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Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field
Title
Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field.
Creator
Engstrom, Megan, Brotherton, Mark, Ingram, Katherine, Listengarten, Julia, University of Central Florida
Abstract / Description
As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing...
Show moreAs an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults.Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field.
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Date Issued
2011
Identifier
CFE0004107, ucf:49101
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004107
SHARING THE TRUE COLORS:AN EXPLORATION OF THEATRE CREATED BY GAY, LESBIAN, BISEXUAL, AND TRANSGENDER YOUTH
Title
SHARING THE TRUE COLORS:AN EXPLORATION OF THEATRE CREATED BY GAY, LESBIAN, BISEXUAL, AND TRANSGENDER YOUTH.
Creator
Bazo, Nicholas, Boyd, Belinda, University of Central Florida
Abstract / Description
True Colors: Out Youth Theater at The Theater Offensive is a Boston based program that focuses its theatrical and social mission on engaging Gay, Lesbian, Bisexual, and Transgendered (GLBT) at-risk, youth and the community that surrounds them. Through the process of generating an original touring production, True Colors employs theatre as a tool for personal, social, and artistic expression, empowerment, and activism. The programÂÃ&...
Show moreTrue Colors: Out Youth Theater at The Theater Offensive is a Boston based program that focuses its theatrical and social mission on engaging Gay, Lesbian, Bisexual, and Transgendered (GLBT) at-risk, youth and the community that surrounds them. Through the process of generating an original touring production, True Colors employs theatre as a tool for personal, social, and artistic expression, empowerment, and activism. The programÂÂÂÂ's balance of both process and product focused goals creates an environment of multifaceted engagement and provides an example of how art can thrive in a structure of youth outreach. Though directors and facilitators guide the process and final product, a fundamental mission of True Colors is to provide a student or youth-centered experience where inspiration, decisions, discussions, and leadership generates directly from participants. By observing and participating in the creation of one of these productions, I explore the impact of this student-centered structure on the personal perspectives and artistic growth of the GLBT participants and the artistic process of creating the production. My goal is to discover True ColorsÂÂÂÂ' effectiveness of achieving its mission to both create an impactful and positive process for the youth and also develop a final product that is artful and evokes social change. Additionally, by studying similar programs, I establish a basis of comparison against True Colors in order to develop a broader view of the field and evaluate the variances in methodology and the impact on youth and communities.
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Date Issued
2010
Identifier
CFE0003167, ucf:48605
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003167
A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST
Title
A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST.
Creator
Dunn , Amie, Weaver , Earl, University of Central Florida
Abstract / Description
As an artist in the field of theatre for young audiences, I encounter many definitions of ÂÂ'teaching artist,ÂÂ' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term ÂÂ'teaching artistÂÂ' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible...
Show moreAs an artist in the field of theatre for young audiences, I encounter many definitions of ÂÂ'teaching artist,ÂÂ' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term ÂÂ'teaching artistÂÂ' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of ÂÂ'teaching artistÂÂ' while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I canÂÂ't help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.
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Date Issued
2010
Identifier
CFE0003012, ucf:48339
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003012
"WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE
Title
"WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE.
Creator
Bliznik, Sean, Listengarten, Julia, University of Central Florida
Abstract / Description
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.
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Date Issued
2007
Identifier
CFE0001730, ucf:47314
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001730
Digesting Modern Acting Theory for Young Performers
Title
Digesting Modern Acting Theory for Young Performers.
Creator
Yagel, Brandon, Wood, Mary, Boyd, Belinda, Routhier, Mark, University of Central Florida
Abstract / Description
An actor seeking to improve his craft can find numerous sources containing countless tips and techniques on the art of acting. However, the majority of these books target the adult actor often leaving young performers struggling to understand complex acting theory. With the goals of creating a nurturing learning environment and quality performance work within a compact rehearsal schedule, this thesis project created and evaluated a new synthesis of modern acting theory for directors to use...
Show moreAn actor seeking to improve his craft can find numerous sources containing countless tips and techniques on the art of acting. However, the majority of these books target the adult actor often leaving young performers struggling to understand complex acting theory. With the goals of creating a nurturing learning environment and quality performance work within a compact rehearsal schedule, this thesis project created and evaluated a new synthesis of modern acting theory for directors to use when working with young performers. This technique adapted and coalesced several perspectives on foundational acting theory(-)specifically looking at the use of a character's wants and actions as described by Bruder et al., Caldarone (&) Lloyd-Williams, Cohen, Jory, Mamet, and Stanislavski. I tested the developed technique using an independent production of The Cat Who Ran by Naoko Kudo performed by a group of seventh through tenth grade actors.This thesis shares the process of creating this rehearsal tool with its readers. This process included researching and synthesizing the technique, documenting my process as director and acting coach for The Cat Who Ran, testing the technique throughout the production of The Cat Who Ran, evaluating the effectiveness of the technique through qualitative observation from production team and audience members, and theorizing the potential effectiveness for other scripts. The documentation of the project includes surveys, worksheets, text analysis, and production photos.
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Date Issued
2014
Identifier
CFE0005278, ucf:50562
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005278