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Although in 1915 there was no drama education in Methodist colleges and universities in Texas, today all Methodist schools of higher education in Texas have at least course offerings in drama. Southern Methodist University was one of the first Methodist schools to offer such courses which began with the hiring of Mary McCord to teach public speaking in September, 1915. The problem of this study is to explain the contributions of Mary McCord to the development of drama education at Southern Methodist University. It is recommended that the development of the department after Miss McCord retired be examined, that the students taught by Miss McCord who chose theatre as their life's work be interviewed about the effect of her training on their careers, and that a thorough study of the McCord Theatre Collection be undertaken.

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Orientador: Renato Ferracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T22:18:43Z (GMT). No. of bitstreams: 1 Possani_MariaAlice_M.pdf: 1210685 bytes, checksum: a515441da6d7e415f7a9ce1f23721036 (MD5) Previous issue date: 2012 / Resumo: Essa dissertação tem como eixo principal as reflexões sobre o treinamento de ator (ou trabalho do ator sobre si) a partir do encontro entre o referencial conceitual do Projeto Temático Memória(s) e Pequenas Percepções e a minha experiência artística e pedagógica. O referido Projeto Temático é coordenado por Renato Ferracini, também orientador deste mestrado. Busquei pistas para pensar o treinamento principalmente nas falas de atores que trabalham com Eugenio Barba, atores do Lume e do Matula Teatro, grupo ao qual pertenço. Também em textos escritos deixados por Stanislavski e Grotowski, atravessando-os pelos referenciais conceituais que orientam o Projeto Temático, dentre os quais destaco a ideia de memória como criação, ou recriação em tempo presente, e as micropercepções como um território potente para o trabalho do ator. Destaco ainda que muitas das reflexões sobre o treinamento surgiram a partir da prática pedagógica: na experiência do ensino, a necessidade de revisitar minha trajetória pessoal, a fim de tornar visíveis os rastros do caminho percorrido. Assim, essa pesquisa incluiu uma orientação em treinamento para atores da Cia Cupim, grupo formado por ex-alunos de uma Escola de Teatro em que leciono / Abstract: The main focus of this dissertation is to discuss the effect on an actor's training (or the actor's work upon him- or herself) from the meeting between the Thematic Project Memory/ies and Small Perceptions' conceptual reference and my artistic and pedagogic experience. This Thematic Project is coordinated by Renato Ferracini, who is also the tutor for this master's degree. I searched for clues to think about training specifically about the speech of the actors that work with the Eugênio Barba, Lume and Matula Teatro (the group with whom I work) actors. I also searched in texts by Stanislavski and Grotowski, going through them with reference to the main concept of the aforementioned Thematic Project, namely the Idea of memory as creation, or recreation in present time, and the micro-perceptions as a keen area for the actor's work. Throughout the dissertation, I highlight that many of the reflections on the training emerged from the teaching experience and revisiting my own personal trajectory as an actor. This research then includes an actor's training orientation for the Cia Cupim, a theater crew formed by ex-students of a theater school where I teach / Mestrado / Artes da Cena / Mestre em Artes da Cena

Previous research provides support for the use of Readers Theater as a way to teach literacy and improve reading comprehension. Readers Theater involves listening to a story, engaging in repeated readings of the story, and performing the story using vocal intonation, reading rate, facial expressions, and body movements to accurately portray the meaning of each line. An empirical demonstration of the effect of Readers Theater on reader self-efficacy has yet to occur. Further, previous research rarely evaluated the magnitude of improvements associated with Readers Theater with the magnitude of improvements associated with maturation and traditional classroom instruction. The purpose of the present study was to evaluate the efficacy of a Readers Theater intervention on improving reading comprehension and reader self-efficacy in elementary students, beyond that related to maturation or traditional classroom instruction. It was expected that participants receiving the Readers Theater intervention would exhibit greater improvements in reading comprehension and reader self-efficacy when compared to a control group. It was also anticipated that when the second group received the intervention, the findings would be replicated. Participants were 24 fourth, fifth, and sixth graders. Results support the use of Readers Theater as a supplemental technique for reading instruction. Participants displayed some improvements in reading comprehension and various aspects of reader self-efficacy. Further research is needed to extend the findings to a larger population and refine techniques to maximize benefits.

La présence scénique est une notion complexe du jeu de l’acteur. Pomme de discorde, elle fait s’affronter, schématiquement, les partisans du don et ceux de la technique, les défenseurs de l’énergie contre les stratèges de la réception spectatrice. Il est pourtant une évidence : il ne peut y avoir de présence scénique en soi. Constantin Stanislavski parle d’un « charme scénique » à l’origine d’un « enchantement », d’une « emprise sur l’auditoire »1 . La présence de l’acteur est décrite comme un pouvoir que ce dernier a sur les sens des spectateurs – pouvoir voilé du mystère dont les mots « charme » et « enchantement » sont empreints. L’acteur n’est présent que dans la réception qu’a le spectateur de sa performance, un truisme, certes, mais qui n’est pas sans conséquences. Sans nier l’évidence d’un don chez les acteurs que l’on dit nés, peut-on considérer la possibilité d’une présence scénique qui, en tant que coprésence, puisse faire l’objet d’une construction ? Partant de l’analyse spectatrice et pratique de la pédagogie de Delphine Eliet à l’École du Jeu, hypothèse est faite qu’une présence scénique pourrait être construite par l’acteur au moyen d’un usage conscient et maîtrisé de cet ici et maintenant qui fait du théâtre un art vivant dont il est l’agent fondamental, usage touchant tous les niveaux du jeu, du muet être-là au projet artistique le plus complet. 1-Cf. STANISLAVSKI, Constantin, La Construction du personnage, traduit de l’anglais par Charles ANTONETTI, Éditions Pygmalion – Gérard Watelet, 1988, pp. 275-176. / Presence on stage is a complex notion of the actor's performance. It confronts those in favor of the gift and those of the technique, champions of energy against strategists of the audience's reception. Yet, there is an evidence: no presence on stage can exist in itself. Constantin Stanislavski talks about a «scenic charm» from which comes an «enchanment», an «influence on the audience»1. The presence of the actor is described as a power the latter has on the senses of the spectators – power colored of the mystery contained in the words «charm» and «enchanment». The actor's presence only exists through the reception of his acting by the audience, an obvious fact, of course, but not without consequences. Without denying the gift of the so called born actors, is it possible to imagin presence on stage which, as co-presence, could be the object of a construction? Based on the analysis of Delphine Eliet's pedagogy at Ecole du Jeu, both as a spectator and a pratician, the hypothesis is made that a presence on stage could be built by the actor through a conscious and controlled use of the here and now that makes theater a living art of which he is the fundamental agent, a use affecting all the levels of acting, from the silent being-there to the most complete artistic project. 1-Cf. STANISLAVSKI, Constantin, La Construction du personnage, traduit de l’anglais par Charles ANTONETTI, Éditions Pygmalion – Gérard Watelet, 1988, pp. 275-176.

Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T08:48:02Z (GMT). No. of bitstreams: 1 Pereira_EduardoCarlosBrasil_M.pdf: 84105400 bytes, checksum: 7005b66b54e0dce30ecaf72954a27719 (MD5) Previous issue date: 2014 / Resumo: Sob o contexto de um curso livre de teatro, esta dissertação trata do ensino de teatro para não atores. Um estudo sobre a prática teatral vivenciada por pessoas que não tem no teatro seu foco profissional. Investigamos se a relação das práticas adotadas no curso definem uma metodologia e, neste caso, como este sistema de práticas favorece a compreensão e a percepção da idéia de grupo entre os participantes do curso. Ao utilizar jogos teatrais, treinamentos e improvisações encadeados ao processo criativo de um espetáculo, discutimos como a noção de teatralidade se faz presente nas relações entre prática teatral, aprendizagem e criação. / Abstract: In the context of a free theater course, this dissertation discuss the teaching of theater for non-actors. A study of theater practice experienced by people who does not have theater as their professional focus. We investigate if the relationship between the practices adopted in the course define a methodology and, in this case, how this system of practice leads to comprehension and perception of the idea of a group amongst the course participants. Using theater games, improvisations and training linked to the creative process of a spectacle, we discuss how the notion of theatricality is present in relations between theater practice, learning and creation / Mestrado / Multimeios / Mestre em Artes da Cena

Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers looks for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.

Thesis (MDram (Drama))--Stellenbosch University, 2008. / The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.