<p>Most students have negative opinions about writing or have a hard time brainstorming. Engaging the students to write through creative drama activities, like edu-larp (educational live action role playing) is heavily under-researched, but edu-larp is an educational game that could potentially motivate students to write. This mixed method case study aimed to examine how students experience language through edu-larp and what implications there are in teaching creative writing with edu-larp and other creative drama activities. In a small Midwestern rural school district, twelve students were asked to write a historical fiction short story while performing creative drama activities and then participated in an edu-larp activity of their main character. After the activity students revised their short story. The analysis of the responses and writing examples from the students led the researcher to imply the benefits of creative drama and edu-larp for students include: a change in language/word usage, engagement in writing, character and plot development and also an improvement in communication and social skills, problem solving skills through situated learning, and writing skills. Overall, there is a need for creative drama activities and edu-larp in the classroom when the teacher has very clear and specific objectives for the activities. The case study shows how to achieve this with resources included. Keywords: creative drama, edu-larp, creative writing, historical fiction, character development, plot development, communication and social skills, situated learning, writing skills, language development

<p> This study attempted to determine whether students participating in a summer camp learn more about a fifth grade history concept of social studies, the Reconstruction Era, via a theater arts production. Data collected for this qualitative study included pre- and post-test drawings, scripted comments, student interviews, teacher interviews, daily observation checklists of the summer camp, and a culminating student performance. The data set was used to investigate the research question, "What are the effects of theater arts instruction of social studies content on fifth grade students' learning of the U.S. Reconstruction Period?" This study also sought to address the following research sub-questions: (1) What factors contribute to students' success in writing a historical script? (2) What factors contribute to students' success in performing their own written play? (3) How does theater arts instruction influence students' accuracy of learning major characteristics of the historical concept of Reconstruction?</p><p> This study took place in June 2011 in an elementary school in southeast Georgia. The total sample for this study was 11 students who had finished fourth grade in May 2011 and were entering fifth grade in August 2011. Two teachers for the summer camp were also used, both of which had just graduated with a Bachelor's degree in Middle Grades Education and received their Georgia teaching certification in May 2011.</p><p> Results indicated a growth in accuracy of knowledge about the Reconstruction Era. Results also indicated that the students specifically enjoyed the summer camp because they got to learn the social studies content through theater arts. Students associated their growth in learning the Reconstruction Era with learning the content through theater arts instruction. At the end of the summer camp students wrote and performed a final production associated with segregation, a concept learned in the camp associated with the Reconstruction Era. The students wrote the play based on the 2010 remake of the 1984 movie, <i> The Karate Kid,</i> in which segregation of an African American child was evidenced upon his arrival to China. Students spent most of their time, during the summer camp, writing the script for the final performance. </p>

<p> The female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.</p><p> Individual case studies of four nationally recognized master teachers of female belting were created from observations in the studio, interviews with the teachers, and interviews with their students. Thirty-two hours of private voice lessons were observed with 18 female belt students in the studios of these master teachers in an effort to determine the extent to which they employed common techniques in the pedagogy and agreed on the characteristics of the female belt voice. Interview responses and field notes from the teachers and singers were analyzed individually and a cross-comparison of the data was analyzed for consensus or conflicting information on female musical theater belt pedagogy. </p><p> Interestingly, there was much consensus among the teachers on the physicality, sound, and strategies for female belting. Included in the findings were that the female belt voice is not a pure chest voice production, and development of the entire voice is key since working in head voice allows a female to create a lighter belt sound and to make the transition into the higher belt range. Distinct techniques for the traditional and contemporary belt voices emerged. The traditional belt, up to D5, uses more chest voice and full, open vowels. The contemporary belt, higher than D5, is produced with more head voice and closed, narrow vowels. Belting is considered speech-like and exciting, and is a joint process between teachers and students. </p><p> Based on this research, voice teachers working with musical theater students must be educated and proficient on the specific strategies and techniques of the evolving female belt voice. The female belt voice, though different from classical singing, does have its own set of techniques.</p>

<p> This study aims to clarify the nature of the theatrical way of Henry Caldwell Cook who was the first to introduce theatre into education for English as a first language. This study critically examines the content of his original teaching method, Play Way, and attempts to appropriately place its context in the history of drama education in England in order to explore how effectively drama can be used in language education. The use of theatre for education has a long history. Commencing in ancient Greece and Rome, it has continued until the present time. However, modern drama education has no more than about a hundred years of history. It was Cook and Harriet Finlay-Johnson who opened the history of this theatrical education. Finlay-Johnson had persistently used theatre to teach all subjects, mainly because of her educational stance as an elementary school teacher. She is closely associated with the leaders of DIE (Drama-in-Education) who adhere to the same educational policy. While Cook also used theatre as a means for language education and did his best to maintain a theatrical framework, there is a fundamental difference between Cook's educational method and that of DIE. His Play Way seems to closely resemble TIE (Theatre-in-Education) in that both bring in theatre for school education. However, this similarity is superficial. In the TIE method, while the autonomy of theatre has always been maintained, theatre in Cook's method was used as a means for education to the end, although concurrently he had been able to properly grasp the nature of theatre. Behind such a view of theatre as an educational end in itself is Cook's recognition of the theatricality of human beings. His theatrical teaching tells us that when using theatre as a tool for language education, we must first correctly understand its intrinsic qualities. </p>

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Liora Bresler. Includes bibliographical references (leaves 178-189) Available on microfilm from Pro Quest Information and Learning.

<p> The current study examined the creation and implementation of a dramatic arts integrated curriculum in an early childhood classroom. The goals were to support ongoing development and growth in the children with whom I work, to explore the development of an enriching curriculum, and to improve my own teaching practice through reflection. I used an action research design over the course of seven weeks (six cycles of action research) in a preschool classroom in a laboratory school located in Northern California. Data consisted of video documentation, field notes, and my written reflections. The findings of this study supported previous research in the field and made visible the growth of the children who participated in the activities. In addition, I improved my ability to create curriculum and enhanced my own teaching practice. Based on this work, I hope to provide a curricular framework as a resource to share with professionals in the field who have an interest in including dramatic arts in their classroom.</p>

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-30T16:13:32Z No. of bitstreams: 1 Dissertacao Alexandre Costa.pdf: 1339701 bytes, checksum: 17291e717c7977326c154a95d00cd48d (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-06-12T19:18:42Z (GMT) No. of bitstreams: 1 Dissertacao Alexandre Costa.pdf: 1339701 bytes, checksum: 17291e717c7977326c154a95d00cd48d (MD5) / Made available in DSpace on 2013-06-12T19:18:42Z (GMT). No. of bitstreams: 1 Dissertacao Alexandre Costa.pdf: 1339701 bytes, checksum: 17291e717c7977326c154a95d00cd48d (MD5) Previous issue date: 2005 / Com o presente trabalho, intitulado "O Teatro-Educação do CRIA: saberes e ações de jovens artistas para o exercício da cidadania", objetivo analisar o currículo do Centro de Referência Integral do Adolescente (CRIA) a partir de suas matrizes teórico-práticas e das transformações ocorridas nas vidas dos adolescentes participantes do projeto. A pesquisa qualitativa foi a abordagem utilizada para o estudo, desenvolvida a partir do estudo de caso. O estudo traz reflexões acerca de uma proposta sócioeducacional, desenvolvida com o intuito de revelar saberes dentro de uma formação para o exercício da cidadania. A referida Organização Não-Governamental atua a partir da Educação Através da Arte, mais especificamente com o Teatro-Educação.Importantes resultados foram obtidos, como a utilização de um currículo multirreferencial e crítico que possibilita a formação de adolescentes ativos perante a sociedade. A peça didática de Bertolt Brecht é um dos importes referenciais que norteiam a prática do CRIA, bem como os pressupostos de uma pedagogia libertadora assentada no ideário de Paulo Freire. O Teatro-Educação do CRIA traz a possibilidade de um trabalho motivador, contextualizado, crítico e multiplicador de ações sociais voltadas para os adolescentes das classes populares de Salvador, desenvolvendo uma cidadania estética. Concluímos então, que o CRIA possui uma proposta curricular que possibilita uma formação através do teatro, de forma a transformar as vidas dos educandos e traz como conseqüência a mobilização perante suas realidades concretas. / Salvador

177f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-30T18:55:37Z No. of bitstreams: 2 Dissertação Rilmar da Silva2.pdf: 1925370 bytes, checksum: a0d25f6a4724e4a75cbe6c18628a032b (MD5) Dissertação Rilmar da Silva1.pdf: 1429802 bytes, checksum: 91dc24c5a0f58b147ac42cc521506f7e (MD5) / Approved for entry into archive by Valdinéia Ferreira(neiabf@ufba.br) on 2013-05-02T16:07:53Z (GMT) No. of bitstreams: 2 Dissertação Rilmar da Silva2.pdf: 1925370 bytes, checksum: a0d25f6a4724e4a75cbe6c18628a032b (MD5) Dissertação Rilmar da Silva1.pdf: 1429802 bytes, checksum: 91dc24c5a0f58b147ac42cc521506f7e (MD5) / Made available in DSpace on 2013-05-02T16:07:53Z (GMT). No. of bitstreams: 2 Dissertação Rilmar da Silva2.pdf: 1925370 bytes, checksum: a0d25f6a4724e4a75cbe6c18628a032b (MD5) Dissertação Rilmar da Silva1.pdf: 1429802 bytes, checksum: 91dc24c5a0f58b147ac42cc521506f7e (MD5) Previous issue date: 2005 / O presente estudo tem como objetivo sistematizar a prática pedagógica de Teatro-Educação enquanto componente curricular da Escola Comunitária Brilho do Cristal, no Vale do Capão, Chapada Diamantina, Bahia. A escola propõe um currículo construído numa relação dialógica, apoiando-se na Pedagogia Libertadora de Paulo Freire, valorizando as vozes dos que fazem a Escola. A construção de conhecimento se dá a partir do seu contexto sóciopolítico- cultural de uma comunidade rural, com o intuito de formar cidadãos com capacidade de serem criativos, críticos, participativos e autônomos. A minha pesquisa tem caráter qualitativo descritivo e está organizada metodologicamente como estudo de caso, o que implicou descrever, analisar, fundamentar e registrar a experiência da prática pedagógica de Teatro-Educação no cotidiano do Brilho do Cristal. Diante da abrangência do tema estudado foi necessário delimitar o campo de pesquisa. Escolhi sistematizar e analisar especificamente a prática pedagógica de Teatro-Educação dos grupos da 3ª e 4ª série durante o primeiro semestre de 2004. Esta escolha se deu pela faixa etária dos grupos, de 10 a 13 anos, momento em que a criança tem total capacidade de assimilar de maneira organizada os elementos constituintes do Teatro. A minha sistematização é dividida em três capítulos. No primeiro capítulo discuto os referenciais teóricos utilizados, que são, principalmente, Paulo Freire, Viola Spolin e Augusto Boal. No segundo capítulo percorro o histórico singular do Teatro- Educação no Brilho do Cristal, descrevendo o processo através do qual o Teatro-Educação apareceu na ação pedagógica da Escola, a fim de contextualizar a presente experiência. No terceiro capítulo faço a análise da experiência de Teatro-Educação da 3ª e 4ª série durante o primeiro semestre de 2004 a partir da proposta pedagógica, dos planos de aulas e dos relatórios de aula da professora, além de entrevistas com os alunos e a professora. A partir desta sistematização, nas considerações finais, proponho reconstruir a proposta pedagógica de Teatro-Educação do Brilho do Cristal. A nova proposta, além de apresentar algumas mudanças em relação ao roteiro de plano de aula, propõe a inserção do Teatro-Educação numa perspectiva transdisciplinar. A análise deste novo experimento será a continuação dessa pesquisa de mestrado. A presente sistematização da prática de Teatro-Educação do Brilho do Cristal me permitiu construir um diálogo entre teoria e prática pedagógica, descrever e refletir sobre a história do Teatro no Brilho de Cristal e tornar essa experiência uma possível inspiração e referência metodológica de Teatro-Educação para outras escolas e outros educadores, fortalecendo o entendimento do papel do Ensino de Teatro no currículo da educação escolar. / Salvador

The purpose of this study was to identify the perceptions of theater teachers and arts leaders regarding the necessary components to cultivate and sustain a district theater education program, as well as the indicators of success and quality in theater education programs in public schools. The researcher's hypothesis was that the primary components include: 1) theater learning standards and curricular resources that impact the delivery of meaningful instruction and student assessment (Bennett, 2001; National Endowment for the Arts, 1988); 2) qualified teachers who demonstrate effective pedagogy and practices (Catterall, 2009; National Endowment for the Arts, 1988); 3) Professional Learning Communities (PLCs) and professional development opportunities specific to theater education (Catterall, 2009); and 4) district leadership, representation, and advocacy specific to theater education and teachers (Project Zero, 2001). The research was implemented through a case study in a selected school district that exhibited all components. It was conducted in three phases and included district theater teachers and arts leaders. The essential findings, from the perceptions of theater teachers and arts leaders, confirmed the importance of the four components the researcher identified as necessary to cultivate and sustain theater education programs. The identified components also emerged as the primary indicators of success and quality of district and school theater education programs in public schools. However, the research also showed that indicators of the success of theater education programs do not always lead to quality, and quality does not always lead to success. / Doctor of Philosophy / The purpose of this study was to identify the perceptions of theater teachers and arts leaders regarding the necessary components to cultivate and sustain a district theater education program, as well as the indicators of success and quality in theater education programs in public schools. The researcher's hypothesis was that the primary components include 1) curriculum and instruction (Bennett, 2001; National Endowment for the Arts, 1988); 2) qualified teachers (Catterall, 2009; National Endowment for the Arts, 1988); 3) teacher learning communities and professional development opportunities specific to theater education (Catterall, 2009); and 4) leadership specific to theater education (Project Zero, 2001). The research was implemented through a case study in a selected school district that exhibited all components. It was conducted in three phases and included district theater teachers and arts leaders. The essential findings, from the perceptions of theater teachers and arts leaders, confirmed the importance of the four components the researcher identified as necessary to cultivate and sustain theater education programs. The identified components also emerged as the primary indicators of success and quality of district and school theater education programs in public schools.

O presente trabalho dedica-se ao estudo da Encenação como Prática Pedagógica partindo do legado da Prof.ª Dr.ª Ingrid Dormien Koudela e sua metodologia de ensino de Teatro, somando décadas de dedicação ao fazer e a pesquisa em Pedagogia do Teatro. Elegemos para este estudo a análise de \"Alegorias Pantagruélicas\", encenada por Koudela, baseada no romance \"Gargântua e Pantagruel\" de François Rabelais, além da análise de seis encenações em contextos distintos que tiveram como eixo a união dessas provocações. / The present work aims to study the Stage as a Pedagogical Pratice make use from the legacy of the Professor Ingrid Dormien Koudela and her methodology of theater teaching, stepping up decade of efforts doing researches in Theatrical Pedagogy. We elected for this study the review of \"Alegorias Pantagruélicas\" staged by Koudela, based on the novel \"Gargântua e Pantagruel\" by François Rabelais, besides the review of six stages in different contexts, which have as a centerline the union of thoose provocations.