abstract: This dissertation is a qualitative study based on the experiences of five high schoolers and five college-aged students who grew up in Erie, Pennsylvania, and participated in theatrical productions within their schools, churches, the Erie Playhouse Youtheatre, and other community theatres. The author begins with an introduction of the theatrical scene in Erie and explains the options available to these youth during the times they performed, so the reader will have a better understanding of the background of these young people. The author then explores the current literature dealing with youth participants in a youth theatre setting. In his research, he notes that there were few scholarly books or articles that directly dealt with youth who participate in youth theatre. Most of the books dealt with youth who are part of theatrical programs in school settings, and few researchers utilized the youth's voice as part of the process. The author interviewed ten participants about their theatrical experiences asking them about aspects such as: positive and negative experiences, why they performed, and what they learned from doing theatre. After transcribing the interviews, the author analyzed the participants' responses for values, attitudes, and beliefs about theatre. From this analysis, the author found six themes emerged focusing on: fun, friendship, family, personal growth, commitment to productions, and negative experiences in the theatrical process. Throughout the document, the author utilized the youths' voices and kept their words and thoughts as the basis for all findings constructed and discussed. / Dissertation/Thesis / Ph.D. Theatre 2014

O presente estudo configura-se como uma mirada histórico-filosófica que, tendo como inspiração a arqueogenealogia de Michel Foucault, se devota a inventariar de que modo, ao longo de seus deslocamentos, emergências e contingências, o teatro infantil brasileiro afiliouse ao ideário educacional e, por fim, aos processos de espraiamento das práticas educativas pelo tecido social. A historiografia do teatro brasileiro elege a montagem de O casaco encantado, de Lúcia Benedetti, em 1948, como marco do teatro voltado às crianças. As fontes empíricas nas quais este estudo se baseia o jornal carioca Correio da Manhã (1901-1974) e a Revista Brasileira de Estudos Pedagógicos (1944-2017) revelam dois acontecimentos simultâneos à sobredita fundação do teatro infantil. O primeiro deles diz respeito à discursividade corrente no início do século XX sobre a infância como problema, flagrada nos debates sobre as temáticas do infanticídio, da degeneração e da delinquência infantis. O segundo acontecimento refere-se à emergência do discurso escolanovista entre as décadas de 1930 e 1950, afirmando o viés educativo como forma de superação de uma infância tida como problemática, via o projeto de ajustamento, de autonomia e de emancipação do alunado. Nesse contexto, a Escola Nova terse-ia apropriado das práticas teatrais infantis para o alcance de seus objetivos, fomentando relações de reciprocidade entre o teatro infantil não escolar e o teatro escolar infantil. Mediante tal configuração, o presente estudo devota-se a uma releitura da constituição do teatro infantil em solo brasileiro, partindo da hipótese de que o cuidado com a criança e as iniciativas artísticas da primeira metade do século XX teriam sido responsáveis por um governamento de tipo artístico-pedagógico da infância, doravante lastreado por uma espécie de pedagogia do bemestar infantil. Assim, o teatro para crianças comportaria duas facetas de um mesmo processo de educabilidade dos cidadãos: de um lado, o governo da infância incitaria a edificação de um sujeito maduro, livre, sadio e empreendedor de si, culminando no apelo à adultização e à invenção de um modo renovado de ser criança; por outro, o governo pela infância despontaria associado ao rol de saberes e práticas de afirmação e de disseminação dos cuidados infantis, colaborando para a fixação de um adulto impedido moral e juridicamente de exercer maustratos à criança. / The present study is configured as an historical-philosophical gaze which had, as an inspiration, the arqueogenealogy of Michel Foucault. Its commited to specify in which way, throughout its displacements, emergencies and possibilities, the brazilian kids theatre was associated with educational principles; and finally the dissemination of the educational processes by societys framework. The historiography of brazilian theatre selects the staging of The Enchanted Coat (O casaco encantado), by Lúcia Benedetti, performed in 1948, as a milestone in infants theatre. The empirical sources that this study is based the carioca newspaper The Morning Post (Correio da Manhã, 1901- 1974) and the Brazilian Magazine of Pedagogical Studies (19442017) reveal two simultaneous events happening during the foundation of childrens theatre. The first one covers the discursive current from the beginning of the 20th century, that considered childhood as a problem, witnessed in discussions and talks about infanticide, degeneration and infants delinquency. The second occurrence refers to the origin of the escolanovista speech from 1930 to 1950, affirming the educational bias as a means of overcoming a problematical childhood and also as a way of adjustment, autonomy and emancipation of the pupil. In this regard, the New School (a Escola Nova), would have taken the infants theatrical practices to accomplish its goals, promoting interchange between the formal and the non-formal educational theatre. Therefore, this study is dedicated to a reinterpretation of the brazilian infant theatre, based on the assumption that the care for children and the artistic initiatives from the first half of the 20th century would have been responsible for an artistic/pedagogic governance at childhood, hereafter widespread by a type of pedagogy focused on the childrens well-being. Consequently, childrens theatre would carry two facets of the same teaching process for citizens: on one side, the childhood government would provoke the construction of a mature being, free, healthy and self-instigator that culminates and appeals to the precocious and new way of being a child. On the other side, the childhood government would come forth linked with knowledges, affirmation practices and also the spreading of child care, collaborating for the development of an adult prevented moral and legally of performing childs maltreatment.

In meinem Beitrag möchte ich die charakteristischen Züge des musikalischen Schuldramas und seinen Rang in der Geschichte des Theaters in Mähren erwähnen. Wenn sich auch diesem Bereich eine ganze Reihe von Forschern widmete, so bleiben hier immer wieder weiße Stellen, weil manche der Notenmaterialien unwiederbringlich verloren gingen.

This work consists of three parts: the translation theory of drama and the specifics of school theatre, the translation of a play by David Llorente, Los árboles dormidos, and a commentary discussing the translation. The theoretical part focuses on problems and characteristics of translations of this genre. The commentary to the translation includes a translation analysis, a discussion of the translation problems and their solutions, and a typology of translation shifts. Keywords: Recipient, paradox, obsolescence of translation, scenic notes, school theatre, amateur theatre, translation analysis, translation shifts.

Seneca's Tragedies and their Reception in the Jesuit School Theatre of the Bohemian Province in the 17th and 18th Centuries (1623-1773) Eva Popelková Abstract The study of the reception of Seneca's tragedies in the Jesuit School theatre in the Bohemian province is focused on three aspects: the description of the mechanism and the expression of passions; the pedagogical issue linked to the figure of a tyrant, with an emphasis on female characters; and the image of pagan gods. The research is based on a comparison of Senecan tragedies and school plays from the Society of Jesus. The corpus consists of three parts: the printed plays of Carolus Kolczawa; the plays of Arnoldus Engel, both staged and intended for publication; and the plays devoted to John of Nepomuk, the emblematic saint of the Czech baroque period, which were not to be published. The analyses are preceded by an overview of the Senecan reception in the Early Modern Europe, the presentation of the Jesuit context and the studied corpus. Keywords Seneca, reception, Jesuit theatre, School theatre, Neo-Latin literature, Bohemian province, 17th century, 18th century

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