from active participation in society. In the light of the foregoing, the dissertation argues for the position of drama as a means of developing a positive self-concept and a positive self-image within disabled persons. The utility of drama in fulfilling this need is demonstrated by way of a qualitative analysis of the experience of drama teaching over a period of several years. The use of drama within special education is urged as a learning medium, with drama as performance and drama as a means of consciousness-raising to advocate for the acceptance and recognition of disabled persons within society. In conclusion, the placement, value and organisation of drama within the Special School Curriculum is considered. The dissertation emphasizes the value of drama as part of culture in which children develop, understand and reflect on their social values, and concentrates on their part in the dialectics of change. / Thesis (M.A.)-University of Natal, Durban, 1994.

From the 1970s onwards Applied Theatre (AT) has become an ever more popular tool for communication in fields as varied as education, development, therapy, social action, business and others (see for example Blatner (ed.), 2007; Prentki & Preston (eds.), 2009). Over the same time period there has been a continuous questioning amongst academics not only of the most effective research methods but increasingly also of the philosophy underlying research efforts (Narayan & Srinivasan, 1994; Parks et al, 2005; Wilkins, 2000). There are therefore more and more researchers who, in their attempts to 'democratise‘ the research process, are beginning to use arts-based inquiry methods (Sanders, 2006). These generally allow a more inclusive, creative and in-depth approach to research, allowing the participants (the researched‘) more control over the process and the issues discussed and often benefiting them by imparting skills through the process (Belliveau, 2006; Peseta, 2007). Applied Theatre based research is part of this relatively new development (Conrad, 2004; Nelson, 2009) and it is at this junction of academic inquiry and AT where this research is situated. The major objective of this dissertation is to investigate the possible usage and value of Applied Theatre techniques as a tool for qualitative research, specifically when working with participants not familiar with drama and theatre exercises over a short period of time (a few hours). In partnership with the student society Students Against Rape And Hate (S.A.R.A.H.), a once-off Applied Theatre workshop was conducted in a UKZN residence in September 2009. The aim of this workshop was to establish some answers to the questions provided by S.A.R.A.H. about students‘ views of relationships in general and in residences specifically and the society‘s possible work there. To be able to compare the outcome of the workshop with the outcome of a more common research tool, a questionnaire asking the same questions was given out among other students in the same residence. Research subjects from both groups as well as S.A.R.A.H. members were later interviewed about their experiences and impressions. Comparing the data obtained through the different research methods described above, this dissertation not only evaluates whether the data collected with AT was useful and whether the process was practical for the researchers, but it also looks at the benefits the process itself had for all stakeholders involved. Indeed, it is this comparison of the 'product outcomes‘ and the 'process outcomes‘ that forms the backbone of the conclusions drawn. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.

The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the &quot / Cape Coloured&quot / and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.

Zugl.: Eichstätt, Ingolstadt, Univ., Diss., 2007