Matching Items (11)

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Constructivism in the acting classroom: a comprehensive approach to teaching practical aesthetics, voice, and movement

Description

This dissertation uses constructivist pedagogy to teach acting via Practical Aesthetics, a system of actor training created in the mid/&ndash1980s; by David Mamet and his college acting students. Primarily taught

This dissertation uses constructivist pedagogy to teach acting via Practical Aesthetics, a system of actor training created in the mid/&ndash1980s; by David Mamet and his college acting students. Primarily taught at the Atlantic Theatre Acting School in New York City, Practical Aesthetics has been the focus of little academic research. The same lack of research regarding constructivist pedagogy exists in academic theatre scholarship. The author takes a step toward rectifying this situation. Using an action research methodology, based on approximately thirteen years of teaching experience, the author suggests that Practical Aesthetics and his accompanying voice and movement exercises can be effective in training novice actors. The author melds theory and practice into the educational approach called Praxis to create specific detailed lesson plans which can be used to implement Practical Aesthetics. These lessons constitute primary research on this topic. Compatible voice and movement exercises are also included to provide a comprehensive semester length digest. The first chapter is an introduction, the second outlines Practical Aesthetics, the third focuses on constructivism, the fourth discusses teaching acting using Constructivist Learning Design, the fifth provides narrative lessons that can be used in the classroom, and the closure provides a review as well as suggestions for further research. An intriguing point made in the closure is a call for studies that might determine Practical Aesthetics' applicability and usability in other fields such as law, business, politics, public speaking, and even non-profit work. Although the primary audience for this dissertation is secondary school and college acting instructors, any scholar studying acting theory or constructivist pedagogy may find value in its contents.

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Created

Date Created
  • 2014

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The encyclopedia show: community-based performance in pursuit of classroom interdisciplinarity

Description

In May 2014, The Encyclopedia Show: Chicago performed its last volume. Like all others before, the Show was a collection of performances devised by artists, musicians, poets and

In May 2014, The Encyclopedia Show: Chicago performed its last volume. Like all others before, the Show was a collection of performances devised by artists, musicians, poets and playwrights all performing various subtopics surrounding a central theme, taken from “an actual Encyclopedia.” The final show was Volume 56 for Chicago; the founding city ended their six year run with an amassed body of work exploring topics ranging from Wyoming to Alan Turing, Serial Killers to Vice Presidents.

Perhaps more impressive than the monthly performance event in Chicago is the fact that the show has been “franchised” to organizers and performers in at least seventeen cities. Franchise agreements mandated that for at least the first year of performance, topics were to follow Chicago’s schedule, thus creating an archive of Shows around the world, each that started with Bears, moved to The Moon, onto Visible Spectrum of Color, and so on.

Now that the Chicago show has ended, I wonder what will happen to the innovative format for community performance that has reached thousands of audience members and inspired hundreds of individual performances across the globe in a six-year period.

This project, like much of my own work, has two aims: first, to provide the first substantive history of The Encyclopedia Show for archival purposes; and second, to explore whether this format can be used to achieve the goals of “interdisciplinarity” in the classroom. In an effort to honor my own interests in multiple academic disciplines and in an attempt to capture the structural and performative “feel” of an Encyclopedia Show, this dissertation takes the shape of an actual Encyclopedia Show. The overarching topic of this “show” is: Michelle Hill: The Doctoral Process. In an actual Encyclopedia Show, subtopics would work to explore multiple perspectives and narratives encompassed by the central topic. As such, my “subtopics” are devoted to the roles I have played throughout my doctoral process: historian, academic, teacher. A fourth role, performer, works to transition between the sections and further create the feel of a “breakage” from a more traditional dissertation.

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Created

Date Created
  • 2017

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Translanguaging in the borderlands: language function in theatre for young audiences written in Spanish and English in the United States

Description

In the United States, we tend to understand linguistic systems as separate and autonomous, and by this understanding, bilinguals are people who speak two different languages and switch between them. 

In the United States, we tend to understand linguistic systems as separate and autonomous, and by this understanding, bilinguals are people who speak two different languages and switch between them.  This understanding of bilingualism, however, does not reflect the reality of the way many bilinguals use language.  Rather than “code-switch” between two languages, sociolinguists posit that many bilinguals understand their language as a single linguistic system, and choose different elements of that system in different situations, a process termed, “translanguaging.” Translanguaging provides an alternative framework for examining bilingual language as an ideological system in plays, particularly plays which use translanguaged dialogue to describe the experiences of young people who dwell on and cross borders, a category of plays I term, “Border Theatre for Young Audiences (TYA).” This descriptive study utilizes grounded theory and close reading theoretically grounded in border studies and sociolinguistic theory to determine what roles Spanish and English play in Border TYA as autonomous systems, and as pieces of a new, translanguaged system.   Playwrights of Border TYA u translanguaging as a structural metaphor for cultural negotiation to examine identity, belonging, and borders.  Translanguaging provides subaltern characters a process for communicating their experiences, examining their identities, and describing encounters with borders in their own unique linguistic system. Border TYA, however, does not exclusively translanguage.  Border TYA also incorporates monolingual dialogue and translation, and in these instances the languages, Spanish and English, function autonomously as tools for teaching audience members to recognize vocabulary and cultural experience.

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Created

Date Created
  • 2017

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Girl-becomings: girls theorizing girlhood through visual art, theatre, and digital communications

Description

Using arts-informed ethnographic approaches, theatrical techniques and a feminist/performance studies lens, this study analyzes the construction of US girlhood from the perspective of girls ranging in age from fourteen to

Using arts-informed ethnographic approaches, theatrical techniques and a feminist/performance studies lens, this study analyzes the construction of US girlhood from the perspective of girls ranging in age from fourteen to seventeen by examining their original artistic creations and performances. Placing the artifacts of girl-created culture and the girls' representations, which I view as a performative practice, at the heart of my study, I connect girlhood studies to Butler's gender performance theories and to the larger field of performance studies. Rather than strictly analyzing these original works myself, I involve the girl participants as co-theorists in the analysis of the resulting artistic creations as a performance of girlhood. Through our theory building sessions, we aim to discover a nuanced understanding of girlhood and how gender identity can be performed by adolescent girls, as well as how artistic and theatrical practices can serve to assist youth in exploring complex issues. The adolescent female participants serve as active writers and performers of girlhood and through their writing and performances demonstrate their understanding of what it means to be a girl in contemporary US society. In viewing the girls as theorists, I demonstrate their capabilities while honoring their experiences and knowledge, an approach I believe should be more often employed in academia and in everyday life. Specifically, my study's central research question asks: how do US girls consume mass media representations of girlhood and reproduce or subvert these representations? In what ways do girls perform their understandings of their own identities and what it means to be a girl in contemporary US society through their creations of original art and literature, live theatrical pieces, and digital cultural practices? These works include theatrical performances, creative writing, self-portrait sculptures, and blogs/journals. Additionally, I conduct and analyze both solo and group interviews. I assert the importance of creative space and theatrical/artistic practices as tools with which girls can examine and challenge girlhood and gender discourses.

Contributors

Agent

Created

Date Created
  • 2014

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Performing New Afrikan childhood: agency, conformity, and the spaces in between

Description

This dissertation employs an ethnographic methodological approach. It explores young people's performance of a New Afrikan subjectivity, their negotiation of a multiple consciousness (American, African-American, New Afrikan and Pan-Afrikan) and

This dissertation employs an ethnographic methodological approach. It explores young people's performance of a New Afrikan subjectivity, their negotiation of a multiple consciousness (American, African-American, New Afrikan and Pan-Afrikan) and the social and cultural implications for rearing children of African descent in the US within a New Afrikan ideology. Young people who are members of the New Afrikan Scouts, attendees of Camp Pumziko and/or students enrolled at Kilombo Academic and Cultural Institute were observed and interviewed. Through interviews young people shared their perceptions and experiences of New Afrikan childhood. The findings of this study discuss the ways in which agency, conformity and the spaces in between are enacted and experienced by New Afrikan children. The findings particularly reveal that in one sense New Afrikan adults aid young people in examining their racial and cultural subjectivity in US America. In another sense New Afrikan adults manipulate young people into performing prescribed roles that are seemingly uncritical of the implications of these performances beyond an adult agenda.

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Agent

Created

Date Created
  • 2014

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But now you can see me: devising theatre with youth artist-researchers in search of revelations and docutheatricality

Description

Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of

Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of Phoenix, AZ experience collectively creating and performing original documentary theatre. I pay attention to the ways youth participants--also known as artist-researchers--construct, perform, and/or perceive their identities as they practice drama techniques including improvisation, physical theatre, and Theatre of the Oppressed for the purposes of making docutheatre for social justice. First the artist-researchers chose the topics for their play. Next, they learned and applied drama and research skills to gather and examine data sources used to construct a script that explores hiding and exposure. In the process of sharing and gathering true stories our unique docutheatre-making culture was created. This multimodal qualitative research case study draws upon the genres of arts-based research and visual ethnography as primary modes of data collection and interpretation. Narrative description and the ethnodramatic mode of representation are used in conjunction with still images and this study's companion website (www.meant2see.com) to report research findings. Primary data sources include participant observation fieldnotes, over twenty hours of recorded video footage, photographs, and the project's original script and performance of To Be What's Not Meant to See . Further data include journal entries, drawings, and social media. All data were coded using In Vivo and Process Coding methods and analyzed through a cultural studies lens. Codes were sorted into phenomenological categories representative of recurring ideas and themes. Assertions were then solidified once specific key linkages were constructed. This study's key assertions are: Key Assertion 1: Participation in devising documentary social justice theatre influences and affects the construction, perception, and/or performance of urban youth identities through profound connections made with interviewees during the interview process and through the collection of true stories that provide new information and rare opportunities for self-reflection and self-realization; Key Assertion 2: Portions of the roles urban youth play in their identity narratives are disguised or hidden--purposefully, reluctantly, and/or subconsciously--in order to appeal to friends, families, or the codes of dominant culture.

Contributors

Agent

Created

Date Created
  • 2014

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The adolescent's voice: how theatre participation impacts high schoolers and college students

Description

This dissertation is a qualitative study based on the experiences of five high schoolers and five college-aged students who grew up in Erie, Pennsylvania, and participated in theatrical productions within

This dissertation is a qualitative study based on the experiences of five high schoolers and five college-aged students who grew up in Erie, Pennsylvania, and participated in theatrical productions within their schools, churches, the Erie Playhouse Youtheatre, and other community theatres. The author begins with an introduction of the theatrical scene in Erie and explains the options available to these youth during the times they performed, so the reader will have a better understanding of the background of these young people. The author then explores the current literature dealing with youth participants in a youth theatre setting. In his research, he notes that there were few scholarly books or articles that directly dealt with youth who participate in youth theatre. Most of the books dealt with youth who are part of theatrical programs in school settings, and few researchers utilized the youth's voice as part of the process. The author interviewed ten participants about their theatrical experiences asking them about aspects such as: positive and negative experiences, why they performed, and what they learned from doing theatre. After transcribing the interviews, the author analyzed the participants' responses for values, attitudes, and beliefs about theatre. From this analysis, the author found six themes emerged focusing on: fun, friendship, family, personal growth, commitment to productions, and negative experiences in the theatrical process. Throughout the document, the author utilized the youths' voices and kept their words and thoughts as the basis for all findings constructed and discussed.

Contributors

Agent

Created

Date Created
  • 2014

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Radical welcome in youth performance spaces on Chicago's south side: the child as hungry, the child as village, the child as visible

Description

My project maps assets of welcome in the built environment in youth performing arts spaces. What signifiers reveal how a physical space conceptualizes the child, reflects professed theological claims, and

My project maps assets of welcome in the built environment in youth performing arts spaces. What signifiers reveal how a physical space conceptualizes the child, reflects professed theological claims, and cues youth to practice ownership and experience belonging? I explore the cultural capital that emerges from the sites and I assert theological implications of the findings. Through mixed qualitative, quantitative, and arts-based methods, I employ asset-based and cultural mapping tools to collect data. I parse theories of space, race, and capital. Half of the ten sites are faith-based; others make room for practices that participants bring to the table. Therefore, I discuss theologies and theories about racialized, religious, public, and arts spaces. My research shows that one ethnographic task for the arts groups is unearthing and embedding neighborhood legacy. I source fifty-six written youth questionnaires, forty youth in focus groups, staff questionnaires, parent interviews, and observations across fourteen months at ten sites. Interpreting the data required that I reconceive multiple terms, including “youth dedicated,” “partnership,” and art itself. The research codes spatial, relational, economic, temporal, and comfort-level assets. Observed assets include strategies for physical safety, gender inclusivity, literary agility, entrepreneurship, advocacy, and healing. Analyzing data showed the sites as conceptualizing the child in three change-making areas: the Child as Hungry, the Child as Village, and the Child as Visible. The Child as Hungry emerged because participants self-report myriad “feeding” physically, spiritually, and artistically at each site. Youth participants at each site maintain a Village presence, and each site offers a manner of gathering space that signifies Village responsibility. Each site carves space to witness the child, contrastingly with other spheres—so much so that being a Visible Child becomes a craft itself, added alongside the fine art. Child theology is the primary theoretical lens that I use to contribute to and intersect with performance studies theory, critical race theory, child drama, and childhood studies.

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Created

Date Created
  • 2018

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Mobilizing hope: an applied drama approach toward building protective factors in behavioral health

Description

The purpose of this mixed methods case study was to evaluate a dramatic arts curriculum focused on building protective factors including resiliency, cognitive flexibility, self-efficacy, and hope in eight to

The purpose of this mixed methods case study was to evaluate a dramatic arts curriculum focused on building protective factors including resiliency, cognitive flexibility, self-efficacy, and hope in eight to ten adolescent male sex offenders undergoing treatment at a residential behavioral health facility in Mesa, Arizona. The impetus for this research was suicide prevention efforts. Suicide is the second leading cause of death for ages 15-24 in the United States (CDC 2013), and prevention efforts demand complex approaches targeting major risk factors like lack of belonging and hopelessness. Arts-based prevention efforts have shown promise for building pro-social preventative factors.

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Agent

Created

Date Created
  • 2018

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arrive, create: a dance research project focused on collaboration and generosity

Description

This document serves as a discussion of and reflection on the collaborative process of rehearsing and performing arrive, create: a Dance made by Many. My intention for the work was

This document serves as a discussion of and reflection on the collaborative process of rehearsing and performing arrive, create: a Dance made by Many. My intention for the work was to deconstruct the traditional performance paradigm, focusing on constructing a generous performance atmosphere. During the rehearsal process the cast collectively worked to develop an ensemble dynamic for improvisational dance making. The construct of the performance encouraged the audience to engage with the work, both physically and imaginatively through sensory interaction with objects as well as verbal conversation. This document: recalls my background in dance improvisation; explores the relationship of philosophical and dance-making practices; discusses the process of making and performing the work; discusses research data collected from participants; and reflects on the project as a whole. Topics explored include: phenomenological perspectives, ethics of care, "moving identity", dancers' sense of authorship, transparency of dance work, collaboration, dance filmmaking, and dance improvisation in performance.

Contributors

Agent

Created

Date Created
  • 2013