Thesis (Ph. D.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Advisor: Lauren Haldeman; submitted to the School of Human Environmental Sciences. Includes bibliographical references (p. 111-115).

Thesis (MA)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

No description available.

No description available.

Call number: LD2668 .T4 1961 H47

Thesis (MA)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once. / AFRIKAASNE OPSOMMING: Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer, selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm en 'n stortingsterrein vir hulpbronne van volwasse teater. Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is gebaseer op die idee dat spel 'n belangrike en voordelige aspek van kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander area, wat die fokusarea van hierdie studie is, is gemoeid met verhoogaanbiedings vir kinders, dus Kinderteater. Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore as gevolg van swak metodologie. Histories het die waardes en oogmerke rondom Kinderteater onwikkeling ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die kwaliteit van beide die finale produk en die proses waardeur die eindproduk bereik is. 'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en probleme wat spesifiek handeloor die proses van regie vir kinders as spelers. Moontlike oplossing vir hierdie probleme salondersoek word. 'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese projekte sal gebruik word om die menings van praktisyns op die gebied te ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in Kinderteater is altyd beide onderwyser en regisseur.

AND KEYWORDS This final thesis deals with "Methods and techniques of drama in education suitable in kindergarten praxis for children aged 3 to 4 years." It studies the suitability of selected techniques and methods when used in drama education of 3-4 year-old children. The thesis has a theoretical and a practical part. In the theoretical part we try to outline related issues, taking a professional perspective and using scholarly resources. This creates a point of departure for the practical part, which begins by identifying goals, asking questions and choosing methods of study. As its primary method of study the thesis selects the analysis and evaluation of real drama education lessons. The practical part draws upon work according to the School Education Programme and Class Education Programme, and uses related literature (Hana Budínská: "Games for six senses"). It also utilizes books for children, analysing selected fairy-tales and poems. At the end the practical part summarizes all findings and evaluates the research questions. The conclusion discusses the new knowledge acquired through working on this thesis. The thesis tries to describe work with children aged between three and four years, in nursery school drama education lessons. Both theory and practice are taken into account. The focus is...

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries

This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education / Doctor of Philosophy (PhD)