No description available.

The purpose of this study is to find out if dolls are used as an artifact in preschools for communication, language and identity development - based on previous research. It also examines the teachers' opinions about what a doll or puppet is. To be able to look in to this I sent out a survey with questions and got responses from 176 informants within the preschool. The result shows that dolls are frequently used by many preschool teachers, but around 40-50% had not taken part in any research or education on the subject. The result also shows that the teachers usually associates the word ‘doll’ with baby dolls”. Some conclusions I can see after this study is that the dolls place in the preschool is determined based on adults' opinions about it. The doll is often used as a communicative tool but not always consciously or with a basis in research. / Syftet med denna studie är att undersöka om dockor används inom förskolan som en artefakt för kommunikation, språk och identitetsskapande utifrån tidigare forskning. Den undersöker även pedagogers svar om vad en docka respektive puppet är. Detta behandlas genom svar på enkäter från 176 informanter inom förskolan varav 138 är utbildade förskollärare och 38 är utbildade barnskötare.    Resultatet visar att dockor används frekvent av många förskollärare och barnskötare men runt 40–50% har inte tagit del av forskning eller utbildning inom ämnet. Resultatet visar också att pedagogerna oftast tänker på dockan i form av bebisdockor vid ordet ’docka’. Några slutsatser jag kan se efter denna studie är att dockans plats på förskolan avgörs utifrån vuxnas åsikter om den. Dockan används ofta som ett kommunikativt redskap men inte alltid medvetet eller med grund inom forskning.

李麗虹. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 131-137. / Li Lihong. / Chapter 第一章 --- 前言 --- p.6-12 / Chapter 第一節 --- 硏究地區之選擇 / Chapter 第二節 --- 過去及當前之硏究 / Chapter 第三節 --- 硏究目標 / Chapter 第四節 --- 資料來源 / Chapter 第二章 --- 台灣布袋戲的源流、發展及布袋戲名稱的由來 --- p.13-28 / Chapter 第一節 --- 布袋戲名稱的由來 / Chapter 第二節 --- 台灣布袋戲的源流及發展 / Chapter 第三章 --- 布袋戲班的構成因素及《小西園》布袋戲班的介紹 --- p.29-49 / Chapter 第一節 --- 布袋戲班的構成因素 / Chapter 第二節 --- 小西園布袋戲班建團歷史及內部組織的硏究 / Chapter 第四章 --- 布袋戲音樂在台灣的發展、演變及北管音樂的使用 --- p.50-72 / Chapter 第一節 --- 布袋戲音樂的發展與演變 / Chapter 第二節 --- 北管的範圍與分類 / Chapter 第三節 --- 北管的演出形式 / Chapter 第四節 --- 布袋戲伴奏的樂器 / Chapter 第五章 --- 布袋戲北管聲部音樂的分析 --- p.73-104 / Chapter 第一節 --- 艾倫´Ø洛馬克斯，歌唱測定體系（Alan Lomax Cantometrics)方法的說明 / Chapter 第二節 --- 十首歌曲的分析硏究 / Chapter 第三節 --- 十首歌曲聲響效果的總結 / Chapter 第六章 --- 結論 --- p.105-107 / 附錄一 譜例 --- p.108-119 / 附錄二圖片說明 --- p.120-130 / 參考書目 --- p.131-138

Detta examensarbete har sitt fokus på förskolebarnens lek och dess olika former med handdockan. Syftet med denna studie var att undersöka hur barnen intregerar med handdockan och hur de använder dem som medierande redskap. Undersökningen var utförd som en observationsstudie av barnen på en förskola i åldern 3-5 år. De resultat som framkommit pekar på att en handdockas närvaro i barnens lek kan te sig på skilda sätt. Barns möte med handdockan kan både inspirerea, utmana och försvåra leken. De lekformer som synliggjorts i denna studie visade att imitation och transformation stod i centrum. En annan upptäckt som gjordes under studien var pojkars och flickors skilda sätt att leka med handdockorna. Handdockan kan fungera som ett redskap som kan återspegla tidigare händelser och i och med detta försökte barnen få en förståelse för det som de upplevt. En handdocka kan ge barnen vissa budskap som berikar deras lekar, deras utveckling och det livslånga lärandet. För dessa barn kunde handdockan tillsammans med barnens egna erfarenheter fungera som ett medierande redskap och guida dem till en förståelse av sin omvärld. Denna studie representerar även de barn som hade vissa svårigheter att ta till sig handdockor i leken. Kanske kunde detta bero på att handdockorna inte gav dem några associationer, vare sig i den faktiska eller fiktiva omvärlden.

Thesis (M.A.)--Bowling Green State University, 2008. / Document formatted into pages; contains v, 92 p. : ill. (some col.) Includes bibliographical references.

This practical-theoretical thesis consists of two wire-controlled marionettes. The puppets are made of fired clay and other materials. The marionettes come with an original theatre play, which is also a part of the thesis. The form of the marionettes is inspired by the puppets of Czech folk puppeteers and marionettes from Munich. The accompanying theoretical part focuses on the history of puppetry, types of puppets and their use in art schools. The work also informs about the lives of our foremost puppeteers.

This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.

This dissertation investigates the development of early modern Japanese joruri puppet theater in the eighteenth century, focusing on representations of female characters in the works of three major playwrights. Joruri developed as a theatrical form combining chanting, music, and puppetry that was regularly performed for urban commoners. The plays were also commercially printed for leisure reading. The genre achieved immense popularity and exercised significant influence over early modern popular consciousness. The contemporary bakufu government licensed theaters and controlled what could appear on stage. In the shadow of this censorship, joruri developed genre conventions that reinforced the social order based on Confucian ideals, a strict class and gender hierarchy in which individuals were of less importance than the family, clan, or state. For this reason, joruri is often viewed as becoming progressively more formulaic and conservative. However, I argue that joruri playwrights straddled the fence between preserving a formula that reinforces the Confucian ethical order and its rigid gender and class hierarchy in order to avoid being banned and subverting it to speak to the audiences' anxieties about authority and the existing societal order. The instances of subversion often involved renegotiation of the genre conventions surrounding female characters whose tribulations arose from their low positions in the social order and whose tragic circumstances were highlighted by the drama. By examining the representations of innovative female characters by three major playwrights over the course of joruri's development, I show that the essence of these plays lies in these moments when joruri creates an alternative world where the repressed voice emerges, gender and class expectations are revisited, and the societal status quo is called into question. Chapter One provides an overview of the history of joruri, particularly in relation to women, its major playwrights and theaters, and its formal conventions. Chapter Two focuses on the representations of prostitutes as heroines in love suicide plays by Chikamatsu Monzaemon (1653-1724). I argue that Chikamatsu subverted the contemporary class and gender hierarchy by depicting prostitutes, who were at the bottom of the social hierarchy, as morally exemplary romantic heroines. Chapter Three examines the recurrent representations of stepmothers in Namiki Sosuke's (1695-1751) plays in the context of the existing conventional representations of stepmothers in joruri. I argue that Sosuke's unconventionally realistic depictions of the dark psychology and transgressive behavior of seemingly-exemplary stepmothers highlight the conflict between individual desire and social obligation and call into question the absolute priority of social obligation. Chapter Four examines the work of Chikamatsu Hanji (1725-1783) written during a time when joruri and kabuki were engaged in a particularly strong cycle of mutual influence and borrowing. I argue that Hanji's reinvention of provincial daughters as unconventionally outspoken in the female realm of love, and yet pawns in the male realm of politics, subtly criticizes societal norms that subordinate the value of the individual to the maintenance of the social order. Through examination of how each playwright established and renegotiated joruri's genre conventions in creating his innovative female characters, this dissertation sheds light on the multiple functions of joruri: as didactic theater, popular entertainment, and a site for subtle criticism where early modern conceptions of gender and class and societal norms were reexamined and reimagined.

A presente pesquisa versa sobre a possibilidade ou não da alfabetização geográfica por meio do Teatro de Fantoche como possibilidade de uma prática lúdica, mais envolvente e que permita a autonomia do sujeito em sala de aula. Na coxia buscamos as informações por meio de entrevistas realizadas com sujeitos alunos e professores de terceira série/ano do Ensino Fundamental, em três escolas de Porto Alegre. O Objetivo geral que buscamos foi observar se o lúdico do teatro de Fantoches é uma possibilidade facilitadora da construção do Conhecimento Geográfico. Trabalhamos com a dialógica, a recursividade e o princípio hologramático, na crença não de uma única verdade, mas das verdades serem muitas e também provisórias. Nossos procedimentos no palco basearam-se na Pesquisa Qualitativa. Na primeira cena exercitamos o ato do conhecer os atores, o palco e o Teatro. As reflexões sobre essa cena dizem respeito à construção do conhecimento geográfico com ênfase nos conceitos de Espaço, de Lugar e de Orientação por meio do Teatro de Fantoches. Para tanto buscamos o apoio da Epistemologia Genética para compreender provisoriamente como a criança constrói o conhecimento. Na segunda cena tratamos das questões metodológicas. A terceira cena é dedicada às leituras produzidas na coxia e no palco: no primeiro ato desta cena encontramos as Representações das entrevistas com os sujeitos professores e sujeitos alunos. No segundo ato as representações das oficinas que, nesse momento, analisamos as oficinas de contação de histórias e de construção dos Fantoches. No terceiro ato as Represent(ações) das Apresent(ações); o estudo das representações espaciais e sociais dos sujeitos alunos para a construção do conhecimento, por meio da apresentação teatral com os Fantoches, foi vista como importante para a compreensão do conhecimento geográfico. No último ato, mas nem tão final da peça, dedicamos às reflexões de nossos objetivos com as práticas adotadas no palco. Observamos que há um predomínio nas narrativas dos sujeitos alunos quanto ao brincar, em especial ao lúdico. Procuramos analisar os significados que os sujeitos atribuem ao brincar, bem como o seu papel nas representações espaciais e sociais. / This research deals with the possibility or not geographic literacy through the Puppet Theatre as a practical possibility of entertaining, more engaging an denabling the autonomy of the subject in the classroom. Backstage seek information through interviews with subject teachers and students of third grade / year of elementary school, in three schools of Porto Alegre. The general objective was to observe whether we seek to play the puppet theater is a possibility of facilitating the construction of geographical knowledge. We work with the dialogue, theholographic principle and recursion, a belief in not only truth but many truths are also provisional. Our procedures were based on the stage in Qualitative Research. In the first scene exercise the act of knowing the actors, the stage and theater. Reflections on the scene to the construction of geographical knowledge with emphasis on the concepts of space, place and guidance through the puppet theater. To this end we seek the support of Genetic Epistemology to provisionally understand how the child constructs knowledge. In the second scene of treat methodological issues. The third scene is devoted to the readings produced backstage and on stage: in the first act of this scene we find the representations of the interviews with the subjects and subject teachers students. In the second act the representations of the workshops at that time, we analyze the storytelling workshops and construction of puppets. In the third act represents (shares) of Presentations (actions), the study of social and spatial representations of the subjects students to construct knowledge by means of theatrical presentation with puppets, was seen as important for the understanding of geographical knowledge. In the last act, but not as the final piece, dedicated to the reflections of our goals with the practices adopted on stage. We note that there is a predominance in the narratives of the subjects students about the play, especially to play. We tried to analyze the meanings individuals give to the play, as well as its role in social and spatial representations.

The thesis is an auto-ethnographic study of the author's journey to use puppetry arts as a mode of personal expression. It documents the process of developing; rehearsing; building puppets, props and stage; and performing a puppet performance. The thesis also includes primary source research obtained from an interview with professional puppeteer, Monica Leo, of Eulenspiegel Puppets. The author also describes and reflects upon her experiences teaching an enrichment course on puppetry arts to elementary students. The research highlights ways that puppetry arts can affect students' learning and reflects on its place within the field of art education.