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- Title
- BREAKING TRADITION: REACHING FOR THE AVANT-GARDE IN THEATRE FOR YOUNG AUDIENCES.
- Creator
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Hoppe, Meredith, Listengarten, Julia, University of Central Florida
- Abstract / Description
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This thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against AronsonÃÂ's...
Show moreThis thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against AronsonÃÂ's theoretical framework, I examine three contemporary US TYA plays from the past two centuries: Black Butterfly, Hush: An Interview with America, and Atypical Boy. Within these scripts, I probe for moments where these five tenets break to manifest possible tendencies toward the avant-garde. I then conclusively reflect and problematize these findings in order to raise questions about each scriptÃÂ's relationship to the avant-garde and significance to the development of the field, ultimately provoking further discourse surrounding the role of avant-garde methodology within US TYAÃÂ's current position and state of progression.
Show less - Date Issued
- 2009
- Identifier
- CFE0002968, ucf:47951
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0002968
- Title
- "WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE.
- Creator
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Bliznik, Sean, Listengarten, Julia, University of Central Florida
- Abstract / Description
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Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state...
Show moreTheatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes, and at times, even dismisses accepted societal truths. As a didactic tool, it is in this vein of truth-seeking that theatre has entered the fickle work of social change. First and foremost, what is social change? Who can create change? How is this change measured? How does one measure the effected change on a particular audience? These questions (and more) as well as their subsequent answers are the job of the social change theatre artist and are explored in this study. This thesis is presented in several distinct chapters. Chapters one and two examine the foundations of theatre for social change and its place in the contemporary theatre world. Chapter three explores writing theatre for social change and yields the development of two original theatrical pieces of theater for social change as a direct result of the aforementioned research complete with a stage presentation of those pieces and an audience assessment (before the performance). The concluding chapters explore the results of the audience survey which explains my understanding of theatre for social change's effect on society and the need for society to continually be exposed to theatre which is socially conscious and contributive in order to firmly define America's socially conscious theatrical identity.
Show less - Date Issued
- 2007
- Identifier
- CFE0001730, ucf:47314
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0001730
- Title
- THREE DIFFERENT JOCASTAS BY RACINE, COCTEAU AND CIXOUS.
- Creator
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Joo, Kyung, Listengarten, Julia, University of Central Florida
- Abstract / Description
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This study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La Thébaïde (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÃÂ'Oedipe (The Name of Oedipus) by Hélène Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since...
Show moreThis study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La Thébaïde (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÃÂ'Oedipe (The Name of Oedipus) by Hélène Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since the onset of SophoclesÃÂ' works. Although these three plays commonly focus on describing the character of Jocasta, there are some remarkable differences among them in terms of theme, style, and stage directions. In The Theban Brothers, RacineÃÂ's 17th century play, Jocasta is described as a deathlike mother, while CocteauÃÂ's Jocasta, in The Infernal Machine, is portrayed as an ÃÂ"extravagant, liberal, and hilariousÃÂ" lady. In The Name of Oedipus, Cixous portrays Jocasta as a woman possessing hermaphroditic characteristics, ushering in a new era of resistance to the age-old paternal hierarchy. As for style, RacineÃÂ's neoclassical play shows a strict respect for the three unities of time, space, and action. CocteauÃÂ's avant-garde play neglects all these rules, while Cixous goes even further by destroying the order of languages, as illustrated by her ÃÂ"feminine writing.ÃÂ" Freed from Western orthodoxy, Cixous wants to contribute to the creation of cosmic unity. Her deconstructionist play intends to regenerate the world by establishing a new order and new point of view towards universality. The stage directions of these plays are also an important key to better understanding theatrical evolution. It is through the stage directions, indicated both implicitly and explicitly in these three plays, that enables us to appreciate the theatrical transformation in terms of visualization as well as metaphysics. In sum, the transformation of theme, style, and stage devices in portraying their own Jocastas demonstrates that while these three plays are deconstructional to one another, each denying the existing value and orders of their respective time periods, they are also constructional in that they all attempt to open a new horizon of theatre.
Show less - Date Issued
- 2010
- Identifier
- CFE0003540, ucf:48945
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0003540
- Title
- Nam June Paik and Avant-Garde as Pedagogy: Promoting Student Engagement and Interdisciplinary Thinking in the Undergraduate Humanities Classroom.
- Creator
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Mazzarotto, Marcia, Mauer, Barry, Applen, John, Rounsaville, Angela, Taylor, Robert, University of Central Florida
- Abstract / Description
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This dissertation demonstrates how avant-garde methods can be employed as pedagogical methods in the undergraduate Humanities classroom to promote student engagement and interdisciplinary thinking. The study first addresses pedagogy and avant-garde art within their historical contexts as separate, but related disciplines. Subsequently the study fuses pedagogy and avant-garde art and provides examples of in-class activities and out-of-class assignments that illustrate the ways in which avant...
Show moreThis dissertation demonstrates how avant-garde methods can be employed as pedagogical methods in the undergraduate Humanities classroom to promote student engagement and interdisciplinary thinking. The study first addresses pedagogy and avant-garde art within their historical contexts as separate, but related disciplines. Subsequently the study fuses pedagogy and avant-garde art and provides examples of in-class activities and out-of-class assignments that illustrate the ways in which avant-garde methods function as practical teaching and learning methods. Further, the study presents artist Nam June Paik, whose work exemplifies the theoretical and practical underpinnings of avant-garde art as pedagogy. The dissertation champions the pedagogy of John Dewey, who called for a progressive educational system. It also argues for Paulo Freire's critical pedagogy and the Jesuits' Ignatian pedagogical paradigm, both of which serve as necessary complements in achieving Dewey's goal of an experiential educational environment. Dewey believed education should co-exist with life and should not be treated as a preparation for it, and thus his theories on aesthetics, in particular, argued that art is not severed from life, an idea shared by four avant-garde movements discussed in this study: Futurism, Dada, Surrealism, and Fluxus. Each of these movements sought to change the political and cultural environment, while maintaining that art and life are on equal ground. These pedagogies, aided by avant-garde methods, encourage and challenge students to engage with and think critically about the world around them.
Show less - Date Issued
- 2017
- Identifier
- CFE0006623, ucf:51282
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006623