Thesis (M.S. Ed.)--Bank Street College of Education, New York, 2003. / A web site accompanies this project. Bibliography and webliography (leaves 95-99).

Disaffected students have an extra need for activities which bolster self-confidence, add to self-esteem, and address their sense of alienation from more advantaged students. Without on-going efforts to compensate for their perceived inadequacies they are likely to fail in career and educational goals. Urban high schools do not have staff and programs available to assist these students. Hope lies in extra-curricular programs which attempt to bridge the gap between needs of the students and lack of resources available to alleviate the problem. The Senior Class Day Show is a successful extra-curricular program which has benefited many students who feel otherwise alienated from the mainstream. This is a qualitative descriptive case study in which I, as a participant-observer of this yearly event, examined 161 secondary school student Show participants of the total defined population of 1,285 students involved in the Show from 1969-1992 concentrating on years 1987, 1989, and 1991. A triangular methodology was used including the following: (1) Attendance statistics from 157 (100%) secondary school student Show participants from three graduating classes were analyzed and compared with non-participants from the same years. (2) Survey results from 115 (73%) secondary school student Show participants of the same three graduating classes were collected immediately after the Show. These results were coded into six categories which were developed after an examination of all the surveys. (3) Open-ended interviews with four alumni who had been Show participants and selected to represented different classes, sexes and background were coded and excerpts were aligned with the six categories examined in the surveys. The data shows that the absence rate for participants decreased during the fourth quarter when students were actively preparing for the Show and the mean absence percentage rate for quarter 1-4 were found to be significantly lower for participants than for non-participants. Surveys from 115 student participants expressed six positive benefits attributed to their participation. The most significant benefits expressed by these students were (1) improved attendance; (2) sense of community or "Esprit de Corps;" (3) heightened self-esteem; (4) opportunity for self-expression, (5) a sense of accomplishment, and (6) the thought of theater as a career.

<p> I. Solo Recital: Friday, April 11, 2013, 7:30 p.m., Taylor Theatre. <i> Cendrillon</i> (Jules Massanet) Opera Role. </p><p> II. Solo Recital: Saturday, February 8, 2014, 7:30 p.m., Recital Hall. "Warum betr&uuml;bst du dich," "Wilst du dein Herz mir schenken" (Johann Sebastian Bach); Bachianas Brasileiras No. 5 (Hector Villa-Lobos); "Kennst du das Land" (Hugo Wolf); "Kennst du das Land" (John Duke); "Nur wer die Sehnsucht kennt" (Robert Schumann); "Net tolko tot kto znal;" (Pyotr Ilyich Tchaikovsky); "Aime-moi" (Pauline Viardot); "Vaga Luna" (Vincenzo Bellini); "Aragonese" (Gioacchino Rossini); "Befreit," "Ruhe Meine Seele," "St&auml;ndchen," "Amor" (Richard Strauss). </p><p> III. Solo Recital: Thursday, March 5, 2015, 7:30pm., Recital Hall. "Youkali," "J'attends un navire," "Wie lange noch?," "Come up from the Fields, Father" (Kurt Weill); "Tom Sails Away" (Charles Ives); "Le disparu," "Bleuet," "C," "F&ecirc;tes galantes" (Francis Poulenc); Ariettes Oubli&eacute;es (Claude Debussy); Cabaret Songs (Benjamin Britten); "Waldseligkeit," "Selige Nacht," "Hat dich die Liebe ber&uuml;hrt" (Joseph Marx). </p><p> IV. D.M.A. Research Project. CROSSING OVER: EXAMINING THE CHALLENGES OF A CLASSICALLY TRAINED FEMALE PERFORMING MUSIC THEATER REPERTOIRE. This document explores the pedagogy of a classically trained singer as well as that of a music theater performer exploring similarities and differences. Musical examples are referenced throughout. A discussion of style of the megamusical and the 21st century musical provides context. A final chapter on repertoire suitable for bridging the styles provides a reference for the teacher and singer.</p>

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xvii, 326 p.; also includes graphics (some col.). Includes bibliographical references (p. 236-244). Available online via OhioLINK's ETD Center

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Submitted by CARLA MARIA GOULART DE MORAES (carlagm) on 2015-04-01T19:21:46Z No. of bitstreams: 1 EdmarGaliza.pdf: 607333 bytes, checksum: b31f0e0198f8e79e48fabdd29594cfca (MD5) / Made available in DSpace on 2015-04-01T19:21:46Z (GMT). No. of bitstreams: 1 EdmarGaliza.pdf: 607333 bytes, checksum: b31f0e0198f8e79e48fabdd29594cfca (MD5) Previous issue date: 2011 / UNISINOS - Universidade do Vale do Rio dos Sinos / A dissertação tem por objetivo analisar os jogos de linguagem praticados por alunos das séries finais do Ensino Fundamental, ao criarem jogos dramáticos nas aulas de teatro. A pesquisa serviu-se de ferramentas teóricas provenientes do pensamento de Ludwig Wittgenstein, mormente de sua obra Investigações Filosóficas, tais como jogos de linguagem, semelhanças de família e formas de vida; também das teorizações de Michel Foucault, como discurso e jogos de verdade; igualmente, serviu-se das formulações de Jean-Pierre Ryngaert sobre jogos dramáticos. Do ponto de vista teórico, a dissertação mostrou ser possível articular consistentemente as noções de jogos de linguagem, jogos de verdade e jogos dramáticos, vinculadas a esses três pensadores. O material de pesquisa analisado consiste em quatro jogos dramáticos que foram videografados e posteriormente editados assim como anotações a partir de observações feitas em diário de campo. De modo específico, o estudo mostrou como, em um dos jogos dramáticos criados pelos alunos, os personagens gays foram submetidos a humilhações, o que deu visibilidade a suas atitudes homofóbicas. O exercício analítico realizado mostrou que o teatro produzido na escola está submetido à racionalidade da maquinaria escolar, isto é, o teatro que é praticado na escola é, efetivamente, o teatro da escola. / This paper aimes to analyze language games played by elementary school students during their rehearsal of plays in theater class. This research uses theoretical models that originate from Ludwig Wittgensteins concepts of the language game, family similarities and life forms, which come mainly from his work Philosophical Investigations. It is also based upon Michel Foucaults ideas of theoretical production, such as discourse and truth games, as well as Jean-Pierre Ryngaerts discussions of dramatic plays. From a theoretical viewpoint, the thesis indicates the possibility of consistently articulating notions of language games, truth games and dramatic plays, as they relate to these authors. The corpus analyzed consists of four dramatic games which were video recorded and later edited, as well as notes taken from observations. To be more specific, this paper demonstrates how, in some dramatic games produced by students gay characters were subject to humiliation, highlighting the students homophobic attitudes.The analysis suggests that theater produced in school is subjugated to the rationality of the school machinery. Essentially, theater that is practiced in school is effectively theater of the school.

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

Lao folk opera is a unique blend of popular theatre and sung poetry performed among Lao-speaking people of rural Southeast Asia for a wide range of social and religious purposes. As a traditional medium for popular education, its primary function has been to preserve the cultural identity of the ethnic Lao by re-enacting ancient myths, local folk legends, and morality tales based on the penultimate lives of the Buddha. This dissertation explores the role of Lao folk opera as a medium for constructively addressing problems of cultural conflict and acculturative stress that have arisen among lowland Lao refugees and their children in urban America. The central focus of the inquiry is on the ways Lao folk opera currently functions as a learning medium in the resettlement context. The need for validation of such locally produced endogenous media has become increasingly apparent as long term resettlement issues continue to emerge as threats to linguistic and cultural identity. The review of literature encompasses the role of oral specialists in traditional societies, Buddhist epistemology in the Theravada tradition, and community education in rural Lao culture. These sources provide the background necessary to an understanding of the medium's capacity for encapsulating culture and teaching ethical values in ways that connect past to present, distant to near. The field research, which was accomplished in collaboration with a Lao folk opera troupe based in New England, adapted the action research model originally proposed by Kurt Lewin to the principles of Buddhist community education. The videotaped performance of a drama based on the refugee experience and subsequent audience reactions formed the main body of qualitative data. Group reflections revealed that the medium provides a viable context for performance artists to assume the role of critical culture makers with a potent educational agenda. Recommendations include the encouragement of local media producers to take advantage of community access facilities to counteract the homogenizing influences of the dominant media and the more active inclusion of elders in the transfer of language and culture across generational borders.

The present study investigated the basic question: Will preschool, kindergarten, and first grade students have a greater increase in knowledge of selected nutritional concepts as a result of viewing a puppet story than a similar composite will have when the same material is presented via dramatic storytelling?

The purposes of this study were 1) to ascertain the effectiveness of puppets with instructional media in oral language development of culturally disadvantaged first-grade children, and 2) to derive the implications of this effect for instructors, teachers, and volunteers working in programs for the culturally disadvantaged child.