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Thesis (ED.D.)--Teachers College, Columbia University, 1963. / Typescript; issued also on microfilm. Type C project. Sponsor: Magdalene Kramer. Dissertation Committee: Paul Kozelka, Arthur T. Jersild. Includes bibliographical references (leaves 245-255).

This thesis explores the merits of reflexivity in the processes of creating a performance and of performing research in Drama Studies. In it, I make a case for the validity of autobiographical material as an aid to generating such reflexivity. Through an autoethnographic case study of my work entitled Compositions (a series of performance projects) in which I focus on the theme of migration, I provide an indepth account of my experiences, focusing specifically on the interrelated concerns of body, space and journey in my ritualistic performance. My examination explores the dynamic effects of liminality within identity politics, through which I foreground several issues of concern which I have encountered as an emerging scholar and theatremaker working within an academic institution. I propose that the process of studying drama in a University ultimately requires one to continually negotiate a range of subject positions, whilst finding connections between these various identities that one may take up during the course of one’s studies. By developing an awareness of the overlapping of such identities and inhabiting the spaces in-between subject positions, I demonstrate how taking into account one’s personal lived experience can help illuminate one’s understanding of both the work of art and the research report, as well as the broader contexts in which such practice-based work exists. I illustrate how such an understanding has ultimately maximised the knowledge and learning that I have gathered, and has contributed to the crucial project of developing my authorial voice in writing and performance, which is central to the aims of the Master of Arts degree in Drama.

The purpose of my study was to discover the most performed plays in Southern Arizona high schools, the teachers' considerations when choosing these scripts, and the implications these scripts have for the adolescent student. The first two sets of data were collected from a questionnaire sent to 33 high school theatre educators in Southern Arizona. I created a list of the full-length plays/musicals and a list of what teachers felt were the most important considerations for script selection. I analyzed the four most performed scripts, A Midsummer Night's Dream, Our Town, Once Upon a Mattress, and Footloose, and discovered four prominent themes (the future, adolescent love, power, and image) and discussed the implications they have on the adolescent actor.

Twenty-one original prose selections were written for use by junior high school students of oral interpretation. A survey of textbook publishers and junior high school teachers revealed a need for material of appropriate length and of suitable reading and interest levels for oral reading in the junior high school classroom. The selections were read and evaluated by a group of junior high students and a junior high teacher of speech. The responses indicate that the selections are effective and usable as an instructional aid in teaching oral interpretation in junior high school.

The following thesis draws from my experiences during my first year teaching at an inner city public school, John Marshall High School, from September 2007 to June 2008. It details apprehensions, conflicts, adjustments and corrections, both in my instructional method and personal interaction with students. I seek to illustrate mistakes and insights any first-year teacher might experience, as well as synthesize my own impressions regarding my evolving teaching philosophy.

The researcher has attempted to gain an understanding of how Drama teachers perceive the teaching of the curriculum and curriculum change. The data were obtained through the use of the qualitative mode of engaging in research. The researcher, who is also a Drama teacher had come to experience the need for teachers to be given an opportunity to express their views on curriculum as the area of curriculum is complex and always in need of reappraisal. Also, teachers needed a medium through which they could share their perspectives on curriculum. The researcher collected the relevant information by using the interview context as a means of data collection. Ten Drama teachers responded to questions focusing on curriculum teaching and curriculum change. The Drama teachers' perspectives were recorded and analysed. Marxist theorists like Bowles and Gintis( 1986) view teachers as mere state functionaries and agents of the system. Drama teachers in this study contradicted the view of teachers as technicians within the system. They were not reflective of typical teachers. Rather Drama teachers challenged and mediated the curriculum, they did not accept and abide by the syllabus document and their classroom practice was determined by the immediacy of their particular teaching context. Finally through engaging in this research study the researcher has achieved the following objectives: 1. An understanding of the view that knowledge is a socially constructed concept. 2. Has provided a medium through which the perspectives of Drama teachers are heard. 3. Has provided an invaluable experience of documenting the processes of qualitative research. / Thesis (M.Ed.)-University of Natal, Pietermaritzburg, 1998.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 275-278; 280-283).

The diploma thesis deals with the method of structured drama and its help in the prevention of bullying. Specifically, the aim is to understand the role of a silent witness as a person who can prevent bullying by stepping out of this role. The theoretical part defines the term bullying, describes the forms, causes and characteristics of bullying among pupils of the first grade of the primary school. This part of the thesis also gives a definition of the chosen method of structured drama, its procedures and techniques. The practical part deals with the created structured drama and its reflection. The questionnaire survey then examines the attitude shift of selected pupils in their decision to step out of the role of the silent witness. The period immediately preceding the realization of structured drama and the period after a few months are the initial and terminal phases of the examined attitude shift. KEYWORDS: Structured drama, drama education, methods and techniques, bullying, silent majority, prevention, the first grade of the primary school, decision-making

If America wishes to see the day when good music drama shall become her best and at the same time her most popular form of entertainment she must investigate the condition of music-drama as it is at present and then decide upon a future method of action to improve that condition. In a small way, that may be blazing the trail, I have set about to follow the above suggestions. l have made an investigation of music-drama in America, with particular emphasis on music-drama in the colleges and the universities and, as a result, have a definite suggestion to make for a future method or action -- namely: the addition of a good course in applied music-drama to the curriculum of every four-year liberal arts college and university (there are some six hundred and forty-six of them) in the United States.