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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

Title: WHAT CHARACTERISTICS MAKE A SUCCESSFUL COMMISSION OF A NEW PLAY FOR YOUNG AUDIENCES?.
Creator: Podsednik, Rebecca, Wood, Vandy, University of Central Florida
Abstract / Description: Guiding Question: What characteristics contribute to a successful commission of a new play for young audiences? Defining various types of commissions taking place in the field of theatre can help to set a precedent for defining commissioning processes and goals within the field of theatre for young audiences. Each field has their own specific needs, and I am interested in how the details of various commissioning processes can help to articulate some of the vital aspects of this work. This...
Show moreGuiding Question: What characteristics contribute to a successful commission of a new play for young audiences? Defining various types of commissions taking place in the field of theatre can help to set a precedent for defining commissioning processes and goals within the field of theatre for young audiences. Each field has their own specific needs, and I am interested in how the details of various commissioning processes can help to articulate some of the vital aspects of this work. This thesis looks at the broad process of commissioning a new play for young audiences through the study of one specific commission process. While the word Ã‚Â'successfulÃ‚Â' remains relative and depends greatly on who and what is defining any given notion of success, for this study, I define a successful production and script as one that pushes the field forward in at least one way, invokes strong audience responses, and involves artists who care about the integrity and value of theatre for young audiences. This study analyzes the commissioning process for Turning Ten by The Potomac Playhouse in the Theatre for Young Audiences program, through detailed interviews, journal observations reports, and research on theatrical commissioning. As I closely observed this commissioning process, I explored the following questions: how does Turning Ten fit into a Ã‚Â'type of commissionÃ‚Â' as referenced earlier in the thesis, how does Turning Ten fit my preconceived notion of a Ã‚Â'successfulÃ‚Â' commission?; how do the responses of the audience and production team members contribute to a successful commission? Throughout my research, my ideas of commissioning were broadened by the eagerness of the artists involved to bring what they believed to be a valid story to the stage and make it as unique and influential as possible. Turning Ten involves bringing a specific community and culture to life on stage and the team involved in making this happen proved that commissioning a script can be a valuable and worthwhile task in order to put something you feel passionate about in front of a live audience. I realized that the success of a particular project deals first with the script and the writing that is put on the table; then, the commission involves the ability of the creative team to shift and change with various timeframes and the willingness to work with the different personalities involved. All of these factors proved successful with this particular commission and a strong way to approach my research about this topic.
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Date Issued: 2010
Identifier: CFE0002990, ucf:47933
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002990

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

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

Title: ONCE UPON A TIME: MAKING FAIRY TALES RELEVANT IN CONTEMPORARY THEATRE FOR YOUNG AUDIENCES.
Creator: Kibler, Amanda, Chicurel, Steven, University of Central Florida
Abstract / Description: As a theatre for young audiences (TYA) practitioner and artist, I have noticed the prevalence of edited fairy tales on TYA stages. Artists tend to present versions of traditional tales that do not explore the dark places found in the original forms, the very same parts of humanity that young people often yearn to understand. Within TYA, fairy tales have become a safe option because many are well-known titles that generate audiences and income. Theatre practitioners and producers frequently...
Show moreAs a theatre for young audiences (TYA) practitioner and artist, I have noticed the prevalence of edited fairy tales on TYA stages. Artists tend to present versions of traditional tales that do not explore the dark places found in the original forms, the very same parts of humanity that young people often yearn to understand. Within TYA, fairy tales have become a safe option because many are well-known titles that generate audiences and income. Theatre practitioners and producers frequently present selections from the canon of fairy tales without exploring its many layers of meaning; failing to recognize the message that is being communicated to the audience. This thesis will explore how and why theatres continue to present these tales to contemporary young audiences. How do TYA companies create productions of fairy tales that capture the attention of a contemporary audience and still remain true to the traditional psychological framework? The staying power of fairy tales points toward a common human connection. Parents pass the stories down to their children, generation after generation. There must be a reason for this and I would like to examine it. Research on the long-term effects fairy tales have on young people focuses on the psychological values and ramifications of exposure to these classic stories. This thesis will explore the use of fairy tale structures in theatre for young audiences and where this author feels we can produce fairy tale shows in a manner that considers the developing psyche. I will consider the underlying significations in fairy tales and how theatre artists can provide young people a means to explore and understand these meanings, while avoiding metanarratives that reinforce submission and oppression. Guided by an understanding of research in psychology, productions already performed, and the definition of a contemporary young audience, I will look beyond the simple tale and find ways to create fairy tales onstage responsibly. I will analyze the works of Bruno Bettelheim, Jack Zipes, and Maria Tatar, compare and contrast their differing views on the place of fairy tales in a young personÃ‚Â's psychological life, and define what a child gains from hearing these stories. Finally, I will interview three directors from around the world about their approach to directing fairy tales, then synthesize the information to create a view of how some companies currently present fully-actualized fairy tales. The prevailing presentation of fairy tales follows an edited and lighthearted way of looking at these classic tales. However, a growing movement exists to re-imagine our view of fairy tales. The work of three of these innovative directors--Kevin Ehrhart, Dougie Irvine and Andy Packer--inspired this thesis with their fearless approaches to teaching young people through the lessons created in fairy tales.
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Date Issued: 2010
Identifier: CFE0002988, ucf:47968
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002988

Title: BREAKING TRADITION: REACHING FOR THE AVANT-GARDE IN THEATRE FOR YOUNG AUDIENCES.
Creator: 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 AronsonÃ‚Â'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 AronsonÃ‚Â'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 scriptÃ‚Â'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 TYAÃ‚Â's current position and state of progression.
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Date Issued: 2009
Identifier: CFE0002968, ucf:47951
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002968

Title: THE ECONOMICS OF A YOUNG AUDIENCE.
Creator: Bosley, Cicely, Weaver, Earl, University of Central Florida
Abstract / Description: As a theatre for young audiencesÃ‚Â' (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 audiencesÃ‚Â' (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.
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Date Issued: 2010
Identifier: CFE0003003, ucf:48372
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003003

Title: Writes of Spring 2014: Fostering Creativity in Theatre, Education, and Leadership.
Creator: Hodson, Alexandra, Weaver, Earl, Wood, Vandy, Siegfried, Judi, University of Central Florida
Abstract / Description: 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.
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Date Issued: 2015
Identifier: CFE0005627, ucf:50209
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0005627

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

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

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 programÃƒÂƒÃ‚Â‚Ã&...
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 programÃƒÂƒÃ‚Â‚ÃƒÂ‚Ã‚Â'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 ColorsÃƒÂƒÃ‚Â‚ÃƒÂ‚Ã‚Â' 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

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 Ã‚Â'teaching artist,Ã‚Â' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Ã‚Â'teaching artistÃ‚Â' 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 Ã‚Â'teaching artist,Ã‚Â' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Ã‚Â'teaching artistÃ‚Â' 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 Ã‚Â'teaching artistÃ‚Â' 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 canÃ‚Â'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

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: Horn, Elizabeth, Listengarten, Julia, University of Central Florida
Abstract / Description: 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 oneÃƒÂƒÃ‚Â‚ÃƒÂ‚Ã‚Â'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 oneÃƒÂƒÃ‚Â‚ÃƒÂ‚Ã‚Â'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.
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Date Issued: 2010
Identifier: CFE0002996, ucf:47936
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002996

Title: The Artistry of Accessibility: Creating Theatre with and for Students on the Autism Spectrum.
Creator: Brunow, Sara, Listengarten, Julia, Ingram, Kate, Niess, Christopher, Kovac, Kim, University of Central Florida
Abstract / Description: 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.
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Date Issued: 2015
Identifier: CFE0006027, ucf:51003
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006027

Title: When Coquis Sing: Introducing Young Audiences to Death and Bereavement Through An Original Play.
Creator: LoRicco, Michelle, Thomas, Aaron, Boyd, Belinda, Freeman, Emily, University of Central Florida
Abstract / Description: 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.
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Date Issued: 2018
Identifier: CFE0007041, ucf:52008
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0007041

Theatre for Young Audiences (8)	+ -
theatre (4)	+ -
theatre for young audiences (4)	+ -
TYA (3)	+ -
Theatre (3)	+ -

Devising (2)	+ -
Theatre Education (2)	+ -
young audiences (2)	+ -
Acting (1)	+ -
Acting Theory (1)	+ -
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