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The critical understanding of Theatre in Education (TIE) presented in this thesis focuses on ‘TIE into Schools’ and its effect. The author takes the view that students’ subjectivity was influenced by the dominant mores of elements of society, such as family and school, and less often, by individual, autonomous decision. Case studies of practices that are identified with the tenets of TIE were carried out using approaches based on the principles and methods of a critical pedagogy approach. How could the TIE approach be seen as a critical pedagogy? This question is examined predominantly through the lens of Paulo Freire and Henry A. Giroux’s thoughts on education and teachers. In addition to an understanding of the tenets of TIE and the tenets of critical pedagogy, this thesis presents a criticism of its discursive approach and also a criticism from the researcher as a participant observer. This narrative approach helps explore the human side of the experience thus keeping real life issues to the fore. Fieldwork episodes of TIE practice in three different levels of schools, the Taipei He-te Primary School, 10 different senior high schools and the National Taiwan University are presented in the context of the students’ differing ages in an attempt to understand more about the methods and tenets of TIE. ‘Partnership’ is a key concept and driving force, creating mutual cooperation between the community of the school, the parents and the theatre groups. The expected outcomes of this thesis include the clarification notions of TIE, and the adoption of a subjective approach by the students in relation to the process of interactivity, leading from affection to cognition, then action. This thesis concludes that TIE is a critical pedagogy and praxis, which develops skills and attitudes in which action can be taken by the individual in fitting in the world. It improves the individual’s ability to rethink his/her beliefs and attitudes, to empathise with groups of people and individuals with whom she/he previously may not have come into social contact with and allows previously taboo subjects to be discussed openly.

ABSTRACT A detailed account of the working life and achievements of the English actress/manager, Lena Ashwell, between the years 1891 and 1929, set in the context of the theatrical and social environment of these four decades. The thesis presents a chronological record of Ashwell's stage career, her development as a theatrical manager and her contributions to progress in her profession as well as to the changing perception of the role of women in society. It also records Ashwell's contribution during the First World War, taking entertainment to the war zones to boost the morale of soldiers and to provide employment for actors and musicians. It continues with an account of the post-war pursuit of her aim of making theatre accessible to the whole community through dedicated commitment to the British Drama League and the idea of a National Theatre and the creation and management of the Lena Ashwell Players. The thesis proposes that Ashwell has been unjustly neglected in histories of this period and that her considerable achievements are worthy of recognition and inclusion in accounts not only of the acting profession and the achievements of women playwrights, but also of the Suffrage and women's movement, the First World War, the National Theatre of Great Britain and the municipal or regional theatres established throughout the country, state subsidy and public support for the arts, actor training and the study of drama and theatre within the education system. Five chapters give a narrative account of Ashwell's work from her first stage appearance in March 1891 to the closure of the Lena Ashwell Players in August 1929. Each chapter adds to the cumulative impact of Ashwell's achievements, while identifying areas where she has left a lasting legacy. The Postscript provides a brief account of the last twenty-seven years of her long life, when she was less able to play an active role in society, but never lost her indomitable spirit or ambition for a better world. The Appendices provide a chronological list of her stage appearances and details of the members of the Lena Ashwell Players and the company's repertoire during the 1920s.

ABSTRACT A detailed account of the working life and achievements of the English actress/manager, Lena Ashwell, between the years 1891 and 1929, set in the context of the theatrical and social environment of these four decades. The thesis presents a chronological record of Ashwell's stage career, her development as a theatrical manager and her contributions to progress in her profession as well as to the changing perception of the role of women in society. It also records Ashwell's contribution during the First World War, taking entertainment to the war zones to boost the morale of soldiers and to provide employment for actors and musicians. It continues with an account of the post-war pursuit of her aim of making theatre accessible to the whole community through dedicated commitment to the British Drama League and the idea of a National Theatre and the creation and management of the Lena Ashwell Players. The thesis proposes that Ashwell has been unjustly neglected in histories of this period and that her considerable achievements are worthy of recognition and inclusion in accounts not only of the acting profession and the achievements of women playwrights, but also of the Suffrage and women's movement, the First World War, the National Theatre of Great Britain and the municipal or regional theatres established throughout the country, state subsidy and public support for the arts, actor training and the study of drama and theatre within the education system. Five chapters give a narrative account of Ashwell's work from her first stage appearance in March 1891 to the closure of the Lena Ashwell Players in August 1929. Each chapter adds to the cumulative impact of Ashwell's achievements, while identifying areas where she has left a lasting legacy. The Postscript provides a brief account of the last twenty-seven years of her long life, when she was less able to play an active role in society, but never lost her indomitable spirit or ambition for a better world. The Appendices provide a chronological list of her stage appearances and details of the members of the Lena Ashwell Players and the company's repertoire during the 1920s.

Orientador: Rogério Adolfo de Moura / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-18T20:21:45Z (GMT). No. of bitstreams: 1 Fernandes_JulianaAlvesGurgel_M.pdf: 11149817 bytes, checksum: 769e1e3c84169837ca5908ce9182aed5 (MD5) Previous issue date: 2011 / Resumo: A pesquisa 'O Teatro como Budô - O Aikidô Em Cena', trabalhou a arte marcial japonesa Aikidô como uma prática de formação de atores, destacando sua filosofia como parte constitutiva do treinamento. Formamos um grupo Aikidô EnCena e trabalhamos com atores, bailarinos e pedagogos técnicas e exercícios que visavam a formação do ator, percebendo o treinamento além do virtuosismo, contemplando dessa forma a questão pedagógica e sua formação sensível. O Aikidô, conhecido como 'A Arte da Paz', desenvolvido por Morihei Ueshiba. Propomos manter esse estado, sentimento e compromisso adquiridos na sala de práticas corporais, experimentando os princípios utilizados em um Dojô de Aikidô por meio do treinamento e vivenciá-los nas artes cênicas; entendendo o teatro como um DÔ, um caminho, um BUDÔ: "O Caminho para ações de coragem e de iluminação". Para dialogar com as emoções, sensações e sentimentos que essa filosofia intrínseca à prática suscita, e como esses atores se perceberam no processo, buscamos autores como António Damásio, José Gil, Yoshi Oida, e textos do fundador Ueshiba. Fizemos observação participante e por meio de elementos da pesquisa qualitativa registramos o desenvolvimento do trabalho e apresentamos o ponto em que a pesquisa se encontra. / Abstract: The research entitled 'Theatre as Budo - Aikido on Scene', was worked with the Japanese martial art Aikido practice while training as an actors emphasizing their philosophy as a constituent part of the training. We formed the group Aikido EnCena and worked with actors, dancers and technical educationalist and exercises that aimed the actor's formation, thinking the training beyond virtuosity, thus prioritizing the issue of teaching and their sensibility. Aikido, known as 'The Art of Peace', founded by Morihei Ueshiba. We proposed to maintain this stage, feeling and commitment to our room bodywork, experiencing the principles utilized in Aikido dojo through and experience them in the performing arts, considering the theater as one of a path, a Budo: "The Path to actions of courage and enlightenment". To dialogue with emotions, sensations and feelings that this intrinsic philosophy inherent to the practice develops and how these actors realizes themselves in the process, we search for authors like Antonio Damasio, José Gil, Yoshi Oida and texts of the founder Ueshiba. We did participant observation and through qualitative research elements, and then we record the development of work and present the point where the research at this moment. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Orientador: Marcelo Ramos Lazzaratto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T15:47:51Z (GMT). No. of bitstreams: 1 Martins_PedroHaddad_M.pdf: 1948104 bytes, checksum: 4f340ca080f183b5b32bf7a4e28351cd (MD5) Previous issue date: 2011 / Resumo: A presente dissertação teve por finalidade analisar as implicações da temática metateatral - em que o teatro é colocado como seu próprio objetivo e tema de realização -, dentro de processos pedagógicos em teatro, desenvolvidos com crianças entre 8 e 12 anos, idade em que o pensamento estruturante da cena começa e ser compreendido como um elemento de criação poética. Primeiramente, confrontamos esta prática, desenvolvida ao longo de nove anos, com diversas referências bibliográficas sobre o ensino do teatro publicadas no Brasil, como modo de situá-la e procurando afastá-la do sistema escolar, buscando verticalizar seu estudo. Enfatizamos, assim, o caráter próprio da linguagem teatral, como detentora, em si, de seus elementos pedagógicos. Em seguida, estabelecemos referências teóricas que balizaram a prática, reavaliando-a e ressignificando-a à luz de novos conceitos. Desse modo, o trabalho com a temática metateatral mostrou-se potencializador do desenvolvimento de um aluno-ator consciente da utilização e da combinação de diversos elementos poéticos próprios à cena, atividade lúdica por natureza, que incentiva a prática do jogo e da criatividade, essenciais ao desenvolvimento humano. Apropriamo-nos, então, do conceito de "lugar aprendente", de Jean- Jacques Schaller, para definir o lugar do ensino do teatro. Um lugar criado, determinado e alimentado por um coletivo, e que, em contrapartida, respeita a individualidade de cada um de seus componentes, efetivando o lugar do jogo e da criação poética. Posteriormente, relatamos experiências práticas - analisando-as de acordo com os conceitos discutidos -, realizadas dentro da sala de aula e quando da apresentação de quatro peças pelas crianças, exemplificando o metateatro como parte de uma metodologia pedagógica. Os espetáculos foram colocados como elemento fundamental para a assimilação da linguagem teatral, estabelecendo o público como parte do jogo, momento em que os alunos-atores se reconhecem como construtores dessa linguagem, afirmando-se, portanto, criativos, por meio do fazer teatral / Abstract: The purpose of this dissertation is to examine the implications of the use of metatheatrical themes - in which the theater is set as its own purpose and theme of achievement - in pedagogical processes developed in theater with children between 08 and 12 years old, age at which the structuring thought of the scene begins to be understood as an element of poetic creation. We first confronted this practice, developed over nine years, with several references published in Brazil about teaching theatre, as a way to situate this practice and to try to push her away from the school system in order to deepen its study. Thus, emphasizing the theatrical language for its characteristics: as a detainer, itself, of its pedagogical elements. Then we set theoretical references to base the practice, reviewing it and redefining it in the light of new concepts. Thus, working with the metatheatrical theme showed that it can potentiate the development of a student-actor aware of the use, and the combination between various poetic elements concerning the scene, a playful activity by its nature, that encourages the practice of the game and creativity, both essential to human development. The concept of "learning place", presented by Jean-Jacques Schaller, was then used to define the place of the teaching of theater. A place created, determined and fueled by a collective, but that respects the individuality of each of its components, effecting the game and the place of poetic creation. Finally we described practical experiments - analyzing them according to the concepts discussed - that occurred in the classroom and in the presentation of four plays with children, exemplifying metatheatre as part of a pedagogic methodology. The plays were placed as a key element for the assimilation of the theatrical language, establishing the public as part of the game, the moment where student-actors recognized themselves as builders of this language, asserting themselves, therefore, as creative individuals through the experience of doing theatre / Mestrado / Artes Cenicas / Mestre em Artes

論文分為四個章節。前言部分做創作動機的論述，接著針對流浪動物跟街友議題做文獻回顧，然後延伸到此次創作的構思以及劇本創作的文獻處理，最後則是劇本的呈現。 此次兒童劇本創作主要鎖定國小高年級小朋友及其以上的族群，以便對於社會議題有些認知，也較得以吸收相關的概念。文本內容部分，則針對街友和流浪動物議題做結合和脈絡式的劇情鋪陳，提供小朋友們從小建立對於社會議題的概念，從觀賞戲劇的趣味中，進一步達到教育劇場的效果。 / The main audience are upper grade elementary school children, who are aware of some social issues and this play could help them absorb the related concepts. The script mainly contains two subjects, homeless people and stray animals. This story makes children and adults learn these concepts. The aim of this play is to hope children can have fun from the theater and achieve the effect of educational theater.

Indiana University-Purdue University Indianapolis (IUPUI) / El teatro es un género mixto en el sentido que combina el lenguaje con elementos plásticos o espectaculares junto con una gran variedad temática y así se presta como vehículo que abarca los cinco estándares nacionales de la enseñanza de una segunda lengua: comunicación; cultura; conexiones; comparaciones; comunidades. El aprendizaje de una segunda lengua a través de la actuación dramática tiene beneficios para el aprendiz de índole personal y de carácter social. El aprendizaje se realiza mediante el uso de lenguaje auténtico, cuidadosamente metido en contexto y enmarcado en la matriz de la pragmática...

Using action research within a critical paradigm framework the author investigated young people’s ability to develop a programme of work that raises awareness of bullying in schools. The research group was made up of six young people, to whom the author and other specialists offered anti-bullying and participatory training techniques. The group eventually designed their own anti-bullying activity programme, which they delivered in creative workshop style sessions to other young people in schools. The author located this research in critical enquiry, engaging the group in a self-reflective process that aimed to be democratic, equitable, liberating and life enhancing. This report is written in the form of a narrative and evaluates the author’s practice as an educative theatre practitioner. Central themes to this research are bullying, power, creative activity and youth participation. Schools, teachers and adults are often described as sucking out the creativity of young people and thus not allowing many of them achieve their full potential. In this context young people are often powerless to deal with some of the difficult issues in their lives such as bullying. The author suggests that peer support is a key strategy to deal with bullying in schools. The author introduces a new concept of peer support called external peer support, which he has evaluated against the current literature. The definition of bullying is explored in depth, as is its relationship to power. The author suggests peer support to be a key strategy in youth participation and ultimately helping youth empowerment.

This thesis investigates the expertise of applied theatre practitioners and proposes a concept of 'responsivity' to define their skills, knowledge, qualities and understanding. Practice-responsive research methods were devised to analyse how artists make decisions in-action in a range of applied theatre practice in community, education and health contexts. Research included the use of reflective dialogues following observations of practice, stimulated by joint researcher-practitioner reflection on a video recording of the observed session. Working from detailed analysis of this observed practice and dialogic reflection, new vocabularies are introduced and developed, with the aim of better articulating particular skills and approaches. The role of applied theatre practitioners is multi-faceted and primarily focussed on facilitating positive outcomes for the participants. Planning activity is informed by projected outcomes for the work and the context of practice, such as environment, nature of the participants, individual identities, etc. Practitioner skills build on art form knowledge and the ability to guide activity to create performance outcomes, alongside a concern for aesthetic and ethical issues of the work, as well as social and political awareness of the context. Adaptations to moment-by-moment activity reflect their ability to facilitate engagement and nurture interactive exchange. I suggest that, to manage these multiple demands, practitioners demonstrate heightened attendance to issues of inter-subjectivity and empathy, thereby developing an enhanced expertise in response to the work and the people and contexts involved in that work. The thesis proposes that responsive approaches are common to practitioners and enable her/him to make good choices within the moments of practice. Applied theatre's responsive-ness is indicative of a prioritisation of participant experience, however, the research also revealed the way in which a responsive ethos impacted and enriched the practitioners through supporting their own generative engagement with the work. The critical framework of responsivity proposed in this thesis acknowledges the importance of impact for all participants, including the artists. Whilst the methods and outcomes of applied theatre have received scholarly attention, this research focusses on how practitioners themselves define their expertise, embracing a consideration of skills learning and development. The concepts of response and dialogue informed this investigation in a number of significant ways, and as a result responsivity is proposed as a key methodological imperative for applied theatre research as well as the substantive focus of my thesis. This mode of operating as artists and researchers is particular to applied theatre's overarching aims to be socially responsive, politically engaged, ethically considerate and emancipatory. Responsivity is offered as a way to distinguish applied theatre practice from other performance participation and as an underpinning ethos for understanding the expertise of applied theatre practitioners.