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(1 - 12 of 12)
- Title
- TYA METHODOLOGYTWENTIETH-CENTURY PHILOSOPHY, ANDTWENTY-FIRST CENTURY PRACTICE:AN EXAMINATION OF ACTING, DIRECTING, AND DRAMATIC LITERATURE.
- Creator
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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.
Show less - Date Issued
- 2006
- Identifier
- CFE0001467, ucf:47098
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0001467
- 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
-
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 AronsonÂÂ'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 AronsonÂÂ'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 scriptÂÂ'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 TYAÂÂ'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
- DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES.
- Creator
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Henry, Meghann, Alrutz, Megan, University of Central Florida
- Abstract / Description
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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.
Show less - Date Issued
- 2008
- Identifier
- CFE0002157, ucf:47522
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0002157
- Title
- Writes of Spring 2014: Fostering Creativity in Theatre, Education, and Leadership.
- Creator
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Hodson, Alexandra, Weaver, Earl, Wood, Vandy, Siegfried, Judi, University of Central Florida
- Abstract / Description
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Creativity is valued in many fields. In theatre, creativity celebrates the imaginative power of a theatrical experience. In theatre for young audiences (TYA), creativity is extended from the stage to the classroom, where theatre empowers learning through creative and imaginative teaching. Teaching artists and theatre makers in the field of theatre for young audiences utilize creativity as a means of connecting artistic and educational value. Through professional development and qualitative...
Show moreCreativity is valued in many fields. In theatre, creativity celebrates the imaginative power of a theatrical experience. In theatre for young audiences (TYA), creativity is extended from the stage to the classroom, where theatre empowers learning through creative and imaginative teaching. Teaching artists and theatre makers in the field of theatre for young audiences utilize creativity as a means of connecting artistic and educational value. Through professional development and qualitative research, this project demonstrates the importance of creativity and its role in the classroom and on stage.This study examines my role as Project Coordinator in Orlando Repertory Theatre's (The REP) Writes of Spring 2014 and the developments I add to enhance the educational and artistic value and project. Specifically, I survey the findings of selected students' submissions in a creative writing contest by developing and facilitating an arts integration professional development workshop for their teachers. By evaluating these findings I gain insight into the positive effect of enhancing creativity in public school classrooms.To project the value of creativity further, I apply a theoretical framework to my research. Specifically, I apply creative pedagogy, constructivism, and collective creativity to develop a fully-supported educational and artistic project. This project allows students to find writing inspiration through theatre, guides teachers to find clarity in new practices through creativity, and encourages artists to celebrate creativity in developing and producing new works.
Show less - Date Issued
- 2015
- Identifier
- CFE0005627, ucf:50209
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0005627
- Title
- THE ECONOMICS OF A YOUNG AUDIENCE.
- Creator
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Bosley, Cicely, Weaver, Earl, University of Central Florida
- Abstract / Description
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As a theatre for young audiencesÂÂ' (TYA) teacher, artist, and administrator, I seek to explore where and how TYA fits into business and economic models to open a dialogue between TYA practitioners and business administration professionals. Through this qualitative study, I endeavor to foster a new language for TYA practitioners to enhance fundraising and audience development. By its own definition, TYA is a hybrid field that strives for both artistic form and educative...
Show moreAs a theatre for young audiencesÂÂ' (TYA) teacher, artist, and administrator, I seek to explore where and how TYA fits into business and economic models to open a dialogue between TYA practitioners and business administration professionals. Through this qualitative study, I endeavor to foster a new language for TYA practitioners to enhance fundraising and audience development. By its own definition, TYA is a hybrid field that strives for both artistic form and educative function. With a dual focus of form and function, administrators struggle to advocate for TYA organizations within existing models. To move through this challenge, I look to analyze select extant models in an effort to address a new hybrid model that better suits a hybrid field. This project arises from the persistent challenges found within the TYA field of defining and valuing our work for and with young people, so I approach this research as a TYA practitioner seeking tools for advocacy. Through my work as a teacher and artist moving into a business office, I observed marketing and development directors from the non-TYA fields challenged by the nature of our work. Paralleling that challenge, I struggle to articulate the necessity of my work with young people as equal to the importance of artistic excellence. My research leads me to believe that TYA does not neatly affix to any business model, but an analysis and marriage of several models may create a working model which TYA practitioners can employ.
Show less - Date Issued
- 2010
- Identifier
- CFE0003003, ucf:48372
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0003003
- Title
- Digesting Modern Acting Theory for Young Performers.
- Creator
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Yagel, Brandon, Wood, Mary, Boyd, Belinda, Routhier, Mark, University of Central Florida
- Abstract / Description
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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.
Show less - Date Issued
- 2014
- Identifier
- CFE0005278, ucf:50562
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0005278
- Title
- A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST.
- Creator
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Dunn , Amie, Weaver , Earl, University of Central Florida
- Abstract / Description
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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.
Show less - Date Issued
- 2010
- Identifier
- CFE0003012, ucf:48339
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0003012
- Title
- Building a Workable Model for Youth Theatre: An Exploration into a Courageous and Complex Field.
- Creator
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Engstrom, Megan, Brotherton, Mark, Ingram, Katherine, Listengarten, Julia, University of Central Florida
- Abstract / Description
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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.
Show less - Date Issued
- 2011
- Identifier
- CFE0004107, ucf:49101
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0004107
- Title
- SHARING THE TRUE COLORS:AN EXPLORATION OF THEATRE CREATED BY GAY, LESBIAN, BISEXUAL, AND TRANSGENDER YOUTH.
- Creator
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Bazo, Nicholas, Boyd, Belinda, University of Central Florida
- Abstract / Description
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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.
Show less - Date Issued
- 2010
- Identifier
- CFE0003167, ucf:48605
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0003167
- Title
- The Artistry of Accessibility: Creating Theatre with and for Students on the Autism Spectrum.
- Creator
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Brunow, Sara, Listengarten, Julia, Ingram, Kate, Niess, Christopher, Kovac, Kim, University of Central Florida
- Abstract / Description
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Theatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting...
Show moreTheatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting theatre with and for students with Autism Spectrum Disorder. My process has a three-pronged approach: adapting an established production using a Sensory Friendly model; adapting an arts integration facilitation in an inclusive elementary classroom; and collaboratively creating a sensory-based theatrical experience with other artists and students with cognitive disabilities. Through these experiences, I strive to uncover how developing theatre for this specific audience has challenged me to grow as an artist and activist.
Show less - Date Issued
- 2015
- Identifier
- CFE0006027, ucf:51003
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0006027
- Title
- DEVELOPING THE INDIVIDUAL TO STRENGTHEN THE WHOLE: THE APPLICATION OF VIEWPOINTS TRAINING TO IMPACT THE SOCIAL COGNITIVE DEVELOPMENT OF ACTORS IN A HIGH SCHOOL ENSEMBLE.
- Creator
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Horn, Elizabeth, Listengarten, Julia, University of Central Florida
- Abstract / Description
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This research explores the application of Viewpoints and Composition training with a cast of high school students to measure changes in the social cognitive development (SCD) of individuals and the collective group. The research centers on the writing of Michael F. Mascolo and Deborah Margolis, which takes a coactive approach to the relationship between oneÂÂÂÂ's social cognitive development...
Show moreThis research explores the application of Viewpoints and Composition training with a cast of high school students to measure changes in the social cognitive development (SCD) of individuals and the collective group. The research centers on the writing of Michael F. Mascolo and Deborah Margolis, which takes a coactive approach to the relationship between oneÂÂÂÂ's social cognitive development and how it is manifested in his or her actions within a social group. Using this framework, the researcher assesses the personality types within the cast and analyzes how utilizing Viewpoints training creates shifts within these personalities. The researcher approaches this study from both a theoretical standpoint as a student during a two-week intensive training course for adults with SITI Company, and a practical standpoint in the direction of a fully mounted production with high school actors. The objective of the research is to propose a method to implement advanced Viewpoints training within a high school ensemble in order to cultivate ensemble and ultimately aid the social cognitive development of the individual actors.
Show less - Date Issued
- 2010
- Identifier
- CFE0002996, ucf:47936
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0002996
- Title
- When Coquis Sing: Introducing Young Audiences to Death and Bereavement Through An Original Play.
- Creator
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LoRicco, Michelle, Thomas, Aaron, Boyd, Belinda, Freeman, Emily, University of Central Florida
- Abstract / Description
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This thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death...
Show moreThis thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death.The purpose of this document is to counter the American cultural perception of death as a taboo topic for children. Hosting open conversations about death leads to healthier child development, which can help children cope with the loss that everyone will inevitably face in life. Theatre has been proven to work as a catalyst for conversations and create empathy for young audiences. Themes of death can be seen in all forms of storytelling for children , but this study implores the use of theatre to not only reflect experiences of grieving children on stage, but also create preemptive dialogue on the topic, so when tragedy strikes, children can have a tangible example to point back to.The arguments in this document thwart misconceptions of using Piaget's stages of cognitive development and K(&)#252;bler-Ross's five stages of grief as measurements of how all human beings should grieve. Instead of placing grieving children in stages and age groups that exclude important variables, this study focuses on the individual stories that are shared through reflective journals on the investigator's experiences and conversations as a grief facilitator, tutor, and artist in the field of Theatre for Young Audiences. The original play, When Coquis Sing, has been designed to induce conversations on death through the telling of a young protagonist's story of loss, grief, and victory.
Show less - Date Issued
- 2018
- Identifier
- CFE0007041, ucf:52008
- Format
- Document (PDF)
- PURL
- http://purl.flvc.org/ucf/fd/CFE0007041
