Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-23T17:32:32Z No. of bitstreams: 1 AndersonPinheiro.pdf: 25542743 bytes, checksum: e9a6274f04285d85457203f6281f2203 (MD5) / Made available in DSpace on 2017-05-23T17:32:32Z (GMT). No. of bitstreams: 1 AndersonPinheiro.pdf: 25542743 bytes, checksum: e9a6274f04285d85457203f6281f2203 (MD5) Previous issue date: 2016-07-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This research, inserted in the line of research teaching Processes, Learning and Mediation in Arts, it is proposed to reflect on artistic and pedagogical practices in performance developed in the Campus Barra do Corda Federal Institute of Education, Science and Technology of Maranhão - IFMA. In written text, the description of educational processes, dialogue with literature and autobiographical narrative constituted the research proposal in an attempt to highlight theoretical and practical possibilities of the insertion of performance in educational situations. The field was given in the context of work of basic education and focused, in particular, the reflection on the process of creation and circulation performance entitled Status: on line, the Center TRAVESSIA for Research in Performing Arts, formed by high school students Campus Barra do Corda of IFMA. The performance was designed in order to provide students new ways of understanding the art in view of the contemporary world, the time that the research showed the relationship between art and education. / A presente investigação, inserida na linha de pesquisa Processos de ensino, aprendizagem e mediação em Artes, propõe-se a refletir sobre práticas artísticopedagógicas em performance desenvolvidas no Campus Barra do Corda do Instituto Federal de Educação, Ciência e Tecnologia do Maranhão - IFMA. Na escrita do texto, a descrição dos processos educativos, o diálogo com a literatura e a narrativa autobiográfica constituíram a proposta de pesquisa, na tentativa de evidenciar possibilidades teóricas e práticas sobre a inserção da performance em situações educativas. O trabalho de campo se deu no contexto da educação básica e privilegiou, em especial, a reflexão sobre o processo de criação e circulação da performance intitulada Status: on line, do Núcleo TRAVESSIA de Pesquisa em Artes Cênicas, formado por alunos do Ensino Médio do Campus Barra do Corda do IFMA. A performance foi concebida com o intuito de propiciar aos discentes novas formas de compreender a arte na perspectiva da contemporaneidade, ao tempo que a pesquisa evidenciou as relações entre arte e educação.

The purpose of this study was to evaluate a Theatre For Young Audiences (TYA) paper and multimedia study guide and to investigate teachers' perceptions of study guides created for TYA. It used current literature surrounding TYA performances, supplemental materials for the elementary classroom, and multimedia in performance and education, to glean critical elements for creating a useful TYA study guide. These elements provided the framework for creating a rubric to evaluate a TYA study guide's potential success in the classroom. The mixed methods study then used the created rubric to evaluate etc . . .'s (Educational Theatre Company) 2005 Hey Diddle Diddle! The Rhymes and Rhythms of Mother Goose study guide. This data was combined with surveys administered to elementary teachers. The study guide rated high on the rubric and teachers' perceptions were generally positive. Overall the analysis yielded information useful for the creation of future guides and research.

Tyrimo tikslas: atskleisti jaunojo suaugusiojo amžiaus asmenų požiūrį į improvizacijos taikymą universitetiniame teatre. Tyrimo objektas: teatrinis ugdymas universitetiniame teatre. Tyrimo nulinė hipotezė: improvizacijos taikymas universitetiniame teatre yra prasmingas ir aktualus išryškinantis naujas teatrinės formos bei teatrinės technikos sklaidos ypatybes teatriniame ugdyme. Tyrimo uždaviniai. 1) Išanalizuoti mokslinę literatūrą apie pagrįsti universitetinio teatro, improvizacijos sampratas. 2) Išanalizuoti požiūrį į improvizacijos taikymą Vilniaus universiteto „Kiemo“ teatre. 3) Atskleisti būdingiausius improvizacijos taikymo bruožus, jos vietą ir paskirtį šiuolaikiniame studentiškame teatre. 4) Pateikti tobulinimo gaires ir ateities perspektyvas improvizacijos tema. Tyrimo metodai. Teoriniai: mokslinės literatūros sisteminė analizė. Empiriniai: kiekybiniai metodai (anketinė apklausa); kokybiniai metodai (iš dalies struktūruotas interviu). Tyrimo etapai: 1 etapas: išanalizuoti mokslinę literatūrą, apibrėžiančią studentiško teatro, improvizacijos sampratas. 2 etapas atlikti kiekybinę analizę (apklausa tarp VU „Kiemo“ teatro, VGTU teatro - studijos „Palėpė“ ir S. Bernotaitės trupės „Insider“). 3 etapas atlikti kokybinę duomenų analizę (interviu) ir pateikti išvadas. Išvados: 1) Improvizacija gali būti taikoma kaip metodas ir kaip savarankiška meninio ugdymo technika, kuri pasižymi tarpdiscipilniškumu. Improvizacija gali aprėpti kūrybinio proceso intelektinių galių plėtotę... [toliau žr. visą tekstą] / The aim of the research: to discover the attitude of young matured person towards the application of improvisation in the university theatre. The object of the research: theatre education at the university theatre. The initial hypothesis of the research: the application of improvisation in the university theatre is meaningful and of present interest, emphasizes new forms of the theatre as well as spreads the features of theatre techniques in theatre education. The goals of the research. 1) To analyze scientific literature about amateur theatre and to prove the conception of improvisation at the university theatre. 2) To analyze attitude towards application of improvisation at Vilnius University „Kiemas“ theatre. 3) To reveal the most common features of applying improvisation, improvisation‘s place and purpose in modern student theatre. 4) To provide improvement guidelines and future perspectives concerning improvisation theme. The methods of the research. Theoretic: the systematic analysis of scientific literature. Empiric: quantitative methods (survey with questionnaire); qualitative methods (partly structured interview). The stages of the research: 1 stage: to analyze scientific literature, that describes the understanding of improvisation in the student theatre. 2 stage: to accomplish quantitative analysis (the questionnaire for Vilnius University „Kiemas“theatre, VGTU theatre - studio „Palėpė“ and S. Bernotaitė troupe „Insider“). 3 stage: to perform qualitative analysis... [to full text]

Theatre has been a school subject in the Swedish upper secondary school's national arts program since 1992 and has its own syllabus and grading criteria. The National Curriculum in theatre emphasises the development of performative capability, which is the focus of this dissertation. This study aims to contribute to the improvement of teachers’ subject-specific language, and concerns certain aspects of student ways of knowing. Theatre encompasses tacit knowledge (Lagerström 2003) and as an art form belongs to a tradition of practical knowledge. Knowledge in theatre has traditionally been acquired within a master-apprentice tradition (Johansson 2012, Järleby 2003). When theatre as an art form becomes a school subject the conditions of the art form change through a didactic transposition (Chevallard 2005). The previous two curriculum reforms in Sweden have developed competency-based syllabuses. To meet the school's requirements for planning teaching activities with colleagues as well as assessing and giving feedback to students, theatre knowledge needs to be articulated. Research is therefore needed to develop a professional language among teachers within the subject of theatre. I have chosen to work with Learning study, which is a collaborative and iterative research approach which enables the articulation of teachers and students knowing. Data is analysed using foremost phenomenographic analyses. The results generated in this study could be useful for teachers in the process of planning lessons, giving feedback to students, for assessments and grades, for discussing the content of lessons with other teachers, and ultimately for us to begin to recognize different levels of knowing.

abstract: In May 2014, The Encyclopedia Show: Chicago performed its last volume. Like all others before, the Show was a collection of performances devised by artists, musicians, poets and playwrights all performing various subtopics surrounding a central theme, taken from “an actual Encyclopedia.” The final show was Volume 56 for Chicago; the founding city ended their six year run with an amassed body of work exploring topics ranging from Wyoming to Alan Turing, Serial Killers to Vice Presidents. Perhaps more impressive than the monthly performance event in Chicago is the fact that the show has been “franchised” to organizers and performers in at least seventeen cities. Franchise agreements mandated that for at least the first year of performance, topics were to follow Chicago’s schedule, thus creating an archive of Shows around the world, each that started with Bears, moved to The Moon, onto Visible Spectrum of Color, and so on. Now that the Chicago show has ended, I wonder what will happen to the innovative format for community performance that has reached thousands of audience members and inspired hundreds of individual performances across the globe in a six-year period. This project, like much of my own work, has two aims: first, to provide the first substantive history of The Encyclopedia Show for archival purposes; and second, to explore whether this format can be used to achieve the goals of “interdisciplinarity” in the classroom. In an effort to honor my own interests in multiple academic disciplines and in an attempt to capture the structural and performative “feel” of an Encyclopedia Show, this dissertation takes the shape of an actual Encyclopedia Show. The overarching topic of this “show” is: Michelle Hill: The Doctoral Process. In an actual Encyclopedia Show, subtopics would work to explore multiple perspectives and narratives encompassed by the central topic. As such, my “subtopics” are devoted to the roles I have played throughout my doctoral process: historian, academic, teacher. A fourth role, performer, works to transition between the sections and further create the feel of a “breakage” from a more traditional dissertation. / Dissertation/Thesis / Doctoral Dissertation Theatre 2017

Made available in DSpace on 2014-12-17T14:00:19Z (GMT). No. of bitstreams: 1 GiseleCS_DISSERT.pdf: 1360252 bytes, checksum: a863f982c124bc63c2e4912a947bf051 (MD5) Previous issue date: 2013-08-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / At first moment we present a reflection about the history of theater and later a contextualization of didactic movements oriented to scenic arts. Through at the constant dialogue with authors of areas involving education, theatre, corporeality and music was possible analyzing, develop and criticize a education work under my responsibility involving fourteen classes. At the second moment will occur a critical self about the quality of theater classes his contents and methodologies. The technique will be at side of the emotion and together develop skills aimed at tracing paths for theater developed at a classroom of a especific private school in Natal-RN. At the third moment one class is chosen for analyze of the academic research and many experiments happen after this decision, initiated and sensitized through of the music with a significant look at the corporeality and prioritizing the theater as content in ninth grade - elementary school two. At the conclusion is possible see that learning is mutual and the theater can become life routine as well as the arts in general and when all arts will be regularized into the national educational system for public and private schools we will have more susceptible humans and more intellectual capacity / No primeiro momento, apresentaremos uma reflex?o sobre a hist?ria do teatro e, posteriormente, uma contextualiza??o sobre as movimenta??es did?ticas voltadas para a ?rea das artes c?nicas. Atrav?s do di?logo constante com autores das ?reas que envolvem educa??o, teatro, corporeidade e m?sica, foi poss?vel analisar, desenvolver e criticar um trabalho sob minha responsabilidade que envolvia quatorze turmas. No segundo momento, decorrer? uma autocr?tica sobre a qualidade das aulas de teatro, seus conte?dos e metodologias. A t?cnica estar? ao lado da emo??o e, juntas, desenvolver?o habilidades a fim de tra?ar caminhos para o teatro desenvolvido na sala de aula de uma escola da rede particular da cidade de Natal-RN. No terceiro momento, uma turma ? escolhida para an?lise da pesquisa e muitos experimentos acontecem ap?s essa decis?o, iniciados e sensibilizados atrav?s da m?sica, com um olhar significante para a corporeidade e priorizando o teatro como conte?do no nono ano ensino fundamental II. Na conclus?o, percebe-se que o aprendizado ? m?tuo, que o teatro pode fazer parte do cotidiano das pessoas, assim como as artes em geral, e, quando todas elas forem regularizadas dentro do sistema nacional de ensino para as escolas p?blicas e particulares, teremos seres humanos mais sens?veis e mais capacitados intelectualmente

Current secondary theatre education in America places a priority on Western ideals of theatre history and practices. Latine theatre history is hardly taught, and if it is, it is touched minimally. Latine culture places an emphasis on a collective, both in theoretical and practical work. Similarly, the practice of dramaturgy itself is rarely mentioned in curriculums, rather intertwined within lessons of acting, directing, and design. This creates an imbalance in practice versus theory in theatre education. I intend to introduce the concept of collaborative dramaturgy: a form of dramaturgy where students collaborate as dramaturgs to bring about discussions about identity. I believe it is important that Latine students are exposed not only to seeing Latine creatives represented on stage but as well as in their curriculum. In this thesis, I will explore the following questions: How does collaborative dramaturgy fit in a Latine classroom? How does a focus on physicality and text aid Latine theatre education? How does Latine representation work in a non-Latine text?

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abstract: Examining the elements of the hidden curriculum in theatre education allows theatre educators the opportunity to reflect on their own pedagogy and its effects on the learner. The hidden curriculum refers to the unspoken or implicit values, norms, and beliefs that are transmitted through tacit messages. When the hidden curriculum remains veiled, the impact on the learner's education and socialization process can perpetuate gender, race, and class inequalities. In order to understand how the hidden curriculum manifests itself in theatre classrooms, we have to look at schools as "agents of legitimation, organized to produce and reproduce the dominant categories, values, and social relationships necessary for the maintenance of the larger society" (Giroux, 1983, p. 72). This qualitative study examined the hidden curriculum in theatre at the secondary level and looked at theatre teachers' pedagogy in reproducing elements of the hidden curriculum. Interviews, naturalistic observation, and a researcher reflective journal were employed in the data collection process to better understand: a) the elements of hidden curriculum that appear in theatre education at the secondary level, b) how the pedagogical practices of theatre teachers support societal structures, and c) how the hidden curriculum in theatre reinforces gender, race, and social class distinctions. Data were then coded and analyzed to find emergent themes. Multiple theoretical perspectives serve as a conceptual framework for understanding the hidden curriculum, and provide a neglected perspective of the hidden curriculum in theatre education. The theatre classroom provides a unique space to view hidden curriculum and can be viewed as a unique agent of social change. Themes related to the first research question emerged as: a) privileges for older students, b) school rules, c) respect for authority, d) acceptance of repetitive tasks, and c) punctuality. Themes related to the second research question emerged as: a) practices, b) procedures, c) rules, d) relationships, and e) structures. Finally, themes related to the third question emerged as: a) reinforcement of social inequality, b) perpetuation of class structure, and c) acceptance of social destiny. The discussion looks at the functions of theatre pedagogy in the reproduction of class, inequality, and institutionalized cultural norms. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2013

HIV/AIDS continues to challenge prevention, care and treatment efforts and presents an increasingly urgent threat to population health. In the context of prevention, this fatal sexually transmitted infection (STI) underscores the importance of providing youth (the fastest growing risk group) with adequate information, motivation, behavioural skills, and access to resources that support the achievement and maintenance of sexual health across the lifespan. However, youth have proven to be a difficult audience to reach, particularly with educational programs that approach adolescent sexuality from an adult frame of reference, one that often stresses the negative aspects of human sexuality. Yet many of the tasks associated with a successful transition into adulthood and social integration depend upon the ability to initiate and maintain long-term, intimate sexual relationships. Using a case study methodology, this research—which was conducted in British Columbia, Canada—investigated the potential effects of an innovative theatre-based, peer-led HIV prevention/sexuality education program on four groups of high school students and the peer leaders. The potential of theatre-in-education was examined to determine if this format would engage youth audiences—and keep them engaged—and if it would have a positive impact on self-reported confidence in performing risk-reduction behaviours. The results from the four case studies strongly suggest that peer-led theatre presented in conjunction with peer-led discussion has the potential to not only engage youth between 12 and 17, but to also increase self-reported confidence in their ability reduce risk. In two of the cases, engagement was high and constant; while the two other cases demonstrated that the format has a strong potential for drawing more reluctant audiences into discussions over time. In all cases, confidence reportedly increased. Further to this, audiences reported gains in knowledge, improvements in behavioural and communication skills, and increased motivation to use condoms and to access sexual health care. In addition, and perhaps most importantly, there were reports of increased communication about sexual health issues, the development of greater compassion and tolerance, along with the desire to avoid stigmatizing HIV-positive individuals and sexual minorities. The peer leaders reported comparable effects. Given that stigma has been identified as the most persistent barrier to HIV/AIDS prevention, care and treatment, embedding peer-led theatre programs—focused on sexuality and HIV prevention—into currently existing theatre arts curricula within the public school system offers a powerful and cost-effective means of providing comprehensive sexual health education. It would be shrewd (from both a social and economic perspective) for education ministries and school districts to capitalize on the positive aspects of adolescent peer networks and youths’ natural tendency to learn from one another. This research, while based on informed judgment, adequacy and plausibility rather than on the gold standard of a randomized control trial, arguably provides initial evidence that the theatre-in-education format is worthy of implementation on a wider scale. Investing in the set-up, maintenance and rigorous evaluation of peer-led theatre-in-education programs which focus on sexuality has the potential to normalize safer sexual practices and improve population health, for this generation and generations to come.