Theatre Course Research Articles

PENGEMBANGAN BUKU DIGITAL CREATIVE WRITING: BLENDED LEARNING BERBASIS PROYEK TERINTEGRASI KECAKAPAN 6C

This development aims to develop and evaluate digital books with a blended learning approach that is integrated with 6C skills in the English creative writing: drama and theater course. This course aims to improve students' ability to write drama and theater scripts in English while developing important skills that are relevant in a language-learning context. This research design is a research and development design that uses a 4D model. The stages of this research are the define stage, design stage, develop stage, and disseminate stage. The results of this research show that digital blended learning books with a project approach and integration of 6C skills have a positive impact on students' ability to write drama and theater scripts in English. Students also demonstrated improvements in developing 6C skills, including the ability to collaborate, communicate effectively, and think critically. This research provides recommendations for further development in the use of digital blended learning books in the English Creative Writing Drama and Theater courses, as well as increasing the integration of 6C skills in language learning contexts. The findings of this research can be an important contribution to the development of more innovative curricula and teaching methods in English education and the development of student skills.

Needs Analysis for Drama Scripts Based on The Syair Perang Menteng

This research aimed to analyze the needs of lecturers and students regarding the need to do drama scripts transformation based on Menteng Battle Verse, which was conducted at Sriwijaya University. The data collection of the needs analysis used interviews and questionnaires, and the respondents were 1 lecturer teaching a Palembang Malay Traditional Theatre course and 57 students of Indonesian Language and Literature Education Sriwijaya University. This research applied qualitative and quantitative research. Data analysis was carried out by reviewing the results of interviews and questionnaires. The components of the needs analysis included (1) students’ knowledge of Menteng Battle Verse, (2) Students’ knowledge of the content of Menteng Battle Verse, (3) students’ perspectives on the preservation of Menteng Battle Verse, and (4) drama script transformation based on Menteng Battle Verse. In conclusion, the result of the needs analysis showed that the lecturer and students needed to do a drama scripts transformation based on Menteng Battle Verse. The transformation was used as a pilot project for students to write a drama script based on the Menteng Battle Verse in the Palembang Malay Traditional Theatre course.

“I Feel Myself in a Cage of Bird”: Berber Female Students’ Self-Identification in the Algerian Society - A Phenomenological Study

Abstract Algeria is flavoured by a diversity of ethnicities and languages. The country is dominated by two ethnic groups: Arabs and Berbers. My concern falls upon identity negotiation within the latter group and exploring how women within the Berber community represent themselves and how the society perceives them. To answer this question, I explored the autobiographical stories of three Algerian female students who study English as a foreign language at Bejaia University, and who grew up amongst Berbers. They took part in a forum theatre course I ran at their University to explore EFL learner identity. Adopting an idiographic case-by-case phenomenological analysis to the written stories of these three students brought my attention into the self-image they gave to themselves to articulate their identity. This study also looked at the factor of power relations in their experiences drawing on Bourdieu’s perspective. The findings of this phenomenological analysis revealed the impact of culture and ethnic norms on these students’ s freedom, desires, and transitions in education. This impact was at some stage distinctive. I discuss in this further in this paper.

Actors as Co-Creators in Contemporary Latvian Theatre

In Latvian theatre, the last decade has been a time of significant changes regarding the working methods of independent theatre movements. Two of the oldest independent theatres in Riga – Dirty Deal Teatro and Ģertrūde Street Theatre – have become a centre for various theatre productions, therefore moving towards the model of state repertoire theatres. Meanwhile, in recent years, several new theatre companies and creative groups have appeared in the field. Theatre troupe KVADRIFRONS, formed by four young actors having just graduated from the Latvian Academy of Culture, as well as the theatre company esARTe, led by director and teacher Elmārs Seņkovs and the ‘scandalous’ young actors trained in the so-called puppet theatre course at the Latvian Academy of Culture, – these are just a few examples of the new creative formations in Latvian theatre. While in repertoire theatre the creative process mostly lies on the shoulders of the stage director, the aforementioned theatre companies highlight the importance of the actor as co-creator – both in the artistic (devised theatre methods), and the administrative process (actors as managers, etc.). Has the profession of actor changed from performer to administrator? How does the administrative status of the newly founded theatre companies influence the work of freelance actors? How has the status of the actor changed in today’s society? The research tackles the topic of actor as co-creators focusing on the examples and experiences of new independent Latvian theatre companies and including significant social, as well as aesthetical aspects.

Assessment of CLOs, PLOs, ILOs, SLOs: An academic programme for educational theatre as a model

Introduction. Educational theatre combines integrated opportunities and forms of education using theatrical arts. It develops in students the ability to use their proactive experiences into absorbing and challenge social reality. The educational value of theatre and performing arts is widely recognised, leading to the integration of theater programmes into the curriculum of universities globally. These programmes are overseen by specialised departments, and universities have established resources for instruction and training. Aim. The present research aims to evaluate the educational outcomes of the Academic Programme for Educational Theatre at the Faculty of Specific Education at Mansoura University in Egypt to ensure that the graduates are ready for the changing conditions of the economy and the needs of the labour market. Concerning the same, the adoption of educational theatre as a model had not been evaluated in the country. Methodology and research methods. The current study finds the role of SLOs, CLOs, PLOs, and ILOs as measures to examine the impact of the educational theatre model. Using a mixed method with the survey of 50 students and interviews of 20 faculty members of the Academic Programme for Educational Theatre, the identification of educational theatre’s impact on the learning outcomes of students is determined. Results. The results show that academic educational programmes depend on the performing arts and the participation of the learner in vocal performance, acting, and movement, activate the learning process and make the educational environment more effectively and greatly improve the learning and practice process. The results also emphasised the significance of educational institutions, particularly universities, in adopting academic programmes that incorporate practical experience, training, hands-on activities, and utilising appropriate evaluation methods. Scientific novelty. These academic educational models help engage students to create a positive emotional state, drive curiosity, strive to excel, build national character, focus on social issues, and believe in their capabilities. Practical significance. Accreditation of academic programmes based on practice and training develops students psychologically and mentally and raises the level of academic achievement and professional and personal development. Therefore, the study recommended the adoption of educational theatre courses in Egypt to ensure that the students are prepared to adapt to the changes in the labour market.

Enhancing social connections through an acting and improvisation course for older Americans in low-income housing

ABSTRACT Background Older adults living in subsidized housing may be at increased risk of social isolation. Applied theater, a participatory art program, can facilitate social connections among older adults. Methods A professionally-facilitated 12-week acting and improvisation course was held in two federally subsidized buildings in an urban setting. The mixed-method design included thematic analysis of interviews, participant observation, field notes, and statistical analysis of change over time in social isolation, community belonging, and social exclusion. Results Participants were motivated to meet other building residents, and the course included aspects that encouraged social bonding. Conclusions Although recruitment of socially-isolated older adults presented challenges, this study presents lessons on what motivates residents of low-income senior housing to enroll in an acting program and how to design a theater course in this setting that promotes group bonding.

The potential power of “studygram”: Concrete visual representations may increase student motivation, engagement, and enjoyment of routine course assignments

AbstractStudents are often unmotivated to engage with their online coursework. Research has shown that concretely visualizing one's goals (e.g., photo‐taking) can improve motivation to learn. This study explored the effect of taking a photo of one's study space (i.e., a studygram photo similar to a post on Instagram) on students' motivation to start, engagement with, and enjoyment of routine assignments. In a within‐subjects design, students took a photo of their study space before starting or after completing the assignment or took no photo. Data were collected from six undergraduate courses across three disciplines (Education, Psychology, and Theatre). Results revealed that students in an online Education course completing routine and formulaic assignments were significantly more motivated to start their coursework when they took a photo compared to when they did not. Results were similar for student engagement and enjoyment. Outcomes were replicated in the course's second iteration but were not found in the Psychology or Theatre courses. Differences between the courses' formatting may have lessened the impact of photo‐taking on students' experiences. Together our results suggest that motivation and engagement with routine coursework may be influenced by an easy‐to‐implement visualization intervention under certain circumstances. Potential implications for teaching are reviewed.

Touch as a feedback loop: exercising the leap from inertia to activation

This article critically reflects on the facilitation of embodied practice in virtual spaces of teaching, learning and creation, specifically looking at ways of facilitating touch within the broader context of decolonising dance and movement practices in South Africa. When working without the touch of another (human)being, I explore how the affordances of environment and surfaces can offer a feedback loop for the sounding body in motion. The article draws from experiences of facilitating movement and physical theatre courses at the University of Pretoria to suggest how touch may become an embodied technique that structures practice in spaces of isolation and inertia and in times where notions of continuity and discontinuity are ruptured. I explore how walls, surfaces and objects become secondary affordances that offer an external force onto the body through tactility. Reading discourses of embodiment and decoloniality through one another, I further argue that using touch to re-initiate motion offers political possibilities to exercise the leap from inertia to activation, and trouble the colonially formed category of human.

The Development Of Makyong Acting Training Method For Environment Of Traditional Theater Courses

This study aims to develop a Makyong acting training method based on the Malay tradition for enrichment in the North Sumatra Traditional Theater course at the UNIMED Performing Arts Study Program. In particular, this study aims to: (1) be able to interpret Malay advice as spiritual values; (2) identifying Malay dance techniques to prepare for body movements; (3) Identifying the Malay pantun tradition as the improvisational power of makyong actors. This study was designed with a research and development approach. This research was followed up by developing methods and applying methods in training and performances. In analyzing the data the author uses qualitative analysis techniques. As a reference in preparing the training model, the author uses the folklore approach, actor dramaturgical theory from Eugenio Barba and Asrul Sani's postcolonial acting approach as a reference in developing acting training methods.

DISTANCE THEATRE EDUCATION IN GREEK PRIMARY SCHOOL DURING COVID-19 THROUGH THE EYES OF THE THEATRE TEACHERS

The suspension of school operations, which lasted for a long period of time to deal with the Covid-19 pandemic, posed significant challenges to educational institutions to continue their operations smoothly. This pilot research study explores the views and experiences of 50 theatre teachers on the implementation of distance learning in primary schools during the Covid-19 pandemic. In this research, an attempt was made to investigate the difficulties and obstacles that arose during the implementation of distance learning, as well as to record the challenges and opportunities for teaching the theatre course. The main objectives of the study were to explore the challenges of the role of theatre teachers and the difficulties they were faced with, the possibilities of their cooperation with the leadership of the school units, with their colleagues, as well as the communication with children and their families. A questionnaire was used as the main research tool for data collection, which was designed and consisted of Likert scale questions. Some of the main findings were the lack of preparation of teachers in the implementation of distance learning, technical barriers, high levels of stress, and intense concern in the digital classroom. Also, the challenges and difficulties of the students in attending the distance learning of the theatre education were mentioned, as well as the involvement of the parents in the process. Finally, the findings regarding the support and attitude of the school leadership are commented.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0208/a.php" alt="Hit counter" /></p>

TRANSFORMATION OF STAGE GESTURE IN THE LATVIAN THEATRE IN MODERNISM: THE HISTRIONIC AND THE VERISIMILAR AS GESTURE CHARACTERISTICS AT THE BEGINNING OF THE 20th CENTURY

This research is devoted to processes of professional formation and transformation of stage gesture in the Latvian theatre at the end of the 19th and the beginning of the 20th centuries. The terminological reference point for gesture analysis is the definition of the histrionic or the theatrical and the verisimilar or the realistic, proposed by the US scholar Roberta Pearson that characterises the qualitative changes of stage gesture over the above period. I have used Pearson’s reference to the French vocal teacher François Delsarte (1811–1871) and his so-called system of the concluding stage of the formation of the histrionic gesture, pointing out the stage existence of its elements in the period of modernism and putting forward a hypothesis about the universal nature of its separate principles. The analysis of stage gesture has been performed in the context of Latvian professional theatre education, its sources of influence and artistic interests on the basis of the facts of the creative biography and the theoretical essays of Ernests Kārkliņš or Zeltmatis (1868–1961) who was one of the founding fathers of the first Latvian professional theatre educational establishment “Latvian Theatre Courses”.

E-MODULE DEVELOPMENT OF WRITING THE SYAIR PERANG MENTENG VERSE-BASED DRAMA SCRIPT USING FLIP HTML 5 (PENGEMBANGAN E-MODUL MENULIS NASKAH DRAMA BERBASIS SYAIR PERANG MENTENG MENGGUNAKAN FLIP HTML 5)

This research is motivated by the unavailability of teaching materials for writing drama scripts that satisfy the instructional needs of the Palembang Malay Traditional Theater Course. Therefore, development research was conducted to obtain the teaching materials. The procedure starts from needs analysis, expert validation, small group evaluation, and field test. The data of the study were collected using questionnaires, interviews, assessment sheets, and tests. The study show that: (1) all students and lecturers needed an e-module to write a drama script based on the Menteng War Verse using Flip html 5; (2) the e-module design can be categorized as valid based on the material score of 34 (75.55%), language score of 41 (74.54%), and the graphic score of 32 (71.11%); (3) this e-module teaching material can be categorized as practical on the basis of the score obtained, i.e. 11 (73.33%); (4) The e-module teaching material can be categorized as very effective based on the average score increase (45.89). Thus, the e-module can be used as teaching materials to write a drama script of the Menteng War Verse.

Acting With Empathy: A Counseling and Applied Theatre Collaboration

In advance of the practicum and internship experiences, counselor educators are challenged to provide realistic simulations of the counseling relationship for students. We describe a pilot collaboration between an introductory counseling and an applied theatre course to elucidate the mutual benefits of incorporating theatrical improvisation into the counseling curriculum.

A Study on the Possibility of Liberal Theatre Class Employing Documentary Theatre Focusing on Die Ermittlung and The Acting Motivation

Documentary theatre is not only notable for its trends among contemporary theatre, but also for its various characteristics, many of which can connect learners' lives and society, as well as draw upon their critical cognition and convergent thinking skills. This article notes the educational implications found in documentary theatre, and discusses the possibility of liberal theatre courses employing documentary theatre. Classes like this convey knowledge of the theatre and is attempts to learn through it. In addition, various practical activities can be carried out by utilizing the convergence properties of the theatre, and from these activities learners can experience something quite aesthetic in nature that they otherwise might have missed. In this sense, this paper focuses on Die Ermittlung and The Acting Motivation. In traditional documentary theatre, Die Ermittlung, which deals with social issues, can provide an opportunity to critically recognize social problems. On the other hand, from the auto-documentary theatre we have The Acting Motivation, which expands the concept of documentary theatre that was previously discussed, and also reflects on the lives of young people and the society they must relate to. Not only can learners acquire knowledge of the theatre, but they can also reflect on society and themselves through its productions. In addition, the step-by-step activities attempted in conjunction with this class aim at helping students solve problems, and to express themselves using a theatrical-based imagination. The purpose of the final step of the program--the appreciation and reflection process--is to integrate learning with individual experiences, and to further find new questions. Through these discussions, the possibility of using documentary theatre as a practical model for convergence education and another class models is presented.

Atrizes negras amapaenses e o teatro negro em Macapá

O presente texto apresenta um relato da presença e importância do Teatro Negro Brasileiro na formação de graduandos em Teatro a partir de uma experiência realizada junto ao Curso de Teatro da Universidade Federal do Amapá. Busca-se apresentar as bases teóricas e metodológicas utilizadas/vivenciadas analisando o reflexo deste processo na efetivação de um currículo formativo descolonizado.

O O Ensino Técnico em Teatro:

Este texto trata da educação profissional em arte. Objetiva analisar a trajetória do ensino técnico em Teatro da Universidade Federal do Pará, suas finalidades e contradições, no âmbito da educação profissional. A metodologia utilizada foi o estudo de caso e a abordagem foi considerada qualitativa. Utilizou-se entrevistas semiestruturadas e análise de documentos. As entrevistas revelaram que a Escola de Teatro e Dança e concomitantemente a formação dos profissionais de teatro, passou por quatro fases: a fase áurea de criação, a fase de decadência; a fase de renovação e; a fase de institucionalização. Podemos concluir que ter um curso de teatro, que por décadas existiu de forma livre e agora de modo institucionalizado na educação profissional, ainda que, com todas as limitações desta modalidade de ensino, significa para a escola de teatro e para a formação de artistas, uma questão de sobrevivência e garantia de continuidade da formação e legitimação da arte no interior da academia, o que aparenta ser conformação, revela-se como resistência.

As mulheres e o teatro lambe-lambe: um relato sobre a difusão em Santa Catarina

O presente artigo apresenta a relação das mulheres e o Teatro Lambe-lambe, tomando como recorte a criação da linguagem por Denise di Santos e Ismine Lima na Bahia e a difusão realizada por diversas mulheres no estado de Santa Catarina. Apresenta uma breve contextualização sobre a criação do Teatro Lambe-lambe em Salvador e em seguida se debruça na identificação das mulheres lambe-lambeiras em Santa Catarina, reconhecendo os elementos que motivaram a difusão da linguagem e a efervescência no estado. Também apresenta o primeiro curso de Teatro Lambe-lambe ofertado por uma instituição pública, a Formação Inicial em Teatro de Animação - FINTA pelo IFSC - Campus Florianópolis, em 2018.

Notes on Beckett’s Plays for an Intensive Theatre Course

In Beckett’s works the medium-oriented “how” is inseparable from the “what” of the message. Therefore, the very performance of the piece does not describe but rather creates a new – fi ctitious as it may be – situation, a performative act, which is not “about” anything but is, fi rst and foremost, that very thing itself. Beckett’s medium-oriented approach does indeed invite a fresh analytical perspective to the methodology of teaching his works, especially his plays. In place of McLuhan’s famous “the medium is the message”, Beckett posits the message as inseparable from the medium. I argue, that most of Beckett’s works intended for performance treat the typical tools and mediumoriented components of radio or television too, thus indeed presenting master-classes especially of theatricality itself as an existential mode of being.

Pengembangan Model Pembelajaran Proses Kreatif Berteater

The main problem of learning literature in school and college is the lack of experience and weakness of students' ability in literature. The experience and abilities in the literature include experience of appreciation and expression, both oral and written. Meanwhile, theoretically and the demands of the curriculum, appreciation experience and students' ability in expression are the main goals of literary learning. This is a fundamental problem of literary learning, the gap between the expected with the reality that occurred. One of the skills of literary expression is theatre activities, in which the activities are required to appreciate the high story played. Therefore it is necessary to design the learning process of creative in the theatre world from start creation and appreciation of the script to the show. This research will parse the full picture of the model of literary activities in the world of theatre in the sixth semester students who contracted theatre courses in the Department of Language Education and Indonesian Literature at the Faculty of Teacher Training and Education Untirta through the development method. The output in this research is the product of creative process of theatre in the form of students' work in theatre and long term goal is expected to create qualified human resources in the future.

Interprofessional Improv: Using Theater Techniques to Teach Health Professions Students Empathy in Teams.

Health professionals need to learn how to relate to one another to ensure high-quality patient care and to create collaborative and supportive teams in the clinical environment. One method for addressing both of these goals is teaching empathy during professional training to foster connection and commonality across differences. The authors describe a pilot improvisational theater (improv) course and present the preliminary outcomes showing its impact on interprofessional empathy. In 2016-2017, the authors piloted a 15-hour course to teach interprofessional empathy to health professions students at the University of Wisconsin-Madison using improv techniques. The authors used a convergent mixed-methods design to evaluate the course's impact on interprofessional empathy. Students enrolled in the course (intervention group, n = 45) and a comparison group (n = 41) completed 2 validated empathy questionnaires (Interpersonal Reactivity Index [IRI], Consultative and Relational Empathy [CARE] measure) and a facial expression recognition task to measure empathy in the pre- and postintervention periods. Differences were examined using paired t tests. Semistructured interviews were conducted with 8 course participants to gain a deeper understanding of the course's effects. The intervention group's mean scores on 5 CARE items improved significantly: ease, care, explain, help, and plan. On the IRI, personal distress levels decreased significantly in both the intervention and comparison groups. In the interviews, students who took the class reported a positive impact on their interprofessional relationships and on their ability to think on their feet. They also reported improv influenced other areas of their lives, including patient care and interactions with people outside their work life. The authors have continued to offer the course. They aim to conduct a randomized controlled study with medical students and test durability by measuring empathy again 3-6 months following the intervention.