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Exploratory Theatre Activism| Implementing Theatre Pedagogy in Educational LandscapesIadevaia, Jennifer Sarah 03 May 2016 (has links)
<p> For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use. </p><p> <i>Keywords:</i> praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change</p>
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Contact improvisation as a foundational learning tool for contemporary performers : singular complexityPrigge-Pienaar, Samantha 04 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This artistic research dissertation employs the principles and practices of contact
improvisation in a literary performative to describe and demonstrate this somatic form’s
potential as a complex system of embodied knowing. For strategic and thematic purposes,
chapters in this dissertation are referred to as Streams.
The First Stream motivates the methodological approaches and emergent strategies
employed in the researcher’s simultaneous practices of teaching, researching and writing
about contact improvisation.
The Second Stream is offered as an oral testimony of the researcher’s attempt to find
practical solutions for the increasing complexity apparent in her work environment during the
last two decades. It is written primarily as a first-person narrative with references by other
somatic and contact improvisation practitioners embedded in the body of the narrative and
presented as personal subconscious/collective unconscious interjections.
The Third Stream uses a locally-emergent artistic research strategy termed Secondary
Primacy to critically and creatively engage with existing literature. The observations of
theorists and practitioners from the researcher’s own context (theatre and drama), as well as
from a diversity of interrelated disciplines (including psychology, sociology, evolutionary
biology, quantum physics, pedagogy and visual art) are presented in an autonomous authorial
voice employing the performative strategy of what if. This strategy serves to demonstrate the
researcher’s experience of the link between personal subconscious and collective
unconscious motivations for action and exposes the transdisciplinary ground upon which
many of the ideas and observations voiced in other Streams, in particular about contact
improvisation as a complex system of embodied knowing, are implicitly dependent.
The Fourth Stream discusses contact improvisation as a complex system foregrounding
the particular characteristics of nonlinearity, paradox, emergence and additional capacity
introduced in the Second and Third Streams.
The Fifth Stream demonstrates convergences and overlaps between contemporary
theories about agency, embodiment and transformation as they may apply to educators in
tertiary educational performing arts contexts. This discussion is interspersed with accounts of
the researcher’s own attempts – through her performing arts educational practice - to
understand agency and transformation as workable elements.
The Sixth Stream is offered as a personal philosophy of action. The implicit values and
strategies of the researcher that were exposed in previous Streams are here distilled and
presented as affirmations and Actions motivating the sustained use, by the researcher within
her localized educational context, of contact improvisation as a foundational somatic
approach for performers.
In keeping with the positioning of this dissertation as artistic research, the literary framing
devices of a Foreword and Afterword are used to draw a reader’s attention to the practicebased
nature of the subject under discussion. / AFRIKAANSE OPSOMMING: Hierdie artistieke navorsingsverhandeling gebruik die beginsels en praktyke van
kontakimprovisasie in ‘n literêre performatief om hierdie somatiese vorm se potensiaal as ‘n
komplekse sisteem van verpersoonlikte kundigheid te beskryf en te demonstreer. Vir
strategiese en tematiese doeleindes word daar in hierdie verhandeling na hoofstukke as
Strome verwys.
Die Eerste Stroom motiveer die metodologiese benaderinge en voortspruitende strategieë
wat aangewend word in die navorser se gelyktydige onderrig van, en navorsing en skrywe
oor, kontakimprovisasie.
Die Tweede Stroom word aangebied as ‘n mondelinge betuiging van die navorser se
poging om praktiese oplossings te vind vir die toenemende kompleksiteit in haar omgewing
oor die laaste twee dekades. Hierdie Stroom word primêr as ‘n eerste persoon narratief
aangebied met behulp van verwysings deur ander somatiese en kontakimprovisasie
praktisyns wat in die narratief geanker en aangebied word as persoonlike
onbewustelike/kollektiewe onbewuste tussenwerpsels.
In die Derde Stroom word ‘n plaaslik ontwikkelde artistieke navorsingstrategie, naamlik
Sekondêre Voorrang, gebruik om die konvensionele literatuurstudie op kreatiewe wyse te
herinterpreteer. Die waarnemings van teoretici en praktisyns uit die navorsers se eie
studieveld (teater en drama), sowel as uit ‘n verskeidenheid van interafhanklike studievelde
(onder andere psigologie, sosiologie, evolusionêre biologie, kwantum fisika, pedagogie en
visuele kuns) word aangebied as ‘n outonome outeursbedoelde stem en maak gebruik van ‘n
performatiewe what if. Díe strategie dien as ‘n metode om die navorsers se ervaring van die
implisiete afhanklikhied tussen persoonlike onderbewussyn en kollektiewe onbewustheid
motiverings vir aksie te demonstreer, en die transdisiplinêre grond van idees en waarnemings,
in die besonder oor kontakimprovisasie as ‘n komplekse sisteem van verpersoonlikte kennis,
te ontgin en bloot te lê.
In die Vierde Stroom word kontakimprovisasie as ‘n komplekse sisteem bespreek en die
eienskappe van nie-liniariteit, paradoks, ontluiking en addisionele kapasiteit wat in die
Tweede en Derde Strome bespreek is, is verder op die voorgrond geplaas.
Die Vyfde Stroom toon die sameloop en ooreenkomste aan tussen teorieë oor
tussenkoms, verpersoonliking en transformasie soos van toepassing mag wees op opvoeders
in ‘n tersiêre opvoedkundige performance konteks. Hierdie bespreking is afgewissel met
vertellings van die navorser se eie pogings - deur haar uitvoerende kunste opvoedkundige
praktyk – om agentskap en transformasie as werkbare elemente te verstaan.
Die Sesde Stroom word aangebied as ‘n persoonlike filosofie van handeling. Die
implisiete waardes en strategieë van die navorser, soos bloot gelê in die vorige Strome,
word hier gesuiwer en aangebied as bekragtiging en Aksies vir die volgehoue gebruik, deur
die navorser in haar eie gelokaliseerde opvoedkundige konteks, van kontakimprovisasie as
‘n grondleggende somatieke benadering vir performers.
As deel van hierdie verhandeling se posisionering as artistieke navorsing word ‘n
Voorwoord en Slotwoord gebruik om die leser se aandag te vestig op die verpersoonlikte
aard van die onderwerp onder bespreking.
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Strange fascination : a study of David BowieBuckley, David Kenneth January 1993 (has links)
This thesis examines the work of David Bowie and its main theme is identity construction. Bowie was the first male pop star to project a succession of personae and his vocal styles, stage performances, lyrical method and videos are analysed in the light of his redefinitions of himself for public consumption. Bowie's guiding aesthetic was that of collage and his indebtedness to a variety of extra-musical sources, most significantly from literature and the theatre, is discussed. The theses eschews traditional narrative approaches which have been used to discuss individuals within pop, and deals with its subject matter thematically. The thesis describes the context in which Bowie's work is set and discusses the commercial constraints on his art, the relationship between the work and pop ideology, and the struggle between his public and private selves. The interaction between iconography and fandom is shown as playing a crucial role in determining his importance, and this analysis draws on my findings from correspondence with Bowie fans. Bowie's protean art has demanded a multi-disciplinary analytical approach and the thesis discusses the usefulness of musicology, semiotics, subcultural theory and Postmodernist thinking. The thesis suggests a way of explaining individuals in pop through a theoretical equilibrium between text and context.
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Gender benders: the kabuki onnagata heroines as performers of femininityHo, Tze-kwan, Helen., 何紫君. January 1996 (has links)
published_or_final_version / Literary and Cultural Studies / Master / Master of Arts
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Techniques assessing infant lung function and their application in the assessment of response to inhaled #beta#-2 agonistAllamenos, Christodoulos January 1998 (has links)
No description available.
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Aspects of the life of Dr Thomas Arnold (1795-1842) in the light of the unpublished correspondenceReeve, Anthony James Hutchinson January 1988 (has links)
No description available.
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Through hell and high theory : Malcolm Lowry's 'Under the volcano' and contemporary issues of literary theorySmith, Ian January 1997 (has links)
No description available.
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House and home in late Victorian women's poetryMcGowran, Katharine Margaret January 1999 (has links)
Any consideration of the theme of ‘house and home’ leads into discussion on three different levels of discourse. First of all, houses have biographical and historical significance; they are, after all, real places in which real lives are lived. Secondly, home is an ideologically loaded noun, a bastion of value which is inextricably entwined with the notion of the pure woman. Thirdly, in literature, houses are metaphorical places. This thesis is primarily a study of those metaphorical places. It explores representations of ‘house’ and ‘home’ in late Victorian women's poetry. However, it also takes account of the biographical, historical and ideological significance of the house, looking at factors which may have helped to shape each poet's representations of ‘house and home’. The house occupies an ambiguous position in the poetry of the later Victorian period. It is variously imagined as a haunted house, a ruin, an empty house of echoes, and a prison of isolation and despair. At times, the house is a recognisable domestic place (the private house), at others, it is turned into a place of art or poetry, a new aesthetic ‘home’ for the female imagination. In some poems the house is a focus for nostalgia and homesickness. Yet it is also often a place which must be left behind. What unites the poets I have studied is the fact that the houses they inhabit in their work are never entirely their own and they are rarely entirely at home in them. Home is less roomy as a concept. It tends to carry religious or ideological connotations and is usually represented as a place of duty and responsibility. It also comes to mean the final resting place: the grave. Thus house and home, which are not identical terms, are freighted with different meanings. It is the mismatch of these two terms, the tension between them, which I explore in this thesis.
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The boria : a study of a Malay theatre in its socio-cultural contextRahmah Azman, R. January 1977 (has links)
This thesis is a study of the boria, a popular form of Malay theatrical entertainment. In it I attempt to distinguish significant elements in the boria and analyse them in the context of modern Malaysia. Central to the study is a description and analysis of the boria as a drama form today, with particular concentration on characters, stories, songs and music, together with the mechanics of performance. An attempt is made by considering the themes, performers and audience, to investigate boria in the society where it is best developed, that is, in the Malay society of Penang. This involves setting the boria in its historical, political and socio-cultural context. It further requires placing it in the wider perspectives of Malaysian national policies for cultural development and the scholarly study of the performing arts of South-East Asia.
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Galina Ustvolskaya : her heritage and her voiceDullaghan, Andre January 2000 (has links)
No description available.
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