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TYA METHODOLOGYTWENTIETH-CENTURY PHILOSOPHY, ANDTWENTY-FIRST CENTURY PRACTICE:AN EXAMINATION OF ACTING, DIRECTING, AND DRAMATIC LITERATURE
Title
TYA METHODOLOGYTWENTIETH-CENTURY PHILOSOPHY, ANDTWENTY-FIRST CENTURY PRACTICE:AN EXAMINATION OF ACTING, DIRECTING, AND DRAMATIC LITERATURE.
Creator
McCoy, Allen, Alrutz, Megan, University of Central Florida
Abstract / Description
Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional...
Show moreThroughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.
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Date Issued
2006
Identifier
CFE0001467, ucf:47098
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001467
EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES
Title
EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES.
Creator
Wolgast, Amanda, Alrutz, Megan, University of Central Florida
Abstract / Description
As a practitioner in the field of Theatre for Young Audiences (TYA), I have always been drawn to looking at literature and productions that challenge my preconceptions of what constitutes good theatre for youth. I enjoy the bold and innovative, versus the cute and playful. My training and education in this developing branch of theatre has undoubtedly exposed me to the many accomplishments of the American TYA system, but quite often – through attending conferences, as well as...
Show moreAs a practitioner in the field of Theatre for Young Audiences (TYA), I have always been drawn to looking at literature and productions that challenge my preconceptions of what constitutes good theatre for youth. I enjoy the bold and innovative, versus the cute and playful. My training and education in this developing branch of theatre has undoubtedly exposed me to the many accomplishments of the American TYA system, but quite often – through attending conferences, as well as participating in class discussions – I find that many debates/conversations center around what more we need to do in this field or what else we can do to make this field more relevant and interesting to young people. In my experience, I've found that discussions and opinions center around Americans looking elsewhere for theatrical models on which to shape their own practices. I began looking at international models of TYA, particularly those of European countries. Historically, theatre has been recognized and valued as an essential part of traditional European life, and Sweden is often recognized as a forerunner in creating and supporting experimental art forms. With this, I question what American theatre educators and artists can learn from Swedish TYA as we work to create more artistic and educational outlets that incorporate the youth perspective of the 21st Century. For this thesis, my interest lies in what I can learn from Swedish TYA. I question how major social and cultural factors shape Swedish children's theatre as a field, and how those factors play out within the artistic arena. I dissect various social and cultural factors in Sweden that contribute to the TYA field, and examine if/how two pieces of Swedish dramatic literature for children reflect those trends and influences occurring in Swedish theatrical practice. Specifically, I also examine how Swedish TYA scripts use elements of non-realism, and deal with taboo topics. Through an exploration of The Dreamed Life of Nora Schahrazade and One Night in February, I find considerable use of elements that extend beyond realistic norms, and it is through those non-realistic approaches that the taboo issues are dissected and explored.
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Date Issued
2008
Identifier
CFE0002172, ucf:47514
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002172
DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES
Title
DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES.
Creator
Henry, Meghann, Alrutz, Megan, University of Central Florida
Abstract / Description
This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre...
Show moreThis thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.
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Date Issued
2008
Identifier
CFE0002157, ucf:47522
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002157
WHAT IS THEATRE'S ROLE AS A WORSHIP TOOL IN A MESSIANIC SYNAGOGUE?
Title
WHAT IS THEATRE'S ROLE AS A WORSHIP TOOL IN A MESSIANIC SYNAGOGUE?.
Creator
Pedraza, Jennifer, Alrutz, Megan, University of Central Florida
Abstract / Description
In this study, I worked with an ensemble of teenagers from Ayts Chayim Messianic Synagogue in Boca Raton, Florida to develop an original Purim play to be presented for the congregation and the public. I specifically explored "What is theatre's role as a worship tool in a Messianic Jewish Synagogue?" My ultimate goal in this process was to honor God through the creative arts, and I used the process of creating the play to discover the specific ways that theatre can be used as a worship...
Show moreIn this study, I worked with an ensemble of teenagers from Ayts Chayim Messianic Synagogue in Boca Raton, Florida to develop an original Purim play to be presented for the congregation and the public. I specifically explored "What is theatre's role as a worship tool in a Messianic Jewish Synagogue?" My ultimate goal in this process was to honor God through the creative arts, and I used the process of creating the play to discover the specific ways that theatre can be used as a worship tool, from script development to theatrical presentation. I hypothesized that theatre could be used as a worship tool if both the attitude of the artists is one of worship and the artists strive for excellence because it is ultimately for God. I furthermore hypothesized that worshipping throughout the process by way of the group's teamwork, attitude, and quality of work would be an integral part of producing a successful product. I sought to discover specifically what theatre as a worship tool looks like in the context of a Messianic Synagogue and what practices I glean from models of Christian drama ministries and what practices emerge from my process that are unique to Messianic theatre when used as a worship tool. How can I infuse my spiritual foundation with my artistic training? The majority of this project focused on the process of creating the play, from writing the script to dress rehearsals. The ensemble met weekly to explore the themes of the biblical story of Esther, brainstormed ideas for our adaptation, developed a script, and executed production aspects such as acting and design elements. Simultaneously, I kept a rehearsal journal with reflections on each lesson and the process as a whole. I completed research on contemporary theories and practices of Christian theatre artists in order to compare and contrast different approaches to faith-based theatre; these approaches are described in this thesis and conclusions are made as to how this research can be applied to my study. At the end of the presentation, I conducted interviews with members of the ensemble and the leaders of the congregation to receive feedback about the process, final presentation, and their perception of how theatre may be used as a worship tool. In this thesis, I write about the experience as a whole, evaluating our ability to use theatre as a worship tool for this specific presentation. I then process the implications this project has for future Messianic Jewish theatre, as well as the project's impact on my growth as a theatre artist. My final conclusions based on this experience are that theatre's role as a worship tool is to create an atmosphere where people are comfortable worshipping. Furthermore, the process of creating the play helped the youth and I discover how to be effective "ministers" and artists that create an atmosphere of worship. Based on my research, I posit that theatre can play many "roles" in the context of a Messianic synagogue: a bypass, sandpaper, or light, to name a few. Finally, artists and places of worship have something to contribute to one another, but both parties must move forward with the understanding that the Scripture provides a theological framework from which to base artistic choices and that artists need to develop their own specific approach to theatre while suiting the mission, vision, and values of the host congregation.
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Date Issued
2007
Identifier
CFE0001742, ucf:47322
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001742
THROUGH THE KALEIDOSCOPE LENS - THE AFFECTS OF THE DRAMATIC PROCESS AND PRODUCT ON THE LIVES OF ACTORS WITH DISABILITIES
Title
THROUGH THE KALEIDOSCOPE LENS - THE AFFECTS OF THE DRAMATIC PROCESS AND PRODUCT ON THE LIVES OF ACTORS WITH DISABILITIES.
Creator
Weberman, Karen, Alrutz, Megan, University of Central Florida
Abstract / Description
This case study investigates how participating in the process of drama and the product of theatre affects the lives of persons with developmental and physical disabilities. In the summer of 2008, I documented the experiences of the actors in Kaleidoscope, a five-week musical theatre program in which 18 teenagers and adults created an original musical theatre production through a partnership between Asolo Repertory Theatre and Community Haven for Adults and Children with Disabilities in...
Show moreThis case study investigates how participating in the process of drama and the product of theatre affects the lives of persons with developmental and physical disabilities. In the summer of 2008, I documented the experiences of the actors in Kaleidoscope, a five-week musical theatre program in which 18 teenagers and adults created an original musical theatre production through a partnership between Asolo Repertory Theatre and Community Haven for Adults and Children with Disabilities in Sarasota, Florida. In an effort to understand how moving through the rehearsal process and culminating product influenced and changed the lives of the actors within the Kaleidoscope community, I conducted three rounds of interviews with eight selected actors and two rounds of interviews with artistic and clinical staff, as well as documented personal observations through my role as a participant/observer. The major through lines of my data detail how drama, movement, dance, and voice work cultivated change in the actors' socialization, self-confidence, and self-expression. While participating in the art shaped the actors' lives in a variety of ways, the production of Dream Out Loud grew from collaborative efforts that challenged and celebrated both individuality and equality within the spectrum of difference among the ensemble. As I also studied Kaleidoscope as a whole to guide the design of my own program, I sought to discover methods of sustaining growth that stem from participating in both the dramatic process and product. Due to their wide spectrum of disabilities, the actors experienced a variety of changes, and for some, no changes at all in socialization, self-confidence, and self-expression. I concluded that while every actor did not walk away from Kaleidoscope having made great changes within The Three Ss, participating in the program was an artistically and socially valuable experience for each actor.
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Date Issued
2009
Identifier
CFE0002846, ucf:48067
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002846
INVESTIGATING THE 'AUDIENCE' IN THEATRE FOR YOUNG AUDIENCES: THE CALL FOR ARTISTIC EDUCATORS
Title
INVESTIGATING THE 'AUDIENCE' IN THEATRE FOR YOUNG AUDIENCES: THE CALL FOR ARTISTIC EDUCATORS.
Creator
Morris, Amanda, Alrutz, Megan, University of Central Florida
Abstract / Description
Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on...
Show moreTheatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.
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Date Issued
2008
Identifier
CFE0002268, ucf:47874
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002268
PLANTING SEEDS: LIFE STORIES OF AWAKENING SELF-AWARENESS
Title
PLANTING SEEDS: LIFE STORIES OF AWAKENING SELF-AWARENESS.
Creator
Mendez, Aixa, Listengarten, Julia, Alrutz, Megan, StClaire, Sybil, University of Central Florida
Abstract / Description
Using real-life stories written by female offenders, Planting seeds - Life Stories of Awakening Self-Awareness seeks to identify the systematic challenges these females may have faced, that in most cases, are the root-causes of their derailment from the societal norms of conduct. Applying the concepts of community and social justice and equality as a lens, this work will attempt to corroborate, as a universal postulate, that the process of sharing life stories can have transformative effects...
Show moreUsing real-life stories written by female offenders, Planting seeds - Life Stories of Awakening Self-Awareness seeks to identify the systematic challenges these females may have faced, that in most cases, are the root-causes of their derailment from the societal norms of conduct. Applying the concepts of community and social justice and equality as a lens, this work will attempt to corroborate, as a universal postulate, that the process of sharing life stories can have transformative effects on the individuals and that theatre techniques, such as theatre games and scripting can help identify those impediments to restoring lives. Key to the transformative component of this work is the exploration of theatre as a mechanism of support and restoration and that the contributions that theatre may offer are the pillars that sustain the well-being of communities, and henceforth society. Using techniques of storytelling and story writing in the process of re-enacting life stories, the participants will be able to possibly recognize issues that may be impeding their growth. In addition, engagement in storytelling, and moreover, story writing can help the participants increase their cognitive skills and the ability to live a communal life. This evidence-based practice can transform lives and society. It has the potential of continuing to other facilities and with other populations, such as incarcerated males, juvenile delinquents, and orphans. It can reach out beyond these institutionalized populations to any community in need of finding itself, and, further its maximum potential. This work seeks to help these females identify impediments for further growth by using theatre techniques such as sharing and scripting their life stories.
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Date Issued
2017
Identifier
CFE0006897, ucf:51730
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006897