Since the passing of No Child Left Behind Act in 2001, the United States' secondary education system has undergone significant changes. In this study, I discuss the ways in which the law has encouraged the normalization of standardized testing and aim to answer two primary research questions. RQ1: What do college students and their instructors identify as the key challenges that arise as students educated under NCLB begin college coursework, and how does each group address these challenges? RQ2: What strategies do the actors and spect-actors in a Forum Theatre production arrive at for addressing the challenges faced by college instructors and their students who have completed their secondary education under No Child Left Behind? To answer the initial research question, I conducted focus group interviews with instructors and students at the University of North Texas to understand the challenges each faces in the classroom. To answer the second research question, I compiled narratives from the focus group interviews along with other materials into a performance script that concluded with scenarios based in Augusto Boal's Forum Theatre techniques. In live performance events audience members rehearsed strategies for addressing the challenges that instructors and students face in classrooms through performance. Following descriptions of the performances, I analyze the scenarios through theories of Michel Foucault and Paulo Freire, to understand the productive power of the banking model reflected in the suggestions from the audience.

The critical understanding of Theatre in Education (TIE) presented in this thesis focuses on ‘TIE into Schools’ and its effect. The author takes the view that students’ subjectivity was influenced by the dominant mores of elements of society, such as family and school, and less often, by individual, autonomous decision. Case studies of practices that are identified with the tenets of TIE were carried out using approaches based on the principles and methods of a critical pedagogy approach. How could the TIE approach be seen as a critical pedagogy? This question is examined predominantly through the lens of Paulo Freire and Henry A. Giroux’s thoughts on education and teachers. In addition to an understanding of the tenets of TIE and the tenets of critical pedagogy, this thesis presents a criticism of its discursive approach and also a criticism from the researcher as a participant observer. This narrative approach helps explore the human side of the experience thus keeping real life issues to the fore. Fieldwork episodes of TIE practice in three different levels of schools, the Taipei He-te Primary School, 10 different senior high schools and the National Taiwan University are presented in the context of the students’ differing ages in an attempt to understand more about the methods and tenets of TIE. ‘Partnership’ is a key concept and driving force, creating mutual cooperation between the community of the school, the parents and the theatre groups. The expected outcomes of this thesis include the clarification notions of TIE, and the adoption of a subjective approach by the students in relation to the process of interactivity, leading from affection to cognition, then action. This thesis concludes that TIE is a critical pedagogy and praxis, which develops skills and attitudes in which action can be taken by the individual in fitting in the world. It improves the individual’s ability to rethink his/her beliefs and attitudes, to empathise with groups of people and individuals with whom she/he previously may not have come into social contact with and allows previously taboo subjects to be discussed openly.

The dissertation concentrates on drama in education, which is my specialization, specifically on one of its techniques - Forum Theatre. Its objective is to assess the efficiency of Forum Theatre as a method applied to solve disciplinary problems among primary school pupils. In the theoretical part, I deal in detail with the ideas promoted by the founder of Theatre of the Oppressed, Augusto Boal. Studying his approaches, I return back to the roots of the Brazilian nation which brought forth the very principles of the theatre. I also elaborate on general characteristics of the aggressive behaviour among school pupils that teachers have to address and in particular proactively prevent by implementing preventive programmes and closely cooperating with pupils and their parents as well. One of such programmes is based on performances given by Divadelta, a civic association I started to cooperate with during the field research that I carried out for the purposes of my dissertation. They suggested I could study the staging of their routine performance titled Trest (The Punishment) targeting pupils of the primary stage at elementary schools and focusing on aggressive behaviour at the beginning of their school education. The research was carried out among pupils of the 3rd and 4th grades at two elementary...

<p>Abstract</p><p>Purpose/Aim: The aim of this essay is to examine the democratic potential of Forum Games.</p><p>The main focus of the essay is if working with forum games can help the participators to better communicate their thoughts and ideas and through this take better part in a democratic society.</p><p>Material/Method: The material to the study has been gathered through three interviews with persons using forum games in their work and one enquiry with 21 students in Teacher education at Uppsala University, who had recently tried the method for the first time.</p><p>Main results: The conclusion of the study is that forum game has a democratic potential. Ability to communicate is important for a democratic society and participating in forum games can improve the participators communication abilities. Furthermore forum games seem to have other positive effects on a democratic society, apart from helping the participators to improve their communication skills.</p><p>Keywords: Forum Games, Forum Theatre, Communication, Democracy, Drama</p>

Abstract Purpose/Aim: The aim of this essay is to examine the democratic potential of Forum Games. The main focus of the essay is if working with forum games can help the participators to better communicate their thoughts and ideas and through this take better part in a democratic society. Material/Method: The material to the study has been gathered through three interviews with persons using forum games in their work and one enquiry with 21 students in Teacher education at Uppsala University, who had recently tried the method for the first time. Main results: The conclusion of the study is that forum game has a democratic potential. Ability to communicate is important for a democratic society and participating in forum games can improve the participators communication abilities. Furthermore forum games seem to have other positive effects on a democratic society, apart from helping the participators to improve their communication skills. Keywords: Forum Games, Forum Theatre, Communication, Democracy, Drama

The study will investigate a design intervention that attempts to respond to the condition of spatial indeterminacy in the Sammy Marks precinct of Pretoria, where this condition is heavily pronounced in the form of disused public squares, inactive edges and inner-block voids. The study suggests that developing these spaces as cultural interfaces can provide a foothold for emergent city life and cultural activities. The specific project intervention will take the form of a theatrical interface that will serve as a platform for public interactive theatre events and a theatre school. The client is the State Theatre, in collaboration with the Department of Public Works. The site of the intervention is located in close proximity to the State Theatre. An investigation of the site and its surrounding context will generate opportunities for specific intervention. / Dissertation (MArch(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

Paauglių mokymas/is spręsti jiems aktualias problemas, taikant Forumo teatro metodą, Lietuvoje yra netyrinėta mokslinėje literatūroje tema. Tyrimo tikslas - atskleisti, kokios vidinės (psichologinės) ir išorinės (socialinės) problemos jaudina 17-19 metų paauglius, ir kaip, taikant Forumo teatro metodą, susiformuoja gebėjimai jas iškelti ir konstruktyviai išspręsti. Darbe buvo siekiama išanalizuoti mokslinę, metodinę literatūrą, susijusią su Forumo teatro metodo taikymu; nustatyti Forumo teatro veikimo principus; apibūdinti paauglių požiūrį į Forumo teatro taikymo atitikimą jų poreikiams; išaiškinti, kaip, taikant Forumo teatro metodą, vyksta 17-19 metų paauglių gebėjimų spręsti problemas formavimosi procesas; nustatyti paauglių gebėjimus, įgytus mokymo/si spręsti jiems aktualias psichologines ir socialines problemas procese, taikant Forumo teatro metodą. Siekiant išsamiai ir detaliai išnagrinėti paauglių mokymo/si spręsti jiems aktualias problemas Forumo teatre procesą nuo 2007 m. lapkričio mėnesio iki 2008 m. gruodžio mėnesio 17-19 metų paaugliams buvo organizuoti Forumo teatro užsiėmimai ir atliekamas atvejų tyrimas. Tyrimo metu duomenys buvo renkami stebint atskirų individų ir individų grupių užduočių atlikimą, apklausiant ir fiksuojant (užrašant ir filmuojant) su tyrimo objektu susijusią informaciją. Tyrime dalyvavo 79 paaugliai. Forumo teatro taikymo procese paaugliai įgijo gebėjimų iškelti ir įvardinti jiems aktualias vidines (psichologines) ir išorines... [toliau žr. visą tekstą] / The topic of teenagers teaching and their learning how to solve their urgent problems through the method of Forum Theatre has not been investigated in Lithuanian scientific literature. The purpose of the investigation is to reveal what internal (psychological) and external (social) problems are important to 17-19-year-old teenagers and how the skills of revealing and solving these problems are formed using the method of Forum Theatre. This paper aims to analyze scientific, methodological literature connected with the Forum Theatre method application; establish Forum Theatre effect principles; describe the views of teenagers on how Forum Theatre application meets their needs; find out how, using the method of Forum Theatre, the process of building up teenagers skills of solving problems happens; reveal the abilities of the 17-19-year-olds which they developed through the process of learning-teaching how to cope with their psychological and social problems, using the method of Forum Theatre. Seeking to carry out a detailed investigation of the process of teenagers’ learning-teaching how to solve their urgent problems through Forum Theatre, from November 2007 till December 2008, Forum Theatre lessons were given to 17-19-year-old teenagers, after which the analysis of the cases was performed. During the investigation the data was collected monitoring how separate individuals and groups of individuals perform the tasks, interviewing and fixing (writing down and filming) the... [to full text]

Cette recherche explore le Théâtre-forum comme support méthodologie d’un espace délibératif pour discuter des tensions sociales liées à la coprésence au centre-ville de Montréal entre des personnes en situation de rue et leurs voisins domiciliés. L’argument au cœur de la problématique repose sur les taches aveugles de la délibération: dans les forums de quartier, les inégalités sociales se traduisent par des inégalités délibératives au désavantage des personnes sans adresse en défaut d’autorité épistémologique en raison de leur statut; ces inégalités délibératives reproduisent le déni de reconnaissance qui traverse l’expérience relationnelle de ces personnes. Le Théâtre-forum est issu du Théâtre de l’opprimé : une pratique d’intervention théâtrale conçue par Augusto Boal durant la dictature au Brésil comme dispositif émancipateur pour les groupes opprimés. Le Joker incite les membres de l’auditoire à devenir Spect-acteurs par les remplacements du protagoniste, et ce, afin de surmonter son oppression. Ainsi, cette projection dans les chaussures du protagoniste-itinérant facilite-t-elle ce passage de l’indignité à la reconnaissance pour les personnes en situation de rue? L’échange théâtral peut-il ouvrir la voie vers la reconstruction d’un lien intersubjectif entre personnes sans adresse et domiciliés, intersubjectivité qui au cœur-même des vertus délibératives et des principes fondateurs défendus par les théoriciens de la reconnaissance comme Honneth et Renault? / Inspired by the democratic virtues of public deliberation but preoccupied with its blind spots, this research explores Forum Theatre as a deliberative medium to initiate discussion about the social tensions which underscore copresence between the homeless and other dwellers of public space in downtown Montreal. Indeed, we argue that in neighborhood forums social inequalities lead to deliberative ones for the homeless who lack epistemological authority due to their status, thereby reproducing the denial of recognition they endure as pariahs of public space. Forum Theatre stems from Theatre of the Oppressed which was initiated by Augusto Boal during the Brazil dictatorial regime as a revolutionary practice for the oppressed. It is premised on active audience engagement whose members are encouraged by the Joker to become Spect-Actors by replacing the protagonist in order to overcome his oppression. As such, can stepping inside the shoes of the homeless protagonist thru character replacement facilitate a passage from indignity to recognition for the latter? In other words, can a theatrical exchange create a space of intersubjectivity between the homeless and their domiciled neighbours? After all, the virtues of deliberation, not to mention the principles defended by recognition theorists like Honneth and Renault, both rest on intersubjectivity.

Cette recherche explore le Théâtre-forum comme support méthodologie d’un espace délibératif pour discuter des tensions sociales liées à la coprésence au centre-ville de Montréal entre des personnes en situation de rue et leurs voisins domiciliés. L’argument au cœur de la problématique repose sur les taches aveugles de la délibération: dans les forums de quartier, les inégalités sociales se traduisent par des inégalités délibératives au désavantage des personnes sans adresse en défaut d’autorité épistémologique en raison de leur statut; ces inégalités délibératives reproduisent le déni de reconnaissance qui traverse l’expérience relationnelle de ces personnes. Le Théâtre-forum est issu du Théâtre de l’opprimé : une pratique d’intervention théâtrale conçue par Augusto Boal durant la dictature au Brésil comme dispositif émancipateur pour les groupes opprimés. Le Joker incite les membres de l’auditoire à devenir Spect-acteurs par les remplacements du protagoniste, et ce, afin de surmonter son oppression. Ainsi, cette projection dans les chaussures du protagoniste-itinérant facilite-t-elle ce passage de l’indignité à la reconnaissance pour les personnes en situation de rue? L’échange théâtral peut-il ouvrir la voie vers la reconstruction d’un lien intersubjectif entre personnes sans adresse et domiciliés, intersubjectivité qui au cœur-même des vertus délibératives et des principes fondateurs défendus par les théoriciens de la reconnaissance comme Honneth et Renault? / Inspired by the democratic virtues of public deliberation but preoccupied with its blind spots, this research explores Forum Theatre as a deliberative medium to initiate discussion about the social tensions which underscore copresence between the homeless and other dwellers of public space in downtown Montreal. Indeed, we argue that in neighborhood forums social inequalities lead to deliberative ones for the homeless who lack epistemological authority due to their status, thereby reproducing the denial of recognition they endure as pariahs of public space. Forum Theatre stems from Theatre of the Oppressed which was initiated by Augusto Boal during the Brazil dictatorial regime as a revolutionary practice for the oppressed. It is premised on active audience engagement whose members are encouraged by the Joker to become Spect-Actors by replacing the protagonist in order to overcome his oppression. As such, can stepping inside the shoes of the homeless protagonist thru character replacement facilitate a passage from indignity to recognition for the latter? In other words, can a theatrical exchange create a space of intersubjectivity between the homeless and their domiciled neighbours? After all, the virtues of deliberation, not to mention the principles defended by recognition theorists like Honneth and Renault, both rest on intersubjectivity.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T16:09:06Z No. of bitstreams: 1 DISSERTAÇÃO MESTRADO TAÍNA ASSIS.pdf: 2316906 bytes, checksum: 08688b4098acba9e2e0e675111757c6e (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:17:15Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO MESTRADO TAÍNA ASSIS.pdf: 2316906 bytes, checksum: 08688b4098acba9e2e0e675111757c6e (MD5) / Made available in DSpace on 2018-09-11T13:17:15Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO MESTRADO TAÍNA ASSIS.pdf: 2316906 bytes, checksum: 08688b4098acba9e2e0e675111757c6e (MD5) / Esta é uma pesquisa qualitativa e participativa de análise do processo de preparação corporal e dos desdobramentos estéticos e políticos do processo artístico e formativo realizado com o grupo de teatro Embasart. O processo de formação artística do grupo teve duração de dezoito meses e gerou três montagens de diferentes espetáculos de teatro-fórum. O estudo analisa a dimensão política e estética do Teatro do Oprimido no universo de uma instituição semi-privada e se debruça sobre o processo de preparação corporal para as montagens dos espetáculos. A preparação corporal é o objeto maior deste estudo, ao passo que o entendimento sobre a consciência corporal não se restringiu às técnicas para interpretação e construção da personagem. Nesse sentido, o conceito de Corpo foi se ampliando durante o processo, de maneira tal que os verbos mover-se e redescobrir-se estavam diretamente relacionados à tomada de decisão, posicionamento político e emancipação social. Os jogos da Poética do Oprimido ancoraram o processo de preparação do grupo, respaldando os objetivos cênicos e políticos. A pesquisa coloca o processo do grupo Embasart como uma experiência que foi, ao mesmo tempo, subjetiva, pois se inscreve enquanto um diálogo do sujeito com ele mesmo e o seu entorno, e também objetiva, pois aconteceu de forma concreta demarcando, para o grupo, valores éticos e humanos de uma aprendizagem sensível, coletiva e criativa, em que estavam presentes os princípios de respeito e de solidariedade. / This is a qualitative and participatory research analysis of body preparation process and the aesthetic and political developments of the artistic and educational process performed with the group Embasart theater . The process of artistic training group lasted eighteen months and generated three different mounts shows of forum theater . The study analyzes the political and aesthetic dimension of the Theatre of the Oppressed in the universe of a semi - private institution and focuses on the process of preparation for the body mounts of the shows. The body preparation is the largest object of this study , while the understanding of body awareness was not restricted to techniques for interpretation and construction of character. In this sense , the concept of Body was widening during the process , such that verbs move and rediscover themselves were directly related to decision making , political positioning and social emancipation . The games of the Poetics of the Oppressed anchored the preparation process of the group , supporting the scenic and political goals. The poll puts the process of Embasart group as an experience that was , while subjective , because falls as a dialogue of the subject with itself and its surroundings , and also aims as it happened concretely marking for the group , ethical and human values of a sensitive , creative and collective learning , where were present the principles of respect and solidarity.