Thesis (MA)--Stellenbosch University, 2005. / ENGLISH ABSTRACT:
Children's Theatre, although appreciated by participants, has largely been
marginalized, even by practitioners in theatre. It is still viewed as a lesser form
oftheatre and as a dumping ground for resources from adult theatre.
There are two main areas of focus as far as the field of drama for children is
concerned. Both areas are based on the notion that play is an important and
beneficial part of child development and that dramatic play is a natural
development of free play. This study examines the similiarities and differences
between the two approaches. The one area concerns itself with creative or
educational drama where the child participates in drama activities, usually
within a classroom situation. The other area, which is, in fact, the main focus of
this study, concerns itself with theatrical presentation for children, i.e.
Children's Theatre.
Children's Theatre, with adults as the performers, is the most familiar form of
Children's Theatre and yet, the one form which directly influences most
children, in particular through participation in the school play, is Children's
Theatre where children are the performers themselves, in other words, a form of
participational theatre. This form of theatre has the potential for influencing
children's lives immensely and yet it is often left to persons with no expertise in
the field to lead such projects. The opportunity for truly enriching the
participants' lives is often lost through poor methodology.
Historically, the aims and values set for Children's Theatre have also
undergone development to the point where a synthesis has been reached where
equal emphasis is to be placed on the quality of the end product as well as the
process by which such end product has been reached.
A number of problems and issues specific to working in Children's Theatre are
examined as they occur in different settings. These include problems
concerning script, venue, the child audience and audience participation and
problems dealing specifically with the process of directing a cast of children.
Possible solutions to these problems are investigated.
An approach, based on the theories of practitioners in the field, as well as the
results of a number of practical projects, will be formulated. The practical
projects will be used to investigate certain viewpoints expressed by practitioners
in the field. The approach formulated should not only encourage work of a high
artistic standard but should also be based on sound educational principles.
Central to this is the approach and style of the director who, in Children's
Theatre, is far more than just a director of a theatrical presentation. The director
in Children's Theatre is always teacher and director at once. / AFRIKAASNE OPSOMMING:
Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer,
selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm
en 'n stortingsterrein vir hulpbronne van volwasse teater.
Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is
gebaseer op die idee dat spel 'n belangrike en voordelige aspek van
kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye
spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee
areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind
deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander
area, wat die fokusarea van hierdie studie is, is gemoeid met
verhoogaanbiedings vir kinders, dus Kinderteater.
Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van
Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat
meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is
kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van
Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word
dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om
sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore
as gevolg van swak metodologie.
Histories het die waardes en oogmerke rondom Kinderteater onwikkeling
ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die
kwaliteit van beide die finale produk en die proses waardeur die eindproduk
bereik is.
'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal
ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word
ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en
probleme wat spesifiek handeloor die proses van regie vir kinders as spelers.
Moontlike oplossing vir hierdie probleme salondersoek word.
'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die
uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese
projekte sal gebruik word om die menings van praktisyns op die gebied te
ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte
bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot
so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel
meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in
Kinderteater is altyd beide onderwyser en regisseur.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:sun/oai:scholar.sun.ac.za:10019.1/50296 |
| Date | 03 1900 |
| Creators | Wood, Margot |
| Contributors | Kruger, M. S., Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama. |
| Publisher | Stellenbosch : Stellenbosch University |
| Source Sets | South African National ETD Portal |
| Language | en_ZA |
| Detected Language | English |
| Type | Thesis |
| Format | 200 p. |
| Rights | Stellenbosch University |
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