Throughout history people have sought to prompt social change through theatrical experiences. The theatre has moved the masses in ways that have frightened governments and religious establishments into closing down theatres and banning theatrical material. History proves that theatre which causes change exists and works, but it also proves there is no one definition or formula for this type of theatre. Depending on the culture, time period, issue, resources and people involved Theatre for Social Change takes a variety of forms. However, theatre affecting change does tend to maintain two common threads: the creation of a new work and the pursuit of the uncertain elements which will ensure the work affects change in its audience. With no more than two common threads, where does a young actor, recognizing a social problem and desiring change prompted through a theatrical experience begin his or her journey? How does one create Theatre for Social Change? How does one know the theatrical work has successfully caused change within an audience? If there is no certain definition, no one way to pursue it, what direction should one follow? Following Peter Brook's example as set in his 1966 production of US, I will create my own original work in the form of a one-person show and use it as the canvas to apply Brook's ideas and techniques. I hope to find that in order for an audience to change they must first be willing to participate in a performance, even if it is a performance demanding a harsh confrontation with an ignored social problem. Through this thesis I aim to prove that through an actor's personal journey with a social issue, the actor leads the way for the audience to be willing to participate and take the journey themselves resulting in change. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, the original script of my performance work Knowing Fires and a reflection on the completed process including audience feedback. All of these elements will hopefully lead to a conclusive and useful approach to creating Theatre for Social Change.

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Introduktion: Ridsporten är Sveriges näst största ungdomsidrott och totalt Sveriges åttonde största sport. Ridsport som helhet innefattar en hög skaderisk och är den sport med tredje högsta antal rapporterade skador efter fotboll och ishockey. Inom ridsport är de olympiska grenarna hoppning, dressyr och fälttävlan. Syfte: Syftet med studien var att kartlägga skadeprevalensen hos ryttare på elit- och nationell nivå inom hoppning, dressyr och fälttävlan. Metod: För att kunna besvara syftet genomfördes en kartläggning i egenskap av en retrospektiv kvantitativ observationsstudie. Studien baserades på en enkät som bestod av två delar, Oslo Sport Trauma Research Center Overuse Injury Questionnaire samt egenkonstruerade följdfrågor med inriktning ridsport, sysselsättning, annan sport samt träning. Resultat: Enkäten besvarades av 123 ryttare. Totalt rapporterade 101 ryttare (82 %) en/ flera skador. Det vanligaste skadeområdet var ländryggen för både akuta- och långvariga skador, med 59 ryttare (33 %) och 36 ryttare (24 %). Det noterades en högre risk att drabbas av långvariga skador om ryttaren tävlade inom hoppning (p=0,033) samt det noterades även en högre risk att drabbas av ländryggssmärta om ryttaren tävlade inom dressyr (p=0,034). Det fanns inga signifikanta skillnader mellan skadeprevalensen och träning eller annan sysselsättning utöver ridsporten. Slutsats: Sammanfattningsvis är det vanligt med skador bland ryttare på elit- och nationell nivå och skadeprevalensen skiljer sig inte i en mätbar grad mellan tävlingsnivåerna. / Introduction: Equestrianism is Sweden’s second largest sport in youths and Sweden's eighth largest sport overall. Equestrianism involves a high risk of injury and is the sport with the third highest number of reported injuries after football and ice hockey. In equestrian sports, the Olympic disciplines are show jumping, dressage and eventing. Purpose: The purpose of the study was to map the injury prevalence of riders at elite and national level in show jumping, dressage, and eventing. Method: To answer the purpose, a survey was conducted as a retrospective quantitative observational study. The study was based on a questionnaire that consisted of two parts, the Oslo Sport Trauma Research Center Overuse Injury Questionnaire and self-constructed follow-up questions focusing on equestrian sports, employment, other sports, and exercise. Results: The survey was answered by 123 riders. A total of 101 equestrians (82 %) reported one/more injuries. The most common injury area was the lumbar spine in both acute and long-term injuries, with 59 riders (33 %) and 36 riders (24 %). A higher risk of long-term injury was noted if the rider competed in show jumping (p=0,033). A higher risk of low back pain was also noted if the rider competed in dressage (p=0,034). No correlation was noted between the prevalence of injury and training or other employment in addition to equestrian sport. Conclusion: In conclusion, injuries are common among elite and national level riders and the prevalence of injuries does not differ to a measurable degree between competition levels.

This study analyzes 2008 presidential election coverage on The Daily Show with Jon Stewart and The Colbert Report to determine how they confront the tension between the genres of news and entertainment. To this point, much of the scholarly work on political entertainment news has focused on examining its effects on viewers' political attitudes and knowledge. A rhetorical analysis reveals the actual messages they convey and the strategies they employ to discuss contemporary American politics. Through comedic devices such as satire and parody, The Daily Show and The Colbert Report offer a venue for social commentary and criticisms of power at a time when traditional venues are dissipating, and these shows provide a place for serious political discourse that encourages dialogue that promotes civic engagement. / Master of Arts

This thesis defines wide phenomenon of popular culture and follows the way it is represented in current Czech press. The initial part of the thesis defines popular culture based on the main theoretical grounds. After that popular culture is put in context of the mass society media audiences and emphasize the delimitation of pop culture versus high culture. The theoretical part of the thesis is closed by chapter concerning the role of the press in the process of defining the popular culture in current society. The main focus of the empirical part lies on frame analysis across the spectrum of Czech dailies (Blesk, Lidové noviny, Mladá fronta Dnes) and weeklies (Instinkt, Kulturní týdeník A2, Reflex) that examines how the popular culture is presented to the current readership. The analysed articles were published at the time of broadcasting of the first series of the examined pop cultural event represented by a TV show "StarDance…Když hvězdy tančí". The discovered framework is interpreted in context of the theoretical concepts and subsequently it is confronted with a point of view of the current journalists (by means of semi-structured interviews), who write about popular culture on everyday basis and who in a sense represent a cultural elite themselves. The main goal is to find out (in connection...

Main task of this work is to find out the answers to the questions of the television quiz shows genre development. The work deals with foreign countries development, but the main attention is fixed to Czech republic and Czech full-area broadcasting media, which emphasise general matters. Concretely these television companies: Česká televize, Nova, Prima a Barrandov. The work emphasises the problem of formats originality. The time spread is since January 1993 to April 2012. A quiz shows development before 1993 is mentioned, but the analysis does not contain that. The analysis shows four copied quiz shows development. These examples uncover the variations of the quiz shows formats copying and domestication. They reveal the rules of the copying and domestication. They show the transformation of the quiz shows during recent years. The work tries to solve a few questions about the Czech quiz shows and their partial problems. Has the hosts behaviour changed? What about the hosts gender? Is there more men or women in the quiz shows? Is the number of recently broadcasted quiz shows higher than the number of the quiz shows, which were broadcasted nineteen years ago? What about the relation of the quiz shows production and social changes? Have the western models affected Czech quiz shows production? If so,...

This master's thesis presents the dialogical analysis of the German TV show 'Wetten, dass...?'.The main target is to analyse the internal as well as the external dialogical structure of two Wetten, dass...? shows. The internal structure is based on the dialogue between the showmaster and his guests. On the other hand, the external one is based on the dialogue between the showmaster and the audience. The purpose of this master's thesis is to show how each showmaster is trying to interact two groups of people as well as to analyse if there is a difference between both of them. The theoretical part of this thesis defines the term 'TV entertainment' and describes different types of dialogues. It is also focused on the show Wetten, dass...?, on its concept, each showmaster, audience raking, criticism and other competition. The practical part describes two chosen Wetten, dass...? shows in terms of their dialogicity. The main point is the showmaster, who is trying to act dialogically in relation to his quests and audience. Keywords Entertainment, entertainment show, dialogue, Wetten, dass...?, audience, showmaster, broadcasting

O objetivo deste trabalho é refletir sobre o que acontecerá com a televisão no ambiente das plataformas digitais. Cientes de que o digital trouxe a era da convergência entre mídias, nós, além de analisar a TV digital, iremos refletir sobre como o conteúdo televisivo se propaga por todas plataformas. Partimos em nossa análise de definições de televisão e de digital, e constatamos que o digital não ameaça de extinção as mídias anteriores; pelo contrário, é uma tecnologia que as potencializa. Nossa hipótese é que o mesmo acontecerá em relação à televisão: em vez de tornar a televisão obsoleta, a tecnologia digital contribuirá para que ela efetive todas as suas potencialidades. Nosso trabalho se esforça em quebrar alguns mitos que contaminam o debate sobre televisão na era digital. Defendemos a especificidade da televisão e mostramos que mesmo no ambiente digital ela vai manter e potencializar suas características. / The objective of the present study is to reflect on the future of television in the environment of digital platforms. We are aware that digital technology has brought upon us the era of media convergence. In this context we analyze digital TV and reflect on how television content is spread throughout all platforms. In our analysis we have used the definitions of television and digital as a starting point to realize that digital does not threaten the previous media; on the contrary, it\'s a technology which supports the previous ones. Our hypothesis is that television will have the same fate: instead of making television obsolete, digital technology will contribute to the development of its full potential. Our study is an effort to break the myths that the debate over television in the digital era commonly entail. We defend the specificity of television and establish that even in the digital environment it should and can retain its original characteristics.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Esta tese analisou os saberes percussivos produzidos pelos grupos de Maracatus e Banda Marcial-Show nas escolas pÃblicas da cidade de Fortaleza. No espaÃo escolar, a partir das literaturas na Ãrea e dos dados empÃricos coletados atravÃs da pesquisa de campo, identificou-se que as prÃticas percussivas em coletivo sÃo desenvolvidas, principalmente, por grupos de maracatus e fanfarras, constituindo-se como grupos de atividades extracurriculares que realizam ensaios, atividades e apresentaÃÃes artÃsticas. Tal fenÃmeno propiciou a problematizaÃÃo sobre a existÃncia desses grupos como geradores de conhecimento, porÃm, sem uma articulaÃÃo com as atividades educativas da escola. Portanto, diante desse conjunto de prÃticas na realidade escolar, a pesquisa afirma a existÃncia dos saberes percussivos atravÃs das dimensÃes educativas do saber epistÃmico, de identidade e social com base na teoria da relaÃÃo com o saber de Charlot (2000) e propÃe uma reflexÃo nos termos das epistemologias do sul, de Santos (2010), para uma possibilidade educacional construtiva e vÃlida a partir das prÃticas percussivas em coletivo nas escolas pÃblicas. AtravÃs das entrevistas semiabertas - com os sujeitos escolhidos - a pesquisa identificou as prÃticas percussivas desenvolvidas e compreendeu os sentidos atribuÃdos pelos sujeitos nesse processo de aprendizagem. Assim, esse trabalho traz contribuiÃÃes ao campo da educaÃÃo musical a partir de uma perspectiva dos saberes ressoados no contexto socioeducativo do espaÃo escolar. / This thesis analyzed the percussive knowledge produced by the Maracatus and Marcial-Show bands in the public schools of the city of Fortaleza. In the school space, from the literatures in the area and the empirical data collected through the field research, it was identified that the percussive practices in collective are developed, mainly, by groups of maracatus and fanfarras, constituting like groups of extracurricular activities Which carry out essays, activities and artistic presentations. This phenomenon led to the problematization of the existence of these groups as generators of knowledge, but without an articulation with the educational activities of the school. Therefore, in view of this set of practices in school reality, the research affirms the existence of percussive knowledge through the educational dimensions of epistemic, identity and social knowledge based on the theory of the relationship with the knowledge of Charlot (2000) and proposes a reflection in the In terms of the epistemologies of the south, Santos (2010), for a constructive educational possibility and valid from percussive practices in collective in public schools. Through the semi-open interviews - with the chosen subjects - the research identified the percussive practices developed and understood the meanings attributed by the subjects in this learning process. Thus, this work brings contributions to the field of musical education from a perspective of the knowledge resonated in the socio-educational context of the school space.

No-show appointments, also referred to as missed appointments, occur 23% to 34% annually in general practice care settings. Missed appointments can lead to reduction in appointment availability, decrease in provider/staff productivity, patient/provider discordance, disruption in continuity of care, and reduced quality of care. There is a gap in the nursing literature regarding effective interventions to reduce missed appointments. The purpose of this quality improvement, secondary analysis project was to determine whether implementation of an evidence-based no-show, nurse-led intervention would reduce missed appointment rates in a family medicine practice. The health belief model and the plan, do, study, act model guided this no-show project. Convenience sampled, password-secured quantitative data from nurse practitioner schedules were analyzed using a check-sheet tool and spreadsheet software. Data showed that after implementation of the evidence-based, nurse-led interventions, there was a reduction of no-shows with a decline from 23.5% in September and November 2017 to 17% in September and November 2018. Results of this no-show project might promote positive social change by increasing awareness of evidence-based interventions that are effective for reducing missed appointments in primary care practices.