As a theatre for young audiences' (TYA) teacher, artist, and administrator, I seek to explore where and how TYA fits into business and economic models to open a dialogue between TYA practitioners and business administration professionals. Through this qualitative study, I endeavor to foster a new language for TYA practitioners to enhance fundraising and audience development. By its own definition, TYA is a hybrid field that strives for both artistic form and educative function. With a dual focus of form and function, administrators struggle to advocate for TYA organizations within existing models. To move through this challenge, I look to analyze select extant models in an effort to address a new hybrid model that better suits a hybrid field. This project arises from the persistent challenges found within the TYA field of defining and valuing our work for and with young people, so I approach this research as a TYA practitioner seeking tools for advocacy. Through my work as a teacher and artist moving into a business office, I observed marketing and development directors from the non-TYA fields challenged by the nature of our work. Paralleling that challenge, I struggle to articulate the necessity of my work with young people as equal to the importance of artistic excellence. My research leads me to believe that TYA does not neatly affix to any business model, but an analysis and marriage of several models may create a working model which TYA practitioners can employ.

An actor seeking to improve his craft can find numerous sources containing countless tips and techniques on the art of acting. However, the majority of these books target the adult actor often leaving young performers struggling to understand complex acting theory. With the goals of creating a nurturing learning environment and quality performance work within a compact rehearsal schedule, this thesis project created and evaluated a new synthesis of modern acting theory for directors to use when working with young performers. This technique adapted and coalesced several perspectives on foundational acting theory-specifically looking at the use of a character's wants and actions as described by Bruder et al., Caldarone & Lloyd-Williams, Cohen, Jory, Mamet, and Stanislavski. I tested the developed technique using an independent production of The Cat Who Ran by Naoko Kudo performed by a group of seventh through tenth grade actors. This thesis shares the process of creating this rehearsal tool with its readers. This process included researching and synthesizing the technique, documenting my process as director and acting coach for The Cat Who Ran, testing the technique throughout the production of The Cat Who Ran, evaluating the effectiveness of the technique through qualitative observation from production team and audience members, and theorizing the potential effectiveness for other scripts. The documentation of the project includes surveys, worksheets, text analysis, and production photos.

When working with a new group of people, it is common practice to create a Community Agreement in pursuit of quality outcomes. This tool uses dialogue to methodically outline the desired educational or creative environment, democratically articulating the commitments and expectations to remain in place throughout the duration of the group's existence and setting all participants in accord with the work to come. However, the Community Agreement can fail to support individual participants during moments of inevitable tension. In such moments, participants may experience unplanned emotional or physical reactions in response to triggering material or ideas. To navigate these reactions and ensure the Community Agreement is sustained throughout the entire process, it is necessary to introduce specific operational tools. One solution lies in Liz Lerman's Critical Response Process (CRP) and Theatrical Intimacy's boundary-establishing practice of "Button," which are tools commonly found within the theatrical setting that strategically work to guide participants through moments of heightened tension so they can return their focus to the overall objective. This thesis begins by demonstrating an instance where the Community Agreement fails to support participants when uncontrollable discourse arises in the graduate classroom. I present the addition of CRP and "Button" as appropriate and effective solutions to remedy this observed weakness and test them in the undergraduate classroom. Turning focus to my field of study, the last part of this thesis contextualizes these dialogical tools in the Theatre for Young Audiences field, offering suggestions regarding the application of these tools with Elementary, Middle, and High School students.

Thesis (MDram (Drama))--Stellenbosch University, 2008. / Theatre for young people (TYP) is the umbrella term for all theatre created by professional actors for the age group 2 to 25. Within this term there is a form or genre that creates theatre for the ages 13 – 18 with the specific purpose of entertaining these audiences rather than educating them through other forms such as Theatre-In-Education. The aims of this study are to firstly establish to what extent this phenomenon exist within the Western Cape and secondly, if it is found lacking to look at the challenges and opportunities that can arise when introducing this form into the market. There are three reasons why this form should be introduced into the Western Cape’s TYP market. Firstly, theatre is more than just an educational tool for younger audiences and young people deserve the same cultural rights as adults. Secondly, many industries already approach young people as a separate market and theatre needs to adopt the same approach. Lastly, theatre for the age group 13 – 18 is an important part of audience development and should be pursued if theatre wants to expand its market base. To establish what the current strengths and weaknesses of the TYP industry in the Western Cape are, an international frame of reference must be created. The government policy and TYP industry structure of four countries, namely Australia, Denmark, England and The Netherlands are used to create a broad framework from which specific TYP companies and festivals within these countries are discussed. Some general challenges facing TYP in these countries are also highlighted and these elements then form the framework for comparison. The same elements within the TYP industry of the Western Cape – government policy, the TYP industry, companies and festivals – are also discussed and then a comparison between the countries and the Western Cape is made. Based on this it becomes clear that the age group 13 – 18 is grossly neglected when it comes to theatre as form of entertainment as TYP companies in the Western Cape focus mainly on children and educational theatre. From this the challenges that face creators of TYP as entertainment within the larger South African society are highlighted and also made applicable to the Western Cape. The definition of theatre in a multicultural society, the economic situation of the country, the general attitude of society towards theatre, the problematic nature of the youth market and funding structures are identified as possible challenges for TYP in the Western Cape. There are, however, also opportunities for TYP as entertainment within the industry. By using the concept of branding and existing structures in the youth market it is possible to raise the presence of TYP as entertainment form. Youth theatre, educational institutes and the current adult festival circuit of the Western Cape are all possible platforms through which the brand of TYP as entertainment can be introduced and work in symbiosss with the current theatre industry.

A presente tese investiga a pertinência e a relevância cultural de um teatro voltado especialmente para bebês. Para tanto, foi realizado um estudo de inspiração etnográfica, que consistiu principalmente da participação da pesquisadora como público em espetáculos teatrais voltados especialmente para essa faixa etária, na cidade de São Paulo. Desta forma, o teatro para bebês consistiria uma unidade mínima bastante especial e oportuna para a observação de fenômenos culturais, nos quais há construções conjuntas de significados, envolvendo adultos e crianças. Foram assistidos doze espetáculos de teatro para bebês, dos quais cinco foram analisados mais detalhadamente. Observou-se a dinâmica de interações que se estabelecia a partir das proposições cênicas das/dos artistas e da montagem, bem como da recepção e da participação da plateia, composta de adultos e crianças, especialmente as bem pequenas, até dois anos. Também foram realizadas entrevistas com os artistas criadores dos espetáculos. Para as análises, foram utilizados principalmente quatro referenciais teóricos: a tese de Vigotski (1995) de que as funções superiores são a cultura internalizada, atualizada no estudo proposto por Pino (2005) no que diz respeito à ideia de humano; o referencial teórico da Rede de Significações (RedSig); a ideia de dieta cultural proposta por Del Río e Álvarez (2007); e a Estética da Recepção, a partir das ideias de Robert Jauss (1979) e Wolfgang Iser (1996). Constatou-se que há semelhanças entre o teatro para bebês e a escola de educação infantil quanto à dinâmica do triângulo relacional que se estabelece entre mães/pais, professores, e bebês, na escola; e mães/pais, professores e bebês, no teatro. Como na escola, mas de forma \"concentrada\", o teatro para bebês oferece oportunidade de construção de significados conjuntos, da descoberta do outro, de disputa de atenção e de crescimento envolvendo adultos e crianças. Concluiu-se que é pertinente que se crie e apresente espetáculos teatrais especialmente para a primeira infância (bebês) e que a oferta desse tipo de produção, já considerável em São Paulo, tende a aumentar e se diversificar nos próximos anos. / This thesis investigates the pertinence and cultural relevance of theatrical production targeting babies. To that end, a study of ethnographical inspiration was conducted, consisting primarily of participation by the researcher as a member of the audience in dramatic productions aimed at this age range, in the city of São Paulo. In this way, theatre for babies would constitute a minimal unity, quite special and inviting for the observation of cultural phenomena, in which children and adults take part as a group in the construction of meanings. Twelve productions were watched, five of which were chosen for a more in-depth analysis. We observed the interaction dynamics established by the dramatic propositions of the artists and the production itself, as well as reception and participation by the audience, composed by adults and children, especially the very young, up to two years of age. Interviews were also conducted with the creators of the productions. For the analyses, four theoretical cornerstones were mainly used: the thesis by Vigotski (1995) that the superior functions are internalized culture, updated in the study proposed by Pino (2005) with respect to the idea of human; the theoretical reference of the network of meanings; the idea of cultural diet proposed by Del Río and Álvarez (2007); and the Aesthetics of Reception, from the ideas of Robert Jauss (1979) and Wolfgang Iser (1996). We found that there are resemblances between the theatre for babies and the institution of Early Childhood Education regarding the relational triangle established by parents, teachers and babies, at school; and parents, teachers and babies, at the theatre. As in school, albeit in a concentrated manner, theatre for babies offers opportunities for the constructing of joint meanings, the discovery of the Other, the dispute for attention and growth involving adults and children. We concluded that creating and presenting dramatic productions made specially for children in their early infancies (babies) is a pertinent practice, and that the supply of this type of production, already sizeable in São Paulo, is predicted to increase and to diversify in the next few years.

This dissertation for the M.A. in Creative Writing consists of a full-length play, titled Last Laugh and a mini-dissertation. The mini-dissertation explores the phenomenon of Theatre-for-Development, which differs significantly from the performance tradition of classical African drama. The study identifies ways in which Theatre-for-Development practitioners, animators or catalysts, (interchangeable names given to agents who teach target community members theatre-for-development skills) abandon the conventions of classical African drama performances, in terms of the form of plays, stage management and costumes. They find different and less formal ways to tackle the social problems which the target communities experience. The origins of Classical African drama are traced from the western tradition, from which it borrows heavily, and there is some discussion of the socio-historical conditions that prevailed during the time when African playwrights performed those plays, and the rise of nationalism in colonised African states, which in part influenced their production. This study then examines how the socio-political dynamics in the Zimbabwean post-farm-invasions era gave rise to Theatre-for-Development projects in the newly resettled farming communities that faced social development challenges. Despite the land gains peasants enjoyed, the resettled communities found themselves in places far away from schools, hospitals, shops and social service centres. That was the source of their problems. It will be shown how government sponsored Theatre-for-Development groups to mobilise the people, through theatre, to initiate home-groomed solutions to their social and economic problems during a time when the government was bankrupt and the country’s economy was shattered by the destruction of the agricultural and mining sectors, triggered by the invasions of the white commercial farms. The Ziya Community Theatre’s production of Sunrise is analysed in the light of these considerations. / Dissertation (MA)--University of Pretoria, 2012. / English / unrestricted

Thesis (MDram)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained. / AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmensebedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word.

The process of communicating notions of sustainable development in rural grassroots communities in the oil-rich region of southern Nigeria, West Africa, is complex and remains an on-going challenge. The material consequences of ineffective communication between community leaders and their constituencies are evident in the Nigerian communities examined in this dissertation, where poverty is pervasive and where a large majority of the population can neither read nor write in English. Popular performances, specifically theatre, are an essential medium of communication and information dissemination on community development projects in these communities. Theatre for Development (TFD), as these form of popular performances are called, was first introduced to the country in 1975. Its methodology is an adaptation of the techniques of Theatre of the Oppressed created by theatre scholar Augusto Boal. The method is aimed specifically at effecting dialogue, encouraging critical thinking, and motivating the desire for community development and social change. A number of challenges, however, limit the effectiveness of this method in achieving these goals. They include funding constraints, which restrict the amount of time TFD participants spend working in any community and limit follow-up visits to sustain integral dialogues begun during a post-performance discussion. In essence, funding restrictions limit the possibility of achieving sustainable community development. To address this key challenge of time constraints and to facilitate sustained development dialogue between community stakeholders, this dissertation examines the use of indigenous performance practices staged by local performers in rural grassroots communities. By creating and staging a TFD performance using structural elements of oriki, an indigenous performance practice in the region, I address a core research question: How do structures and contents of indigenous performance practices create forums for sustained dialogue and collective consciousness awakening? The answer to this question lays the foundation for sustainable development projects in Nigeria and offers a practical way to improve the effectiveness of TFD as a medium of information dissemination, a tool to facilitate sustained dialogue, and a community development approach in rural grassroots communities in the country. / text

This thesis details -in personal narrative form- the process by which the author directed a production of Elizabeth Wong's Amazing Adventures of the Marvelous Monkey King at Dr. Michael M. Krop Senior High School in Miami, Florida. The following text explains elements of pre-production, presents relevant research associated with the play, describes the production process in detail, and states conclusions drawn by the author about the experience. The work challenged both the ensemble and the director to seek new avenues of expression and theatricality different from those traditionally explored in their respective educational settings.

This qualitative phenomenological study explores the role of Theatre as a tool of empowerment for Black youth. This study involves IMPACT Repertory Theatre of Harlem (IMPACT), a Theatre group that consists of Black youth between the ages of 12-19. Observations, focus-group interviews and audiovisual material were used to explore Black youth's experiences with and perceptions of Theatre via IMPACT. The existing literature surrounding the topic of Theatre for youth empowerment contains the following gaps: they do not give a voice to the youth in question, they are seldom conducted in the U.S. and they do not specifically focus on Black youth. Analysis included categorizing the data and then putting it into themes. In the study’s findings, participants reveal that Theatre via IMPACT offers a source of family like support, a safe space and opportunities for self discovery and transformation.