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1. "The False Witness": Artistic Research on Stage (EJ808867)
Author(s):
Simhoni, Orit
Source:
Qualitative Report, v13 n3 p353-378 Sep 2008
Pub Date:
2008-09-00
Pub Type(s):
Journal Articles; Reports - Research
Peer-Reviewed:
Yes
Descriptors: Qualitative Research; Researchers; Social Science Research; Drama; Phenomenology; Didacticism; Oral Interpretation; Historical Interpretation; Playwriting; Research Reports
Abstract: Sharing research findings with others is a fundamental concern of researchers. Qualitative research results may be disseminated in conventional (e.g., scholarly text or presentation) or innovative (e.g., art, drama, or poetry) forms. Given that researchers should select the best form of presentation of their work, it is worthwhile to explore creative options. One such option is theatrical performance. The purpose of this study is to describe one playwright's experience in creating a research-based drama, "The False Witness". While focusing on the process of research-based drama, this article is intended to inform researchers and artists about the potential of a research-based theatrical production to re-present social research material--and to tell a story in a way that can transform social consciousness. (Contains 4 tables and 15 footnotes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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2. Playing around with Improvisation: An Analysis of the Text Creation Processes Used within Preadolescent Dramatic Play (EJ784319)
Dunn, Julie
Research in Drama Education, v13 n1 p55-70 Feb 2008
2008-02-00
No
Descriptors: Play; Writing (Composition); Dramatic Play; Females; Early Adolescents; Classification; Playwriting; Creative Activities; Discourse Modes; Discourse Analysis
Abstract: When children come together to play dramatically they are involved in the creation of an improvised text. This text emerges spontaneously via the moment-by-moment contributions of individual players who must operate in a highly collaborative way in order to achieve cohesion. This paper reports on a research project involving several groups of 11- and 12-year-old girls that was conducted in order to gain a greater understanding of how cohesion in dramatic play is achieved. Using transcripts from one of the play sessions, the paper identifies the five key phases through which the play passed including the preparation, enactment, innovation, breakdown and conclusion phases. Each of these phases is described, with their contribution to the text creation process being identified. The paper then moves on to examine the role of the playwright function, with O'Neill's (1995) notion being extended into a four-part analysis framework. Here textual contributions offered spontaneously by the players are classified according to the impact they have on the overall text, with narrative, intervening, reinforcing and reviewing playwright functions being suggested. The paper concludes with the suggestion that further research may determine how useful these two frameworks might be to achieving an enhanced understanding of text creation within other improvised drama forms. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
3. Catching Butterflies (EJ783656)
Fisher, Maisha T.
English Education, v40 n2 p94-100 Jan 2008
2008-01-00
Journal Articles; Opinion Papers
Descriptors: Females; Prevention; Juvenile Justice; Delinquency Prevention; English Teachers; Correctional Institutions; Womens Education; Adolescents; Thinking Skills; Empowerment; Playwriting; Writing (Composition)
Abstract: Playmaking for Girls, founded by Rachel May and directed by Susie Spear Purcell, assembles a diverse ensemble of teaching artists committed to using playwriting and performance to help with incarcerated and formerly incarcerated teen girls to help them "think and thus act for themselves" (Freden, 2001, p. 70). These teaching artists, with the guidance of Synchronicity Performance Group, understand that literacy is a "civil right" for adjudicated youth. Their aim is to demonstrate that this kind of programming can allow these young women to re-enter schools, the workplace, and their communities with a sense of integrity and possibility. (Contains 4 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
4. Playmaking (EJ810882)
Sklar, Daniel Judah
Teaching Artist Journal, v6 n2 p135-145 Apr 2008
2008-04-00
Journal Articles; Reports - Descriptive
Descriptors: Playwriting; Play; Audiences; Writing (Composition); Imagination; Writing Assignments; Creativity; Elementary School Students
Abstract: When children write plays, their wishes, fears, and secrets face an audience. An audience is not a do-gooder making nice. It is not an authority figure with a grudge against one's race or class. When it laughs at the jokes or applauds, it can be trusted. It is saying this play--and by extension its author--fits into the world on its own terms. In effect, each young playwright declares, "This is who I am. I count." The audience, in its turn, validates that assessment. This article introduces playmaking, an engaging and dynamic method of playwriting for young people. It consists of five parts: (1) exploring the subconscious; (2) developing characters; (3) choosing the setting; (4) writing the play; and (5) performing the plays. The five parts of playmaking are discussed. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
5. Guardians of the Past: Using Drama to Assess Learning in American History (EJ779250)
Howlett, Charles F.
Social Education, v71 n6 p304-307, 330-331 Oct 2007
2007-10-00
Descriptors: Drama; United States History; State Standards; Court Litigation; Federal Government; Creative Thinking; Grade 11; Thinking Skills; Teaching Methods; History Instruction; Judges; Lawyers; Creativity; Playwriting
Abstract: The author decided to minimize the stressful emphasis on assessments in learning in his 11th grade American History and Government classes and put the fun back into teaching. Tired of the repetitive aspects of teaching the required state standards related to the U.S. Constitution and Supreme Court cases, the author switched gears from simply noting the parts of the Constitution and the various branches of the federal government to emphasizing an understanding of case law and its effects on society. The author invited attorneys and judges to speak to his classes about how the law works and how, as a society, they govern themselves. Putting into practice what the visitors had discussed, however, was the real challenge to the assessment process. The author found the solution in the production of classroom plays. Writing and performing plays based on case law became the culminating reflection to this exercise. In this article, the author presents how he designed a project that focuses on creative thinking skills. (Contains 9 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
6. National Causes/Moral Clauses?: The National Theatre, Young People and Citizenship (EJ778269)
Deeney, John F.
Research in Drama Education, v12 n3 p331-344 Nov 2007
2007-11-00
Descriptors: Citizenship; Citizenship Education; Young Adults; Foreign Countries; Theater Arts; Moral Values; Playwriting; Secondary School Students; Program Descriptions; College Students
Abstract: For over ten years, London's National Theatre, under the banner of "Connections", has been commissioning ten professional playwrights per year, each to write a play for young people. The plays are workshopped and performed by secondary schools, colleges and youth theatres across the United Kingdom and Ireland, and are presented in a series of regional festivals at professional theatres and arts venues, before culminating in the showing of a selection of all ten plays at the National Theatre each summer. The location of Connections within a "cultural flagship" such as the National Theatre might be seen to endorse state-sanctioned discourses where the interface between citizenship and young people is concerned. However, through focusing on two Connections' plays, "Totally Over You" and "Citizenship", both by Mark Ravenhill, this article proposes that Connections has facilitated new dialectical possibilities that resist the conformist tendencies of authorised citizenship education. Most importantly, the article argues how the procedures and practices of so-called "conventional" text-based theatre, in relation to both participation and spectatorship, are by no means antithetical to current developments in applied theatre that seek to question and redefine the terms of the relationship between citizenship and young people. (Contains 2 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
7. One Play a Day (EJ764806)
Blankenship, Mark
Diverse: Issues in Higher Education, v24 n3 p22-25 Mar 2007
2007-03-22
Descriptors: Foreign Countries; Theaters; Playwriting; Scripts; Play; Theater Arts; Undergraduate Students; Institutional Cooperation
Abstract: Undergraduate theater students rarely get the chance to work on a major world premiere, but this year hundreds of them will. Currently, more than 70 colleges and universities are participating in "365 Days/365 Plays," an ambitious project from Pulitzer Prize-winning playwright Suzan-Lori Parks. Every week, as they mount their portion of this epic experiment, another group of students and teachers will be ushered into theater history. Parks and producing partner Bonnie Metzgar say they are dedicated to making space for anyone who wants to tackle "365." To that end, the royalty fee for each play is only $1, and companies are encouraged to produce the scripts however they can, regardless of budget. This openness quickly led to the creation of the University Network, which includes both prominent institutions like Brown, Vanderbilt and Yale universities, and smaller schools like Berea College in Kentucky, Hendrix College in Arkansas and Palomar College in California. The chance to take artistic risks on such a significant scale has created a fervent response. Rebecca Rugg, the associate chair of playwriting at Yale School of Drama and coordinator of the University Network, says students and faculty are enthusiastically forming communities to bring their portions of "365" to life. Of course, with "365" birthing so many small communities, the challenge now becomes joining them into a cohesive unit. After all, if schools across the United States and Canada are all working on the same project, it stands to reason that they will have insights to share. Though "365" does have a Web site in development, Rugg says she hopes someone will emerge with a plan to bridge the vast distances between schools. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
8. A Comprehensive Guide to Readers Theatre: Enhancing Fluency and Comprehension in Middle School and Beyond (ED495934)
Black, Alison; Stave, Anna M.
International Reading Association
2007-00-00
Books; Guides - Classroom - Teacher
N/A
Descriptors: Teaching Methods; Poetry; Scripts; Academically Gifted; Theater Arts; Guides; Literacy; Standards; Playwriting; Scheduling; Demonstrations (Educational); Class Activities; Elementary Secondary Education; Middle Schools; Evaluation Methods; Reading Difficulties; English (Second Language)
Abstract: With the current education climate so focused on accountability, teachers need to ensure that their teaching practices are supported by today's content-specific standards. To meet this need, "A Comprehensive Guide to Readers Theatre" shows not only how to implement Readers Theatre in the classroom but also how to use it to meet current literacy standards. This practical, comprehensive guide goes well beyond the scope of typical "how-to" books on Readers Theatre and extends the applicability of this instructional method with the following special features: (1) Fun and easy-to-use supplementary activities; (2) Reproducible assessment tools; (3) Hands-on demonstrations of script creation using real literature-based scripts; (4) Performance schedules teachers can tailor to their classroom's specific needs; and (5) Matrixes illustrating how Readers Theatre meets literacy standards. Although the descriptions of script creation and performance are geared toward the middle school classroom, the authors also show how to easily adapt Readers Theatre in the elementary or high school classroom and with struggling readers, gifted students, and English-language learners. Following a preface, this book is divided into three parts. Part I, Getting Started, presents: (1) An Introduction to Readers Theatre; (2) Launching Readers Theatre in the Middle School Classroom; and (3) Developing the Performance. Part II, Exploring Genres through Readers Theatre, continues with: (4) From Script to Performance: Fiction; (5) From Script to Performance: Nonfiction; and (6) From Script to Performance: Poetry. Part III, Extending Readers Theatre Applications, concludes with: (7) Supplementary Activities for Students; (8) Readers Theatre beyond the Middle School Classroom; (9) Meeting the Standards through Readers Theatre; and (10) Assessing Readers Theatre. Appended are: (1) Recommended Sources and Resources for Scripts; (2) Cross-Curricular Connections; (3) Reproducible Forms; and (4) Standards. An index is also included. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
9. Children's Use of Language and Pictures in Classroom Inquiry (EJ751812)
Gray, Esther Cappon
Language Arts, v83 n3 p227-237 Jan 2006
2006-01-00
Descriptors: Elementary School Students; Playwriting; Language Usage; Multiple Intelligences; Inquiry; Writing Skills; Speech Skills; Freehand Drawing; Case Studies; Visual Impairments; Academically Gifted; Social Development; Drama; Semiotics; Teaching Methods; Oral Language; Written Language
Abstract: The article examines third graders who use reading, speaking, writing, gestures, and visual representation strategically in their inquiry research and to share what they learn. Examples of their speaking, writing and drawing shows their developing skill in choosing semiotic meaning-making systems appropriately for the purpose of developing their understandings. Three case histories capture language and drawing in the inquiry work of a charismatic and creative young leader, a struggling writer who thrives in an inquiry partnership, and a successful student labeled both vision-impaired and gifted/talented. Inquiry study offers both individualized pacing and social learning that are valuable to the students. (Contains 6 figures.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
10. Listening Better to Look Better: The Manipulation of Linguistic Devices and Listening Skills in the Writing of "Booters," a Play for Young People (EJ729162)
Dickenson, Sarah Jane
Research in Drama Education, v11 n1 p99-105 Feb 2006
2006-02-00
Descriptors: Listening Skills; Drama; Creativity; Playwriting; Literary Devices; Nonverbal Communication; Language Rhythm; Self Concept; Teaching Methods; Adolescents
Abstract: As someone who writes plays specifically for young people, this author believes she has a responsibility to create texts which are structured to help young performers extend their performance skills. This can and should include effective use of linguistic devices as well as indicating possibilities for physical gesture. The author contends that, to maximise young people's creativity, drama practitioners must be willing to explore both of these aspects. Effective communication of dramatic sign is achieved through the control of physical and linguistic sensitivity. When the students' attention is drawn to the rhythms and nuance of the spoken text, rather than engaging with it merely as a written code for physicalisation, the language becomes integral to the way the performers think and act. In this article, the author, playwright Sarah Jane Dickenson, describes how, in writing "Booters," a play for young people, deliberately sets out to create language structures that promotes physical confidence, with a particular emphasis on the reception of linguistic devices in performance. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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