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This investigation is concerned with the analysis of a production of Peter Pan, a large-scale musical play, which was presented at Dallas Repertory Theatre in February of 1975. This analysis is intended to be both an educative discussion of the experimental nature of the show and a practical guide to the production of a typical musical play by a non-professional company. The most outstanding elements examined include the following: (1) casting a teen-age boy, instead of an adult, in the title role; (2) casting children in all children's roles, and adults in all adult roles; (3) modification of the script and score to implement the casting of children in key roles; (4) the utilization of a short motion picture to simulate the flying of actors onstage.

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Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-10-20Bitstream added on 2014-06-13T20:28:51Z : No. of bitstreams: 1 botelho_lr_me_ia.pdf: 26586641 bytes, checksum: c1990d1ac7f535f3484588e9499e379b (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho é fruto da análise do processo teatral desenvolvido ao longo dos anos de 2006, 2007 e 2008, com a comunidade do Jd. Peri Peri, pelo Projeto Teatro Vocacional, vinculado ao Departamento de Expansão Cultural do Secretaria Municipal de Cultura de São Paulo, no qual atuei como artista orientadora na formação de artistas vocacionados em iniciação teatral. Na perspectiva de evidenciar os elementos de construção dos processos, foram relatadas algumas possibilidades de construção da cena a partir da junção entre jogo, texto e partitura corporal, levando-se em conta um público heterogêneo envolvido nesse trabalho de formação. A investigação mostrou que o exercício da linguagem teatral focando a autonomia, o respeito às diferenças, o jogo, o corpo, aliando todos os elementos de construção dramaturgica, privilegiando o processo como veículo de construçãoo de um exercício estético, apresentou-se como um rico caminho, em que a experimentação pôde estar aliada a todo e qualquer texto, desde que este se configurasse um elemento de jogo. Instigou-se nos participantes a necessidade de produzirem atos criativos de forma lúdica e participante, ampliando a capacidade de reflexão diante do objeto artístico e promovendo formação de uma consciência cidadã. A experiênciaq com a prática e a apreciação dos atos artísticos proporcionou aos participantes alguma instrumentalização no plano estético-ético-político... / This assignment a result from the analysis of the theatrical process developed throughout the years of 2006, 2007 and 2008, with the community of the Jd. Peri Peri, for the Theater Vocational Project, tied with the Department of Cultural Expansion from the Culture General Office of São Paulo, in which I acted as a advisor artist in the formation of vocational artists in theatrical iniciation. In the perspective of evidencing the elements of the construction processes, it's been relatede some possibilities of scene construction from the junction between game, text and corporal partition, taking into account a heterogeneous public involved in this work formation. The inquiry showed that the exercise of the theatrical language focusing on the autonomy, the respect to the differences, the game, the body, uniting all the elements of the dramaturgic construction, privileging the process as a construction vehicle of an aesthetic exercise, it was presentede as a rich way, where the experimentation could be linked in any text, since it configured itself in a game element. The necessity of producing creativa acts in a playful and participant form was instigated in the participants, extending the capacity of reflection in front of the artistic object and promoting formation of a conscience citizen. The experience with practical and the appreciation of the artistic acts provided to the participants some instrumentation in the aesthetic-politician plan. The reached results intend to contribute with researchers, advisor, theatrical groups and artists who, of some form are interested for a scenic construction that focus the creativity, the collective practical, the autonomy, under the provoking look of the orientation

Orientador: Reynuncio Napoleão de Lima / Banca: Kathya Maria Ayres de Godoy / Banca: Flavio Augusto Desgranges de Carvalho / Resumo: Este trabalho é fruto da análise do processo teatral desenvolvido ao longo dos anos de 2006, 2007 e 2008, com a comunidade do Jd. Peri Peri, pelo Projeto Teatro Vocacional, vinculado ao Departamento de Expansão Cultural do Secretaria Municipal de Cultura de São Paulo, no qual atuei como artista orientadora na formação de artistas vocacionados em iniciação teatral. Na perspectiva de evidenciar os elementos de construção dos processos, foram relatadas algumas possibilidades de construção da cena a partir da junção entre jogo, texto e partitura corporal, levando-se em conta um público heterogêneo envolvido nesse trabalho de formação. A investigação mostrou que o exercício da linguagem teatral focando a autonomia, o respeito às diferenças, o jogo, o corpo, aliando todos os elementos de construção dramaturgica, privilegiando o processo como veículo de construçãoo de um exercício estético, apresentou-se como um rico caminho, em que a experimentação pôde estar aliada a todo e qualquer texto, desde que este se configurasse um elemento de jogo. Instigou-se nos participantes a necessidade de produzirem atos criativos de forma lúdica e participante, ampliando a capacidade de reflexão diante do objeto artístico e promovendo formação de uma consciência cidadã. A experiênciaq com a prática e a apreciação dos atos artísticos proporcionou aos participantes alguma instrumentalização no plano estético-ético-político ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This assignment a result from the analysis of the theatrical process developed throughout the years of 2006, 2007 and 2008, with the community of the Jd. Peri Peri, for the Theater Vocational Project, tied with the Department of Cultural Expansion from the Culture General Office of São Paulo, in which I acted as a advisor artist in the formation of vocational artists in theatrical iniciation. In the perspective of evidencing the elements of the construction processes, it's been relatede some possibilities of scene construction from the junction between game, text and corporal partition, taking into account a heterogeneous public involved in this work formation. The inquiry showed that the exercise of the theatrical language focusing on the autonomy, the respect to the differences, the game, the body, uniting all the elements of the dramaturgic construction, privileging the process as a construction vehicle of an aesthetic exercise, it was presentede as a rich way, where the experimentation could be linked in any text, since it configured itself in a game element. The necessity of producing creativa acts in a playful and participant form was instigated in the participants, extending the capacity of reflection in front of the artistic object and promoting formation of a conscience citizen. The experience with practical and the appreciation of the artistic acts provided to the participants some instrumentation in the aesthetic-politician plan. The reached results intend to contribute with researchers, advisor, theatrical groups and artists who, of some form are interested for a scenic construction that focus the creativity, the collective practical, the autonomy, under the provoking look of the orientation / Mestre

The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.

This investigation was based on a production performed by the Irving, Texas, Community Theatre in March, 1978, directed by the author of this thesis. The paper concerned the problems of producing a play under adverse conditions, such as lack of money, inadequate technical equipment, and a small stage. Chapter I included an investigation of the reviews of the original production in order to establish criteria by which to judge the Irving production. Chapters II and III dealth with varied technical aspects and their application under the adverse conditions. Examples of the technical factors were included in Chapter IV, with a scene synopsis. Chapter V contained a primarily favorable analysis based on the critic's and the audience's judgments, indicating most production elements to be successful.

In the last several years lists of theater organizations in California newspapers hare grown steadily. This writer asserts a need for study of active amateur and semiprofessional theater groups in California for gaining knowledge and understanding of cultural activities taking place about the Western United States. Such material would help students and adults interested in drama gain information where theaters remain active according to particular tastes. After receiving a list of nonprofessional theater members of American National Theatre and Academy's California regions, theater activity presented itself to be of such quantity within the state that it became necessary to make definite limitations of the research area to do justice with the planned study. The final decision was made for this survey to cover communities surrounding the University of the Pacific's Stockton campus, referred to as Central California.