Children's Theatre Research Articles

Aesthetic and Educational Dimensions of Songs and Chants in Children's Theater Performances

The present study consists of four sections. Section one tackles the problem statement that revolves around the idea of aesthetic and educational dimensions of songs and chants in children’s theater performances. The significance of the present study is manifested by clarifying the aesthetic and educational dimensions of the musical templates employed in children’s theater performances due to their importance in Communicating those values to the recipient child. The present study aims to identify the aesthetic and educational dimensions of chants and songs employed in the performances of the child’s theater. The section also presents the limits of the present study, and it is concluded by defining the key terms. Section two is subdivided into two subsections. The first subsection is entitled Aesthetics of songs and chants in children’s theater Performance. The researcher studied the spiritual aesthetics included in lyrical and chanting forms in children’s theater performances. The second subsection is entitled The educational dimension of songs and chants presented in children’s theater performances. The researcher studied various educational values involved in lyrical templates employed in children’s theater performances. Section three includes the research sample, its tool and methodology, and an analysis of the selected sample. Section four includes the results, including: 1. The musical templates employed in this show came as an integrated aesthetic educational system rich in values that helped the child develop his/her intellectual and aesthetic spirit, 2. Music positively affected the academic performance of the recipient (the child), helped develop his/her social skills in all its forms, and helped create an outlet for creativity, which is crucial to his/her growth, 3. This sample included the various musical templates that permeated the movement of the actors' bodies and helped to show the educational and aesthetic values of the performances through their sensory components that can be explained through the sense and minds of children, 4. The various musical templates included in this show were presented in a variety of ways in terms of rhythm and melodies, or even in the form of solitary music and moved away from monotony, which prompted them to create an aesthetic distance between them and the child and 5. The rhythmic and melodic diversity in this show is the adjuster for the rhythm of the public show, especially the control of the actor’s movements, which helped develop the child’s sensory and intellectual awareness of the spirit of the show, and thus achieve the theory of broadcasting educational values.

Education of the role of puppet theatre in the primary school pupils (6-9) year

The nation is based on the right education with all its educational and educational contents and social and moral aspects in building a human being, so the children's theater, including (puppet theater) contributes effectively to what is important in education, and has a great impact in preparing the personality of the child correctly and consciously, giving them a spirit of awareness and thinking and promoting educational values besides aesthetic taste, so this study seeks to invest (puppet theater) to develop the levels of primary education in Iraq The problem of research was the following question: How can puppet theatre be used to teach primary students? The importance of the research lies in demonstrating the importance of the role of the doll in the education of primary school children, as it continues to benefit workers in educational and educational institutions and cultural institutions to build a knowledge base for the new generation with the intention of educating them through visual, audio, critical and aesthetic taste and moving away from this old traditional method in the first semester.

‘Theatre, Revolution and Love’: Moral–aesthetic education in Asja Lācis' proletarian children's theatre

Abstract This article explores the educational philosophy of Asja Lācis' proletarian children's theatre. Taking her post–First World War encounter with Russian street children as a starting point for my inquiry, I argue that Lācis regards the theatre as a rehearsal space for life. Here, children are to be absorbed into the craft of theatre, with the aim of honing their moral and aesthetic sense as a (self-guided) reorientation of their attention and desire towards (the possibilities of) the Good. Demarcating a porous educational theatre space that provides practical artistic opportunities for this education of attention, Lācis hopes to structure children's aesthetic, social, material and sensory engagement with their surroundings, whilst also ensuring their individual freedom as moral agents. Respecting children's ways of engaging in the world, Lācis posits theatrical improvisation as the key activity. Here, children create their own stories and metaphors about how life might be lived, thereby practising attention to, ‘testing’ and reflecting upon, the (possible) Good Life. The educator's pedagogical gesture is hereby that of observation: She pays attention to the social–artistic tensions that occur, as potential heralds of the child's unique way of embodying (and conceptualising) the Good Life. Theatre is here understood as a (negative) dialectical site of education, one that acknowledges the dark and uncertain relation between the child's commitment to the Good, and its (uncertain) coming into being in daily life. The student–teacher relationship can indeed become a pedagogical conduit for this search for (and embodiment of) wisdom, but cannot provide a blueprint as to how the journey might be conducted, or predict how the Good will manifest. It is in the ‘loving’ non-action of the educator, who honours the unpredictability of the arrival of virtue, and the unexpected form that it might take, that children's theatre is considered ‘truly revolutionary’: becoming a witness to Eros's (strange) presence in the child's unique gesture as a result.

PEDAGOGICAL ACTIVITY "FIRST STATE THEATER FOR CHILDREN": ANALYSIS OF ARCHIVAL MATERIALS 1920-1927 YEARS

Pedagogical activity of “The First State Theatre for Children "Fairy-tale"”: analysis of archives materials 1920-1927. The process o f the creation and developing of the first theatre for children in Ukraine is revealed in the report. Pedagogical influence of the theatre on children revealed in 20-th years of the XX the century. The recovered facts determined key-directions of pedagogical work of the theatres in the following years.

Model for Training Teachers to Create an Upbringing Cultural Environment for Young Children

The article substantiates the relevance of the problem of familiarizing young children with various arts in the education environment for expanding the cultural experience of each child. The appropriateness of training teachers to create an upbringing cultural environment focused on the harmonized development of children through art is proven. The authors identify the “deficits” in the modern education environment, reveal the social demand for the training of teachers for educating young children by means of art in a specially organized cultural environment, and outline the relevant tasks. This provides for a clear definition of the goal-setting, methodology, and the stages of an applied scientific study and developing a model for training teachers to organize an upbringing cultural environment incorporating the following arts: children’s literature, music book illustration (children’s illustrated books), folk toys, children's theater, animation, art photography, etc. As a result, the authors present a model of training teachers to organize an upbringing cultural environment focused on familiarizing young children with various arts. The empirical materials of the study include: 1) analytical documents; 2) the program for the additional training of preschool teachers “Organizing the education of young children in an upbringing cultural environment: from an innovative program to variative practice” (72 academic hours); 3) methodological recommendations for teachers on creating an upbringing cultural environment; 4) the technology for designing an upbringing cultural environment; 5) the approximate repertoire of artworks understandable for young children; 6) digital content for teachers and parents “First steps into the world of art”.

Characteristics of group performance in children's theater performances

مسرح الطفل هو مسرح يخدم الطفولة سواء اقام به الكبار ام الصغار ما دام الهدف هو امتاع الطفل والترفيه عنه واثارة معارفه ووجدانه وحسه وحركته، أو يقصد به تشخيص الطفل لأدوار تمثيليه ولعبيه ومواقف درامية للتواصل مع الكبار أو الصغار. لقد كانت المجاميع المسرحية موظفه بخدمة الصور التكوينية للمشهد المسرحي فقد كانت الوظيفة المعطاة للمجاميع ترتقي بالعرض المسرحي من حيث بناء الاحداث لتصل الى الذروة ولم تكن مشاهد المجاميع في العروض المسرحية الحديثة وحسب بل امتدت جذورها الى المسرحية اليونانية القديمة اذ كانت المجاميع تشكل محورا اساسيا في بناء المسرحية.

Children's theatre - diachronic analysis of curricular documents for preschool level, in Romania

Theatre, in all its forms, although very well represented in kindergarten activities, does not have a constant presence in the curricular documents to which they referred, throughout time, teachers for preschool education in Romania. In this context, a diachronic analysis of curricular documents (from the Program of instructive-educational activity in kindergarten, 1963, to the Curriculum for early education, 2019) can be a point of support for teachers (especially beginners) who understand and want to capitalize on the benefits of theatre in activities with preschoolers. In this sense, both the finalities / competencies provided in the mentioned curricular documents will be analysed, and, especially, the contents (where they are listed) and the behaviours, examples of activities offered by these official papers.

Theoretical foundations and practice of continuous ethno-cultural activity in children's and adult theater studios

Theoretical foundations and practice of continuous ethno-cultural activity in children's and adult theater studios

Increasing the Fervour to Learn amongst Pre-Schoolers via Children’s Theatre

Children’s Theatre or Theatre For Young Audience can involve children in actual productions, plays and musicals aimed explicitly for children, or a mixture of both. The study aims to look at the combination of children’s theatre and creative movement that results in boosting pre-school children’s self -confidence and its ability to aid in their holistic development. The study was conducted in a nursery to expose theatre as a medium to express feelings, emotions and behaviors amongst children. Theatre as a medium of learning is also expected to be a place for children to showcase existing talent and help the child to boost their self- confidence. This study focused on a qualitative methodology applying Bloom's Taxonomy of the cognitive domain approach that involves knowledge, understanding and application. The study was conducted on seven children in Taska Sayang Sentosa di Bukit Beruntung, Selangor based on the Kurikulum Standard Prasekolah Kebangsaan (Malaysian National Standrad Pre- School Curriculum) 2017 under the subtopic K.E 2.1.1 Melakonkan watak menggunakan imiginasi (acting out characters based on imagination).The respondents were randomly selected amongst the seven children after obtaining permission from the parents and activities were planned and conducted jointly by the researchers and the teachers. The research shows that the implementation of children's theater can induce fun in learning as well as shape the personality of the child.

Dramatic wonder in children's theater performances

 تتمثل أهمية الدراسة الحالية في عرض مفهوم مهم، من وجهة نظر المهتمين في مجال أدب ومسرح الطفل، ألا وهو (العجائبية) وذلك لكونه يمثل ميلا فطريا مغروسا في ذهنية الطفل، وبالتالي فمن السهولة استهوائه له عند القيام باستقطابه بنص وعرض موجه إليه, لتحقيق الرؤية الجمالية والفكرية, لذا شكلت مشكلة البحث في التساؤل التالي: (العجائبية الدرامية في عروض مسرح الطفل) وتكمن أهمية البحث في بيان أهمية دور العجائبية للخطاب الدرامي في عروض مسرح الطفل، كما تم تحديد حدود البحث مكانيا في العراق, وزمانيا عام(2018) وموضوعيا مسرحية(زيارة ارضية) هذا في الفصل الأول. أما الفصل الثاني(الاطار النظري) فقد اشتمل على مبحثين الأول منه تمحور في(مسرح الطفل والأطر الجمالية) أما المبحث الثاني فقد تمحور في( العجائبية واشتغالاتها في مسرح الطفل) ومن ثم الخروج بمؤشرات الاطار النظري, وضم الفصل الثالث(الاجراءات) اذ تمحور في مجتمع البحث الذي اختير على وفق المنهج القصدي فضلا عن عينة النص حيث استخدمت الباحثة المنهج الوصفي التحليلي في التعامل مع مجتمع البحث في تحليل مسرحية للأطفال, واشتمل الفصل الرابع النتائج, فضلا عن التوصيات، والمقترحات، تليها قائمة للمصادر والمراجع المستخدمة في البحث وخلاصة البحث باللغة الإنكليزية

الجذب والمثير البصري في عروض مسرح الطفل Effectiveness of attraction nd visual attraction in children's theater performances

جاءت أهمية دراسة موضوع المثير البصري في عروض مسرح الطفل بوصفها دراسة تفيد المختصين في مجال التصميم المسرحي في عروض مسرح الطفل، وتجسدت مشکلة البحث في تحديد خصائص وأهمية الجذب والمثير البصري في تصميم العروض المقدمة للأطفال، وقد حدد البحث موضوعيا وزمانيا ومکانيا لعرض مقدم في (مسارح العراق) نموذج تطبيقي مختارة مسرحية(لا تقل کاو کاو)) وفق الإختيار القصدي، والتحليل الوصفي للعينة، الذي امتاز المثير البصري ما بين الشکل واللون والتکرار والضوء والتباين والانسجام...وغيرها، في شبکية الجذب وارتباطها بالعناصر البصرية هذا في الفصل الأول. أما الفصل الثاني، فقد تضمن الإطار النظري ومؤشراته، وقد حدد محورين الأول تحت عنوان المقاربة الجمالية للمثير بين الفن الفلسفة والنفس، في الوقت الذي عنى المبحث الثاني اشتغال المثيرات البصرية الجاذبة في تشکيل الفضاء السينوغراف، فقد اهتمت بوظيفة المثيرات البصرية والمعالجات التصميمية والإخراجية لتلک المثيرات، في البناء والتقويم لآليات اشتغال عناصر الجذب البصري حين تکون إيجابية، وإيجاد المعايير المناسبة للجذب وإيجاد بدائل خاصة بالجذب نحو العناصر البصرية وانسجامها بالنسق البصري في العناصر البنائية التي تشکل معادل جذب للصورة الجمالية داخل منظومة العرض البصري في المؤشرات التي خرجت منها الباحثة، فضلا عن الدراسات السابقة.. ولقد اعتمدت الباحثة مؤشرات کانت محصلة المصادر والمراجع التي أطلعت عليها والتي کانت تمثل الإطار النظري. ومن أهم النتائج التي توصلتا إليها الباحثة هو دور المثير البصري عندما يکون جاذبا مؤثرا لکل من المصمم والمتلقي (الطفل) عن طريق فاعلية الشکل والمضمون وفي انتقال العين من وحدة إلى أخرى بسلاسة وجاذبية، وتضمن البحث إجراءات البحث ومنهجيته إضافة إلى تحليل عينة البحث، بالإضافة إلى النتائج والمقترحات وقائمة المصادر والمراجع. Abstract: The importance of the study of the subject of visual effects in the theater of the child as a study of the specialists in the field of theater design in the theater performances of the child، and the problem of research was to determine the characteristics of the effectiveness of attraction and visual in the design of presentations for children، and the effectiveness of its impact on the recipient (child) Objectively and temporally and spatially for a presentation presented in (theaters of Iraq) selected application model play (don't say Kao Kao) according to the choice of the descriptive and descriptive analysis of the sample، which is characterized by visual attraction between shape، color and frequency and light and contrast and harmony... etc. in the network of attraction and its link Visual elements In the first chapter. The second chapter included the theoretical framework and its indicators. The first two axes were defined under the title: The aesthetic approach of the artist between art، philosophy and psychology، while the second section concerned the use of visual stimuli in the formation of the space of the cinematography. Constructing and evaluating the mechanisms of employing visual attractions when they are positive، finding the appropriate criteria for attracting، and finding alternatives to attracting to visual elements and their compatibility in the visual format in the structural elements، which constitute an attractive equivalent of the aesthetic image within the system. To view the visual indicators emerging from the researcher، as well as previous studies. The researcher indicators adopted was the outcome of sources and references that shared with them which was a theoretical framework. The most important results reached by the researcher is the role of visual stimuli when it is an attractive attractor for both the designer and the audience (the child) through the effectiveness of form and content and in the transfer of the eye from one unit to another smoothly and attractively. The research included research procedures and methodology in addition to analysis of the sample research، Results، proposals and list of sources and references.

Jacinto Benavente’s "Children's Theater"

Au début du xxe siècle, le dramaturge Jacinto Benavente créa un « Théâtre des enfants », projet novateur pour lequel il écrivit une œuvre devenue très populaire en Espagne : Le Prince qui avait tout appris dans les livres (1909). Après une brève présentation du contexte historique, cet article rappelle les principales caractéristiques de ce « Théâtre des enfants » et analyse l’œuvre citée.

Режисерсько-творча специфіка дитячого естрадного театру «Зірковий час»

The purpose of the article is to scientifically and theoretically substantiate the artistic features of the children's variety theater, to identify the specifics of directorial practices in such groups, to characterize the content, forms and working methods of the example of the children's star theater “Star time” in Odessa. The research methodology involves the use of the following scientific approaches: integrated is to disclose the essence of all aspects of the artistic specificity of children's theater; cultural is for contrasting and comparing the philosophical, historical, psychological, pedagogical and art components in the activities of children's pop theater; empirical is for observing, interviewing children and parents, etc. Scientific novelty. For the first time, for the research purpose, the experience of creative and organizational activity theater “Star Time” of Odessa was collected, the basic directorial techniques in work with children were characterized and the directions of the collective further development were summarized. Conclusions. Theater as a means of personality formation is one of the first places among other types of children's creativity, it is for children a source of information about the world and the laws of life, and it makes you think about the meaning of human existence and the depths of the human soul. Therefore, the children's pop theater “Star Time” of Odessa proposed a theoretical model of the children's pop theater, consisting of two areas of the collective. The first involves the analysis and determination of the working features with participants in the performance, as well as compliance with certain principles in their activities. The second direction relates directly to the creative activities of children's pop theater, in particular methods, forms and means. The article describes modern directorial techniques and defines the professional activities features of the director working in the children's team, which are extremely cautious about children's theater creativity, taking into account the age, physiological, psychological properties of children, the need to create such an organization of theatrical creativity of children that will ensure full self-expression of young actors, while maintaining a resemblance to a natural children's game; analyzed the main directorial and creative technologies, as well as further prospects for the children's theater development.

The Crucible

The Crucible

Patronage and Plays: William Stanley and the Revival of the Children of Paul's in 1599

Patronage and PlaysWilliam Stanley and the Revival of the Children of Paul's in 1599 Edel Lamb William Stanley, 6th Earl of Derby, was, according to one tantalizing reference, a key financier and patron of an important—but often perceived as minor—playing company in early modern London: the Children of Paul's. In a letter reporting on London affairs to Sir Robert Sidney in 1599, Rowland Whyte comments "My Lord Derby hath put up the plays of the Children in Paul's to his great pains and charge" (cited in Wickham, Berry and Ingram 313). This allusion to a connection between the Earl and the children's company based at St Paul's Cathedral is unspecific but intriguing. The late sixteenth- and early seventeenth-century version of the Paul's playing company was a central component in the history of the children's playing companies. This connection is made at a critical moment in that history. In the autumn of 1599, the Children of Paul's resumed theatrical activities after an eight-year hiatus (see Gair, Children; Lamb). Whyte's letter of 13 November 1599 coincides with the earliest performances of the new version of the company. As a result, most scholars have interpreted the reference to Stanley's "pains and charge" in supporting the children's "plays" as evidence that he was the financial backer for the revived company (see Gair, Children; Wickham, Berry and Ingram; Thomson). But what exactly might the Earl's interest in and relationship to the company have been? Was he instrumental in reviving performances by this company? The performance of John Marston's Antonio and Mellida by Children of Paul's in autumn 1599 marked not only their revival but also the beginning of an intense period of commercial and professional performances by children's theatre companies. These companies flourished from 1599 until 1613, and, although they were short-lived, they were an integral part of early modern English theatrical culture (see Lamb; McCarthy; [End Page 427] Munro, Children; Shapiro). Did Stanley play a role in instigating this unique phase of children's performance in English theatre history? The exact nature or extent of Stanley's involvement with the Children of Paul's is not definitively disclosed by any other piece of evidence. However, this essay will re-evaluate this key moment in the history of early modern children's performance and the 6th Earl of Derby's place in it by bringing together evidence about the children's playing companies at this time and about William Stanley's role as theatrical patron. In doing so, I follow Elspeth Graham and Rosemary Tyler's micro-historical method in seeking to develop a "fuller understanding" of the relationship between Stanley and this theatrical phenomenon (Graham and Tyler 115). Like Graham and Tyler, I seek to do so by privileging connections and contextualization. This essay will thus explore what the Earl's relationship to the company might have been via an evaluation of the necessity of such support for Paul's revival and of the benefits of such patronage to Stanley. Focusing firstly on the conditions that enabled the revival of this company after they had been dissolved for almost a decade, it will begin by scrutinizing the practices of managing, financing, and writing for a children's playing company. It will then situate the allusion to Stanley's patronage in the context of these practices, his involvement in theatre, and the wider history of the family's theatrical patronage to investigate his role in the revival of this company. Evidence of the Earl's other theatrical ventures indicate his enthusiasm for patronage of players; and his attempts at writing plays just a few months before Whyte's letter raise the alluring possibility that he may have not only financed but also written for this company. Considering the novelty and prestige of these highly trained and well-educated performers with a history of proximity to the court, this essay will examine the potential benefits of patronizing such a company, for both the Earl and the Children of Paul's, to shed new light on Stanley's contribution to this distinct element of early modern...

Children's Theaters as an Artistic Stimulus

Sanat, çok farklı tanımları olan bir kavramdır. En genel biçimde de güzel ile faydalı olanı birleştiren bir disiplin olarak tanımlanabilir. Güzel ve yararlılık kavramları insanın sanattan beklentilerini ortaya koyar. Tiyatro da tarih boyunca hem güzeli hem de yararlı olanı taşıyan bir sanat dalı olmuştur. İlk çağlardan beri bütün toplumlar tiyatronun eğitici özelliklerinden yararlanmıştır. Batı’da çocukluk kavramının ortaya çıkmasından sonra çocuklar için de tiyatro yapma ihtiyacı duyulur. Bu ihtiyacın sonucu olarak çocuk tiyatroları doğar. Çocuk, fiziksel ve ruhsal özellikleri bakımından yetişkinlerden farklı özellikler taşır. Bundan dolayı çocuklar için yapılan tiyatronun çocuğun niteliklerine uygun özellikler taşıması gerekir. İletişim bütün sanatlar için çok önemli bir unsurdur. Söz konusu çocuk tiyatrosu olduğunda bu önem daha çok artar. Çocuk tiyatroları, dramatik örüntüsünden kurgusal özelliklerine, kişilerinden çoğulcu anlatım boyutlarına kadar çocuğun dünyasına seslenen tekniklerini barındırmalıdır. Ancak bu donanımlarla çocuğun karşısına çıkan çocuk tiyatrosu onun ilgisini çekip, dünyasını geliştirebilir.

Teatro para jóvenes: teoría y temática en la sociedad del siglo XXI

El teatro para jóvenes sigue siendo un género poco tratado y menos estudiado por los investigadores, pues muchas veces es incluido dentro del genérico teatro infantil. Desde este artículo se establecerán una serie de perspectivas teóricas y temáticas que ayuden a definir y comprender la compleja existencia de un género al que en muchas ocasiones se le ha negado su misma posibilidad de existencia.

Symbolic symbolism of the costume in the children's theater performances

The use of symbolic symbols of costume in theatrical presentation, which promotes the idea and elements of theatrical presentation through which the researcher felt the need to invest the symbolic values ​​and their implications for the transfer of images and ideas and meanings to the recipient (child) and increase the aesthetic effect whenever the indications are effective by the use of shapes and images and color and variations in the uniform , Where the costume and its implications become a sign of the symbolic recruitment of theatrical presentation, and this is the motivation that motivated the researcher to discuss this problem and the use of symbolic indications in the play, based on the current research problem in the answer to the following question: The symbolic organs of the costume to play an aesthetic role in the performances of the theater of the child? The current research community consists of theatrical performances of (2017), the most important scientific study of theatrical performance, Which has reached (2) theater performances, has been selected play (small chalk circle) as a sample of the current research in the form of the fact that they correspond to the objectives of the search and the availability of photographs and provide a video recording of theatrical performance. The research came out with a number of conclusions, the most important of which are: 1 - The costume contains psychological signs reflecting the nature of the personality: - appeared in the scene of the clown and also with the character of Leila, which reflects the psychological situation and through the wearing of clothes. 2 - The presentation develops linguistic concepts and ideas: - The presentation succeeded in deepening the linguistic concepts of the general form has deepened the uniform and contradictions in the personality of Laila and also emerged a personal time through the concepts of language and ideas and life, which is exposed to love and rejection of negative behavior.

Determining the key factors contributing to children's theatre ticket purchases at Afrikaans arts festivals in South Africa

In South Africa, the popularity and rapid expansion of festivals are resulting in festivals competing for revenue and visitors’ leisure time. Many Afrikaans arts festivals in SA are experiencing declines in ticket sales and/or visitor numbers, thereby threatening the sustainability of this attendee market. However, another concern is the ageing of this attendee market. Festival organizers/marketers should therefore not only have a good understanding of the needs and preferences of their attendee market; but they should also ensure that their future markets (namely younger generations) are secured. It is evident that exposing children to the arts increases their love for and likelihood to support the arts in adulthood. It is therefore vital to ensure that the key factors contributing to children's theatre ticket purchases at South African Afrikaans arts festivals are determined. Although children's theatre is incorporated into these festivals’ programmes, attendance is often poor. The aim of this study is therefore to determine the key factors that contribute to children's theatre ticket purchases at Afrikaans arts festivals in South Africa. Self-administered questionnaires were distributed at the Klein Karoo National Arts Festival (KKNK), Vryfees National Arts Festival, and the Aardklop National Arts Festival among the parents attending children's theatre productions with their child/ren. The research is exploratory in nature, whereby an exploratory factor analysis was conducted on the aspects contributing to the purchasing of these tickets, followed by ANOVAs for more in-depth analysis of the factors. Five factors, namely Parent–Child Activity, Production Credentials, Supporting the Arts, Value and Marketing and Media were identified. The results will help festival organizers develop strategies to attract more children and increase children's theatre ticket sales at arts festivals; thereby better securing this future market and ultimately the sustainability of arts festivals in South Africa.

Revolution auf der Bühne

Artikelbeginn:[English title and abstract below] Setzt man bei der Darstellung revolutionärer Prozesse im Kindertheater in den 1960/70er Jahren an, so liegt der Fokus auf einer Zeit gesellschaftlicher Umbrüche und politisch-sozialer Bewegungen, die für die Geschichte des Kinder- und Jugendtheaters von besonderer Bedeutung ist (vgl. Schneider 1984). Wie andere Intellektuelle und KünstlerInnen auch wurden Theaterschaffende von den Protesten und dem Klima der Veränderung und des Aufbruchs vielfältig angeregt. Revolution On StageInsights into the Conditions, Developments and Effects of Emancipatory Children’s Theatre This article provides an overview of the origin and development of emancipatory children’s theatre in the 1960s and 1970s in Western Germany. The modification of structures in children’s theatre is analysed based on a taxonomy of changes in themes, forms and functions. The analysis shows an increasing politicisation of scripts and plays in theatres for the young and the foundation of new theatres and groups with mainly political goals like GRIPS and Rote Grütze. New formats like Mitspiel [playing along-], Mitmach [participating-] and Vorführ [demonstrating-] theatre emerged alongside the ideas of the German student movement of 1968. Children’s theatres became places for developing a critical perspective on society with major innovations being presented first in independent theatre groups and later adopted in modified forms in municipal theatres. This shift of emphasis still affects contemporary children's and youth theatre. These days, theatres and theatre groups producing professional children's and youth theatre are located in most German cities. Theatre work for young audiences takes a variety of forms and genres, deals with a diversity of themes and includes the participation of the audience and their experiences. Current political affairs and issues of interest and relevance to today’s youth are still at the centre of the theatre productions; however, the focus nowadays is less instructional.