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Social housing wait lists are indicative of the need for affordable housing in communities across Ontario. Growing wait lists also suggest that existing social housing supply and programs are not a solution to immediate or foreseeable housing problems for most low-income households. As a result, many households turn to shelters or make do with what they are able to find in the private market, often spending more than 30% of their income on rent. The focus of this study is one-person households under the age of 65 who make up approximately 40% of the applicants on Ontario social housing wait lists. This cohort has the longest wait times. What are the housing experiences of this demographic while they wait? How do municipalities respond and what do community advocates say about this response? This study addresses these questions through key informant interviews conducted with single non-senior social housing applicants, community advocates and policy-makers, doing so comparatively for two CMAs: Guelph and Kingston. Examining homelessness through a critical lens of neoliberalism, this study concludes with policy recommendations to address urban housing issues for low-income singles.

Social housing wait lists are indicative of the need for affordable housing in communities across Ontario. Growing wait lists also suggest that existing social housing supply and programs are not a solution to immediate or foreseeable housing problems for most low-income households. As a result, many households turn to shelters or make do with what they are able to find in the private market, often spending more than 30% of their income on rent. The focus of this study is one-person households under the age of 65 who make up approximately 40% of the applicants on Ontario social housing wait lists. This cohort has the longest wait times. What are the housing experiences of this demographic while they wait? How do municipalities respond and what do community advocates say about this response? This study addresses these questions through key informant interviews conducted with single non-senior social housing applicants, community advocates and policy-makers, doing so comparatively for two CMAs: Guelph and Kingston. Examining homelessness through a critical lens of neoliberalism, this study concludes with policy recommendations to address urban housing issues for low-income singles.

The purpose of my thesis is to create one-person show lasting approximately twenty minutes. The following paper contains the step-by-step process of developing this piece of work, audience reactions to the final performance, and thoughts on continuing the process in hope of sharing the play with other communities. / text

Thesis (MPhil(R))--University of Glasgow, 2009. / MPhil(R) thesis submitted to the Faculty of Arts, Department of Theatre, Film and Television Studies, University of Glasgow, 2009. Includes bibliographical references. Print version also available.

Thesis (M.F.A.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains v, 31 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 29-31).

Throughout history people have sought to prompt social change through theatrical experiences. The theatre has moved the masses in ways that have frightened governments and religious establishments into closing down theatres and banning theatrical material. History proves that theatre which causes change exists and works, but it also proves there is no one definition or formula for this type of theatre. Depending on the culture, time period, issue, resources and people involved Theatre for Social Change takes a variety of forms. However, theatre affecting change does tend to maintain two common threads: the creation of a new work and the pursuit of the uncertain elements which will ensure the work affects change in its audience. With no more than two common threads, where does a young actor, recognizing a social problem and desiring change prompted through a theatrical experience begin his or her journey? How does one create Theatre for Social Change? How does one know the theatrical work has successfully caused change within an audience? If there is no certain definition, no one way to pursue it, what direction should one follow? Following Peter Brook's example as set in his 1966 production of US, I will create my own original work in the form of a one-person show and use it as the canvas to apply Brook's ideas and techniques. I hope to find that in order for an audience to change they must first be willing to participate in a performance, even if it is a performance demanding a harsh confrontation with an ignored social problem. Through this thesis I aim to prove that through an actor's personal journey with a social issue, the actor leads the way for the audience to be willing to participate and take the journey themselves resulting in change. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, the original script of my performance work Knowing Fires and a reflection on the completed process including audience feedback. All of these elements will hopefully lead to a conclusive and useful approach to creating Theatre for Social Change.

The evolvement of a knowledge-based economy and the internet has changed the pattern of occupation, shortening the career life cycle of various professions. For many people wanting to realize their dreams and continue their careers, the choice is to start their own enterprise. Women have been restricted for a long time owing to the binding traditional roles, expectations and the differing sexual values in society. When choosing an occupation, women were faced with more difficult considerations than men. Hence, recently both academics and industrialists have attached importance to the discussion of women entrepreneurs in Taiwan. According to statistics from various countries, one-person business, a part of micro-business, is proportionally high in each nation. This could be seen as a common commercial pattern as well as an entrepreneurial model and also as an individual¡¦s choice of lifestyle. Many of these self-employed businesses, ¡¥non-companies¡¦, are in existence because they don¡¦t have complex organizational regulations and working procedures. They are seen in society as a matter of course and are often ignored. The numbers of one-person businesses and the SOHO population have increased due to the knowledge-based economy and the internet. Many people choose self-employment as a means to gain freedom, flexibility and independence. One-person business can be regarded as the easiest type out of all business to set up. There are many reasons why women pursue one-person business as a career. This study is based on in-depth interviews which explore the reasons of contentment and motivation behind women entrepreneurs. It also sums up an evaluation of women prior to their own business and to understand women¡¦s ability to carry out business development opportunities. Finally, it concludes with an optimum model proposal for women¡¦s one-person business.

Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van musiekteater deurdat dit nie deur konvensies begrens word nie. Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm, en illustreer die rol en vaardighede van die kabarettis asook die genre se musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en opera, met betrekking tot klassieke sangoriëntasie, te ondersoek. Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van ’n klassieke sanger wat na kabaret migreer, uiters problematies. Die studie stel ondersoek in na die konsep van en redes vir die migrasie van sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle eie geleenthede te genereer. Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van ontwikkeling neergelê word.

Thesis (M.F.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains ix, 76 p. : ill. (some col.). Includes video files in the mpg format. Vita. Includes abstract. Includes bibliographical references (p. 79).