O objetivo desta pesquisa é investigar a cena contemporânea e o ensino de teatro em escolas de educação básica. O ensino das artes nos diversos níveis de educação básica, a partir da LDB 9.394/96, passou a ser consideradoárea de conhecimento e tornou-se obrigatório, colocando-o no mesmo grau de importância das demais disciplinas do currículo escolar. Sob tal aspecto, torna-se relevante inteirar-se do campo de conhecimento epistemológico das artes e nos leva a refletir sobre a sistematização de saberes articulados às concepções das práticas cênicas contemporâneas. Nesse sentido, esta pesquisa pretende trazer à luz procedimentos metodológicos e sistematização de saberes que subsidiem o ensino de teatro em escolas de educação básica em consonância à cena contemporânea. Evidenciamos, portanto, que foi realizado um estudo etnográfico de três experimentos teatrais com alunos do Ensino Médio da Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo. Para delimitar um recorte da cena contemporânea, elegemos três paradigmas - espaço, coletivo e textopalavra-performance text - no sentido de tornar possível a confrontação e verificação de suas possíveis conexões com os nossos experimentos. / The aim of this research is to investigate the contemporary scene and theater education in elementary schools. The teaching of arts in different basic levels of education, from LDB 9.394 / 96, came to be considered an area of knowledge and became mandatory, placing it in the same degree of importance of other subjects of the school curriculum. Under this aspect, it becomes relevant to acquaint with the field of epistemological knowledge of arts and leads us to reflect on the systematization of articulated knowledge to the concepts of contemporary performing practices. In this sense, this research aims to highlight methodological procedures and systematization of knowledge that subsidize the theater teaching in basic education schools in accordance to the contemporary scene. We evidenced, therefore, it was conducted an ethnographic study of three theatrical experiments with high school students of the School of Application of the Faculty of Education, University of São Paulo. To define a framework of the contemporary scene, we have chosen three paradigms - space, collectivities and textword performance text in the sense of making possible the confrontation and verification of their possible connections with our experiments.

O objetivo desta pesquisa é investigar a cena contemporânea e o ensino de teatro em escolas de educação básica. O ensino das artes nos diversos níveis de educação básica, a partir da LDB 9.394/96, passou a ser consideradoárea de conhecimento e tornou-se obrigatório, colocando-o no mesmo grau de importância das demais disciplinas do currículo escolar. Sob tal aspecto, torna-se relevante inteirar-se do campo de conhecimento epistemológico das artes e nos leva a refletir sobre a sistematização de saberes articulados às concepções das práticas cênicas contemporâneas. Nesse sentido, esta pesquisa pretende trazer à luz procedimentos metodológicos e sistematização de saberes que subsidiem o ensino de teatro em escolas de educação básica em consonância à cena contemporânea. Evidenciamos, portanto, que foi realizado um estudo etnográfico de três experimentos teatrais com alunos do Ensino Médio da Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo. Para delimitar um recorte da cena contemporânea, elegemos três paradigmas - espaço, coletivo e textopalavra-performance text - no sentido de tornar possível a confrontação e verificação de suas possíveis conexões com os nossos experimentos. / The aim of this research is to investigate the contemporary scene and theater education in elementary schools. The teaching of arts in different basic levels of education, from LDB 9.394 / 96, came to be considered an area of knowledge and became mandatory, placing it in the same degree of importance of other subjects of the school curriculum. Under this aspect, it becomes relevant to acquaint with the field of epistemological knowledge of arts and leads us to reflect on the systematization of articulated knowledge to the concepts of contemporary performing practices. In this sense, this research aims to highlight methodological procedures and systematization of knowledge that subsidize the theater teaching in basic education schools in accordance to the contemporary scene. We evidenced, therefore, it was conducted an ethnographic study of three theatrical experiments with high school students of the School of Application of the Faculty of Education, University of São Paulo. To define a framework of the contemporary scene, we have chosen three paradigms - space, collectivities and textword performance text in the sense of making possible the confrontation and verification of their possible connections with our experiments.

Background: Child and adolescent mental health is an important public health issue within the UK. Providing support to young people, to help them cope with everyday life, is a key aspect of the school nurse’s role. Yet there is a paucity of published research within the UK and internationally about how this support is provided. Methodology: Using a narrative inquiry approach, presented as a performative text, this study set out to address the following research question, ‘How do school nurses provide support to young people?’ Stories were gathered from eleven school nurses to explore their experiences of providing support to young people using purposive sampling. The stories were analysed using an adapted version of the interpretivist-interactionist model (Savin-Baden, 2004). Poetic re-presentations were used to tell the stories of individual school nurses; an approach seen to be a novel in school nursing research. Using Soja’s (1996) spatiality theory as a framework the stories were analysed collectively, to explore different spaces used when providing support to young people. Findings: This study extends school nursing current literature about what it means to provide support. The importance of regular support and building trusting relationships is identified. Yet challenges exist in terms of the amount of emotional investment required by the nurses, as well as a lack of workforce capacity and organisational demands. It provides an original contribution to the body of school nursing knowledge by using an approach new in school nursing research, and distinguishing different and new spaces in which they perform to provide support to young people. Recommendations: Further research is necessary to gather stories from young people themselves. Additional support and training is recommended to enhance school nurses’ knowledge and skills in providing support. Findings should be conveyed to commissioners to provide insight into the school nurses’ role.

In this research I have explored the performance making process of world renowned director Robert Lepage. This exploration informed my own process, creating an original performance called GAIJIN, where my roles included producer / director / designer and co-writer. The practice-led research strategy employed in this research has allowed me to navigate the sometimes slippery slope of connecting various performance discourses with the pragmatics of the performance making process. The reason for this research is my strong interest in the director’s role and my affinity with the practice of Robert Lepage. My observation of the performance making process of Robert Lepage prompted the creation of a conceptual framework informed by Hans-Thies Lehmann’s work Postdramatic Theatre. These theoretical concerns were then further investigated in the creation of my own show. This research process has uncovered a performance making process that foregrounds the working principles of simultaneity and synaesthesia, which together offer a changed conception of the performance text in live performance. Simultaneity is a space of chaotic interaction where many resources are used to build a perpetually evolving performance text. Synaesthesia is the type of navigation required – an engagement consisting of interrelated sense-impressions that uniquely connect the performance makers with the abundance of content and stimulus; they search for poetic connections and harmonious movement between the resources. This engagement relies on intuitive playmaking where the artists must exhibit restraint and reserve to privilege the interaction of resources and observe the emerging performance. This process has the potential to create a performance that is built by referential layers of theatrical signifiers and impressions. This research offers an insight into the practices of Robert Lepage as well as a lens through which to view other unique devising processes. It also offers a performance making language that is worthy of consideration by all performance makers, from directors to performers. The significance of this process is its inherent qualities of innovation produced by all manner of art forms and resources interacting in a unique performance making space.

This thesis presents a 31-day case study carried out with a 15 year old young man who has classical autism. The study involved introducing him to a number of new and challenging activities, in a variety of contexts, over 31 days, that were previously assumed to be outside of his range of capability. The case study found that the application of the concepts of choice, control, challenge and risk had an unexpectedly positive impact upon the young man’s performance. This study further attempts to explore the concept of narrative as a ‘pedagogical bridge’ between the ‘worlds’ of autism and neurotypicality, arguing that narrative may provide a ‘way in’ to the world of autism. ‘Narrative’, this study contends, may provide a tapestry across which the world of autism may be connected with the world that surrounds it; by revealing a multiplicity of selves in a multiplicity of contexts. Methods of data collection included field notes, interviews, photographs and film footage. Ultimately, the study found that the use of ‘performance texts’ (DVDs featuring the young man’s achievements) constituted a powerful means of celebrating his accomplishments within the school and its wider community. Research approaches were participatory and ethnographic in the data collection phases, while a more phenomenological approach was adopted in the data analysis phase. The overarching analytical framework was that of ‘narrative analysis’ in telling a story of bravery, courage, hope and optimism.