Includes abstract.|Includes bibliographical references (leaves 152-163). / This dissertation examines the particular method developed by arepp: Theatre for Life, a South African Non Governmental Organisation, in its work of providing sexuality and social problem solving life-skills education for adolescents, towards the development of self-efficacy in school-going youth, by means of dramatic presentations. The research is broadly located in the fields of applied theatre, experiential learning and participatory action research. Social cognitive and self-efficacy theory underpin the educational goals, whilst phenomenology, the 'eventness' of theatre, narrative and diegesis are key to the conceptual framework within which arepp: Theatre for Life's use of theatre is examined. The arepp: Theatre for Life archive, including the organisation's internal monitoring and evaluation system, provide the primary data source for this investigation, which focuses on one arepp: Theatre for Life production, Look Before You Leap: Hangin' in 2007, for specific inverstigation and the provision evidence. arepp: Theatre for Life's applied theatre pedagogy combines the concepts of observational learning through a theatre show with the processes of experiential learning through a facilitated discussion to develop self-efficacy with regard to adolescent sexuality.

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Neste trabalho se entrelaçam duas temáticas que compõem a estrutura de nossa pesquisa: uma delas é o desafio de possibilitar uma maior humanização do ambiente da sala de aula, em que educandos e educadores sintam-se capazes e responsáveis pela construção solidária do conhecimento; a outra é o fato de que a forma e o conteúdo da física trabalhada no Ensino Médio devem oferecer uma abordagem cultural da física, algumas noções sobre a pesquisa científica e a desmitificação da figura e da função do cientista. Para isso, utilizamos como referenciais teóricos centrais a proposta dos jogos teatrais de Viola Spolin e a filosofia da ciência de Thomaz Kuhn e a filosofia educacional emancipadora de Paulo Freire. O primeiro é utilizado para favorecer a partilha de conhecimentos entre professores e alunos explorando, de maneira lúdica, textos sobre atividades científicas que revelem algumas facetas do trabalho do cientista e da ciência. E o segundo é empregado para permitir um melhor acompanhamento do desenvolvimento científico através de um olhar epistemológico sobre a física. O terceiro nos permite estabelecer uma ponte entre esses dois referenciais através da educação \"problematizadora\" e emancipadora. Baseamo-nos na estrutura de jogos teatrais para criar quinze atividades a partir de textos cujos conteúdos abordam: formação de cientistas, pesquisa científica, ética na ciência e questões sociais ou religiosas que envolvam a atividade científica. Apresentamos duas experiências de aplicação dos jogos teatrais: uma realizada com alunos de uma escola pública da Grande São Paulo; e outra com professores em oficina realizada na XIII Reunión Nacional de Educación en Física, em Río Cuarto, na Argentina. / This work mixes two subject matters that support the structure o four reseach: one is the challenge of promoting a better humanization of te space in the classroom, where educators and pupils may feel they\'re partners, able and responsible for the construction of knowledge, side by side; the other that the contentes and the way physics are taught in High School must ofter a cultural approach of it, some notions of scientific reseach without taking the scientist and his/her work as myth. That\'s why used the role playing games by Viola Spoli as the main theoretical references and philosophy of science by Thomas Kuhn and the philosophy of the education that emancipates by Paulo Freire. The first is used to favor knowledge sharing between teachers and students when they explore texts about scientific activities, in order to have fun, which reveals some points of scientific work and science itself. The second is used to allow a better way of following scientific development through na epistemological look about physics. Finally, the third allows us to join these two references through the education thar proposes us problems to solve and emancipates. The work was based on the role playing games structure to create fifteen activities from texts whose contents talk about: scientists education, scientific research, ethics in science and social or religious issues that take part of scientific activity. We are presenting two experiences on playing games: one played with some students of a public school in the Gred São Paulo; the other was played with teachers in a meeting that took place at XIII Reunión Nacional de Educación en Física, in Rio Cuarto, Argentina.

Neste trabalho se entrelaçam duas temáticas que compõem a estrutura de nossa pesquisa: uma delas é o desafio de possibilitar uma maior humanização do ambiente da sala de aula, em que educandos e educadores sintam-se capazes e responsáveis pela construção solidária do conhecimento; a outra é o fato de que a forma e o conteúdo da física trabalhada no Ensino Médio devem oferecer uma abordagem cultural da física, algumas noções sobre a pesquisa científica e a desmitificação da figura e da função do cientista. Para isso, utilizamos como referenciais teóricos centrais a proposta dos jogos teatrais de Viola Spolin e a filosofia da ciência de Thomaz Kuhn e a filosofia educacional emancipadora de Paulo Freire. O primeiro é utilizado para favorecer a partilha de conhecimentos entre professores e alunos explorando, de maneira lúdica, textos sobre atividades científicas que revelem algumas facetas do trabalho do cientista e da ciência. E o segundo é empregado para permitir um melhor acompanhamento do desenvolvimento científico através de um olhar epistemológico sobre a física. O terceiro nos permite estabelecer uma ponte entre esses dois referenciais através da educação \"problematizadora\" e emancipadora. Baseamo-nos na estrutura de jogos teatrais para criar quinze atividades a partir de textos cujos conteúdos abordam: formação de cientistas, pesquisa científica, ética na ciência e questões sociais ou religiosas que envolvam a atividade científica. Apresentamos duas experiências de aplicação dos jogos teatrais: uma realizada com alunos de uma escola pública da Grande São Paulo; e outra com professores em oficina realizada na XIII Reunión Nacional de Educación en Física, em Río Cuarto, na Argentina. / This work mixes two subject matters that support the structure o four reseach: one is the challenge of promoting a better humanization of te space in the classroom, where educators and pupils may feel they\'re partners, able and responsible for the construction of knowledge, side by side; the other that the contentes and the way physics are taught in High School must ofter a cultural approach of it, some notions of scientific reseach without taking the scientist and his/her work as myth. That\'s why used the role playing games by Viola Spoli as the main theoretical references and philosophy of science by Thomas Kuhn and the philosophy of the education that emancipates by Paulo Freire. The first is used to favor knowledge sharing between teachers and students when they explore texts about scientific activities, in order to have fun, which reveals some points of scientific work and science itself. The second is used to allow a better way of following scientific development through na epistemological look about physics. Finally, the third allows us to join these two references through the education thar proposes us problems to solve and emancipates. The work was based on the role playing games structure to create fifteen activities from texts whose contents talk about: scientists education, scientific research, ethics in science and social or religious issues that take part of scientific activity. We are presenting two experiences on playing games: one played with some students of a public school in the Gred São Paulo; the other was played with teachers in a meeting that took place at XIII Reunión Nacional de Educación en Física, in Rio Cuarto, Argentina.

This thesis is an investigation into the role of the dramatics in Plato's Phaedrus. I claim that the dramatics are meant to point the reader to the religious ceremonies known to us as the Mysteries of Eleusis, and further to the profanation of those mysteries that occurred in Athens in 415 BCE. This contextualization of the dialogue is done in order to locate Socrates' and Phaedrus' discussion in an historical setting that was having difficulties determining where between the public and private distinction in society the responsibility for temperance lies. The Phaedrus can thus be read as Plato's response to the problem in this area that the generation before his own faced. The conclusion that Socrates draws in the Phaedrus is that some will be able to act in a temperate and moderate fashion of their own accord, with no influence needed from the state apparatus, and that these citizens must lead the way on a path that all society must be convinced to follow if the city is to be unified in its being. / Thesis / Master of Arts (MA)

Desde la fundación de los primeros institutos de ciencias teatrales en Alemania en el primer tercio del siglo XX y de la introducción de esta disciplina como carrera universitaria en Colonia en 1938 y en Berlín en 1943, así como desde la creación de un número considerable de institutos y cátedras de ciencias del teatro en los años 70 y la inauguración de un amplio y profundo debate teórico en este campo, no se logró establecer un lazo y un contexto de trabajo mutuo entre las ciencias teatrales y las literarias. Mientras la ciencia teatral – luego de una primera época empírica e historicista – fundamentó su análisis principalmente en el hecho escénico y, con el tiempo, fue incluyendo en forma más intensa diversos aspectos culturales, antropológicos, históricos y sociales1; la ciencia literaria y las diversas filologías, por el contrario, se concentraron especialmente en el análisis del texto dramático, analizando el teatro como un objeto literario. Así, ambas disciplinas permanecen hasta la fecha divididas y sin conexión mayor a pesar de tener un objeto en común y de basarse, desde los años 70, en teorías similares como el estructuralismo y la semiótica.

This thesis deals with the evolution of literary and dramatic broadcasting of the CRo Plzeň station in 1993-2006. It tries to look at this issue through the staffing of the editorial staff, the content of the work of its members, the dramaturgy of the editorial staff and the cooperation with the nationwide stations. From the point of view of creation of the editorial board, which is reflected in the regular verbal program series from her workshop, it considers the most important works of creation and, last but not least, from the point of view of program schemes related to the broadcasting of its literary and dramatic programs. The question of the development of this type of broadcasting examines, using the qualitative method of the case study, through methods that are used for historical analysis. The most important source of information for finding answers to the research questions was the method of oral history and the materials provided by the personal archive by director M. Buriánek.

This thesis deals with the 20th century Neapolitan dramatics; it is divided into two thematic subjects. Firstly, the text tries to describe the life and work of three important Neapolitan playwrights, Eduardo De Filippo, Annibale Ruccello and Enzo Moscato. Apart from highlighting the most significant biographical events and sociohistorical circumstances that influenced not only the work of the individual playwrights but also the artistic creation of the movement called the New Neapolitan dramatics, to which both younger playwrights belong, the text thematises the question if the younger generation continued the rich work of Eduardo De Filippo and the traditional Neapolitan dramatics and if so, how. The second part makes use of the findings gained from the literary-historical research done in the first part to reflect upon the optimal translation of the analysed plays into Czech. Initially, the text briefly ponders upon the agelong theoretical translation issues and then introduces the two main translational strategies, namely the conformist (konformní) and the adaptation one (adaptační). Having marked out the problematic features of the analysed plays from the translation theory point of view, the text subsequently discusses the question of how to translate them into Czech as faithfully as possible...

Nachdem in Heft 2 (2008) dieses Magazins bereits über die Vorbereitungen der Virtuellen Fachbibliothek medien buehne film berichtet wurde, widmet sich der folgende Beitrag der Struktur und den Inhalten des neuen Angebots. Nach rund 15 Monaten Aufbau- und Entwicklungsphase ist die Virtuelle Fachbibliothek medien buehne film nun unter der URL www.medien-buehnefilm. de online. Die Projektgruppe um die beiden Sondersammelgebietsbibliotheken Leipzig und Frankfurt am Main etablierte damit die dritte Virtuelle Fachbibliothek in Sachsen.

Desde la fundación de los primeros institutos de ciencias teatrales en Alemania en el primer tercio del siglo XX y de la introducción de esta disciplina como carrera universitaria en Colonia en 1938 y en Berlín en 1943, así como desde la creación de un número considerable de institutos y cátedras de ciencias del teatro en los años 70 y la inauguración de un amplio y profundo debate teórico en este campo, no se logró establecer un lazo y un contexto de trabajo mutuo entre las ciencias teatrales y las literarias. Mientras la ciencia teatral – luego de una primera época empírica e historicista – fundamentó su análisis principalmente en el hecho escénico y, con el tiempo, fue incluyendo en forma más intensa diversos aspectos culturales, antropológicos, históricos y sociales1; la ciencia literaria y las diversas filologías, por el contrario, se concentraron especialmente en el análisis del texto dramático, analizando el teatro como un objeto literario. Así, ambas disciplinas permanecen hasta la fecha divididas y sin conexión mayor a pesar de tener un objeto en común y de basarse, desde los años 70, en teorías similares como el estructuralismo y la semiótica.:Reflexiones preliminares. - Algunos conceptos fundamentales. - "Hibridización" y "medialidad". - "Teatro"/"Teatralidad"/"Texto teatral". - "Cuerpo" - "Deseo" - "Sexualidad" - "Poder"