Theatre Triad is a new approach to devising collaborative ensemble theatre starting with the three main components of Performance: Voice, Movement, and Text. These components were deconstructed and reconstructed in pairs as the basis for the devising process. The performance process begins with creating an ensemble followed by four steps: exploring the theatrical genres affiliated with the pairings of Voice and Movement, Movement and Text, Voice and Text, and completed with reintegrating all three components. Through this process many things occur, a new play is created, ensemble members focus on exploring the elements of acting and performance, and a strong foundation of acting skills is laid for young actors. Theatre Triad can also be used as a method for teaching a number of courses in Devising Theatre or Acting classes. In this paper you will learn how Theatre Triad works as both a production approach and method in actor training.

George Bernard Shaw’s Pygmalion (1912) and its musical adaptation, My Fair Lady (1956) offer 20th century’s most famous example of dialect acquisition: the transformation of Eliza Doolittle under the tutelage of Professor Henry Higgins. The opportunity to work on Barksdale Theatre’s production of My Fair Lady (2012), both as the actress playing Eliza Doolittle and as a dialect coach for the production, prompted an analysis of the dialect pedagogy of Henry Higgins. The centenary of Pygmalion is also a prime juncture to document, in contrast or complement to Higgins’ model, contemporary theories and techniques of dialect pedagogy. Chapter one of this thesis explores the ideology of dialect acquisition, addressing the issues of dialect prestige and standard speech. Chapter two examines the rapport between teacher/coach and learner/actor, including a comparison of teacher-centered and learner-centered pedagogies and the influence of expectancy theories on learner growth. Chapter three details the methods of dialect acquisition, addresses language learning theories as applied to dialect learning, and offers practical exercises and techniques. The conclusion outlines areas of future consideration to enhance the dialect acquisition process in the classroom and rehearsal hall.

TITLE: Therapy of voice disorders AUTHOR: Michaela Horáková DEPARTMENT: Department of special education SUPERVISOR: Mgr. Miroslava Kotvová ABSTRACT: This diploma thesis deals with the voice disorders and their treatment options. The character of the thesis is mostly theoretical and the thesis is divided into four general parts. The first one elaborates the anatomy and physiology of the vocal tract as a basis for understanding mechanisms of voice pathology development, the second one is devoted to voice disorders and their categorization, and the third part deals with their therapy, as the czech literature reflects it. The last part of this thesis is dedicated to voice disorders therapy in the United States with a practical focus on therapeutical program Lee Silverman Voice Treatment (LSVT) widely used abroad during the treatment of voice disorders especially connected to Parkinson disease. The program is considered to be very effective and it is really popular outside of the Czech republic. LSVT is not well known in the Czech republic yet and there is actually only limited information devoted to this type of voice therapy. For this reason the thesis is based on analysis and comparison of the available foreign texts in order to inform the czech public about its theoretical basis, structure and system,...

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Skam förlamar och förminskar. Den fördärvar och fördämmer. Men kan man också utvecklas genom skam? Det tar denna vetenskapliga essä upp på ett tvärvetenskapligt sätt. Som logonom och pedagog har jag uppmärksammat min och mina studenters kommunikation i rummet under påverkan av skam eller i situationer då skam kan uppkomma. En yrkesrelaterad händelse som utlöste ett kraftigt skamtillstånd i mig startade en process som ledde vidare till ett utforskande av två pedagogiska situationer där jag detekterade och förebyggde skam under inlärningssituationerna. I dessa situationer visade sig att kommunikationen bortom orden blev avgörande för om inlärningsprocessen skulle gå vidare på ett konstruktivt sätt. Syftet är att undersöka betydelsen av den ickeverbala kommunikationen i rummet, de kroppsliga och röstliga signalerna, att läsa mellan raderna för att medvetandegöra denna kommunikation hos studenter och pedagoger. I sökandet efter det skamfria rummet fann jag att olika förändringar i min pedagogik kunde förebygga skam för mig och mina studenter och på så sätt kunde skapa en bättre lärandemiljö. Med hjälp av bland annat fenomenologin, Nathanson, Cullberg Weston, Dreyfus & Dreyfus och en förståelse för olika skammekanismers påverkan på det ickeverbala mötet ledde det till en insikt om preventiva åtgärder för att undvika skam och skuld under inlärning. Det går att utvecklas genom skam, den möjliggjorde en förändring för mig som pedagog. / Shame and nonverbal communication in learning processes Shame, dishonour, disgrace. However described, it is often paralysing and diminishing. It is crippling and destructive. But is it possible to develop through shame? This research paper takes an interdisciplinary look at this subject. As an aesthetic voice and speech pedagogue I have observed how shame has affected communication between my students and myself in situations where shame could and/or has occurred. One particular vocational event invoked a powerful sense of shame within me and launched a process which led to the investigation of two pedagogical situations where I detected and prevented shame in the learning process. These situations revealed that communication beyond words were crucial for the learning process to continue in a constructive manner. The purpose of this study is to explore the importance of nonverbal communication, the wordless cues of paralanguage, in body language and voice in the learning process, increasing the awareness of the students and pedagogues to this type of communication. In this quest for a shame free workspace, I found that changes in my pedagogy had the ability to prevent shame for both my students and myself, whilst doing so shaping an improved learning environment. A phenomenological approach by way of Nathanson, Cullberg Weston, Dreyfus & Dreyfus along with an understanding of the different mechanisms of shame and its influence on nonverbal interaction has led to the realisation of the preventive measures that can be taken to avoid shame and guilt in learning situations. It is possible to develop through shame, it enabled a change within myself as a pedagogue.