Browsing by Subject "theater"
Now showing 1 - 7 of 7
Results Per Page
Sort Options
Item Arts for Academic Achievement Evaluation Report(Center for Applied Research and Educational Improvement, 2009-06) Kundin, Delia; Meath, JudyThis report focuses on Arts for Academic Achivement’s efforts to provide professional development opportunities to teachers using a school-based planning approach for integrating Tableau during the 2008-2009 school year. Tableau is a theater arts strategy in which students interpret stories using dramatic techniques. The Arts for Academic Achievement Program (AAA) has incorporated Tableau in Minneapolis Public Schools’ classrooms as a strategy to supplement reading and writing instruction. The main goal for students participating in Tableau is to use their bodies and facial expressions to portray the meaning of a reading passage, in a “frozen picture.” The strategy allows students to “bring thinking and reading to life.”Item Arts for Academic Achievement: A Brief Review of Research on Readers' Theatre and Tableau in Literacy Instruction(Center for Applied Research and Educational Improvement, 2007-09) Willcutt, JenniferThis review of the literature seeks to identify and summarize scientific research on the use and effectiveness of Readers’ Theatre and Tableau in literacy education. These programs integrate theatre activities into the classroom and are intended to enhance literacy skills. This review will also define key terms, address the use of drama techniques in the context of current standards- and evidence-based educational practices and policies, including Reading First, and discuss the nature of the relationship between the use of drama techniques in the classroom and literacy achievement.Item Beyond the Public Sphere; The Secret Agency of the Many(2019-05) Olson, KarstenThis project seeks to reimagine human agency at scale. It does so first by destabilizing ideas of collectivity such as the “crowd,” “multitude”, and “proletariat,” and second, through exploring a new understanding of collective agency, one which is diffuse and pervasive. The first chapter charts the emergence of a vast, empirical non-identical Many within the last three decades of 18th-century Germany. During this time, the social structures of estate society were almost entirely eroded, but, critically, they were not immediately replaced by the new economic order of capitalist class society. Collectively the non-identical Many had no shared identity, or even a way in which to imagine a shared commonality. Chapter Two examines the influence exerted by the present-absence of this non-identical Many on the works of Jakob Michael Reinhold Lenz. Lenz famously rejected the unities of time, action and place, and his plays were known for their disorienting formal structure. I argue that with the creation of his so-called “Komödie,” Lenz organizes his plays around a new sense of the interrelatedness of all individuals, an emergent sense of the totality of society, and that the seemingly fractured and chaotic form of Lenz’s plays must therefore be read as a co-authorship of the non-identical Many, a writing of a heterogeneous influence into the structure of the play itself. In the third chapter, I examine the inaugural 1788 edition of the Braunschweigisches Journal as a case study of a particular form of fragmentary, experiential writing which once again is the result of perceived pressure from a non-identical Many. The editors of this journal and others like it positioned their writing as a response to a new audience, one which they are unable to describe, except in the negative, as a “nicht Gelehrten Publicum,” bending their writing to match its imagined demands. I conclude by looking forward, suggesting that the figure of the non-identical Many could be a useful lens for understanding the rapid media changes which occurred in the early 20th century, as well as the relationship which exists between social media and the Many in our own time.Item An Evaluation of Project SUCCESS Programming(Center for Applied Research and Educational Improvement, 2012-10) Kundin, Delia; Michlin, Michael; Daugherty, MarthaProject SUCCESS (PS) is a youth-development organization working with students in public schools in Minneapolis and St. Paul, MN. For over 18 years, the program has worked to motivate students to set goals, plan for the future, and pursue their dreams. The program seeks to accomplish these goals by collaborating with teachers, facilitating in-class workshops with students, and providing access to theater experiences and other special programs and services (e.g., one-on-one assistance, college tours, school performances, and Boundary Waters Canoe Area (BWCA) adventures). In August 2011, PS contracted with the University of Minnesota’s Center for Applied Research and Educational Improvement (CAREI) to conduct an evaluation of its program. During the 2011-2012 school year, evaluators focused on building a foundation of evaluation activities that can be expanded on in future years. The purpose of the evaluation was to gather information to help program staff better understand how the program impacts students and teachers. This information is expected to help guide guide further exploration of program effectiveness.Item Kabuki as a Women's Performing Art(2021-06) Larson, TraeKabuki is a performing art that originated in Japan and this art is probably best known for being performed exclusively by males. Despite the fact that this perception of the kabuki is prevalent in not only mainstream sources but also academia, it is simply not an accurate reflection of the history of kabuki. Thus, before diving into the actual contents of this paper, it would first be helpful to understand the research that currently exists in the field of kabuki in relation to women’s involvement. To begin, an already existing literature review by Frank Episale called “Gender, Tradition, and Culture in Translation: Reading the ‘Onnagata’ in English” had the goal of analyzing the last 50 years of English-written kabuki research in relation to gender and culture.1 In this literature review, it cites that Earle Ernst, Faubion Bowers, and A. C. Scott are three authors who were critical to the establishment of kabuki studies within the post World War II United States.2 Episale then goes on to exemplify how these three highly-influential authors made many unreferenced claims and debated historical assumptions with a specific relation to how women are unable to perform kabuki.3 It is likely because of these widely-cited texts that it is also quite common for articles to utilize phrases such as “kabuki, the all-male theater” or “women’s participation in kabuki ended in 1629” to further the point that women are uninvolved in kabuki. Even articles that do not focus on women’s involvement in kabuki tend to dismiss women’s involvement with these quick phrases. These sorts of phrases and/or arguments are seen in the works of Donald H. Shively, Faith Bach, Andrew T. Tsubaki, Mette Laderrière, Yoshinobu Inoura, and Toshio Kawatake just to name a few.4 By no means am I trying to claim that all of these scholars actively attempted to exclude women’s involvement in kabuki, but rather that they simply utilized rhetoric that did so. Additionally to these authors, there are those such as Katherine Mezur and Laurence Senelick who recognize that kabuki is an art that plays with gender, but still reinforce the ideas that being male is necessary to kabuki.5 Nevertheless, in some recent scholarship over the last 20 years, cases of women’s involvement in kabuki has been getting fleshed out as exemplified in the works of Maki Isaka, Satō Katsura, Loren Edelson, Galia Todorova Gabrovska, Barbara E. Thornbury, Hideaki Fujiki, and Ayako Kano.5 With this being said, let me share how this very paper will fit into this existing research. One of the main motivations behind this paper is to help contribute to the existing research by specifically tackling these discourses that exclude women and portray kabuki as being “all-male.” More specifically however, this paper aims to answer the following questions: How has women’s involvement in kabuki shaped the art as a whole? What is the frequency of women’s involvement? How have women been discriminated against in kabuki? How have conceptualizations of sex/gender contributed to the discrimination of women in kabuki? How have these dialogues sought to exclude women from kabuki change over time? These are the main questions I aim to discuss in this paper. With this being said, this paper has two goals: (1) The first goal of this paper is to exemplify that women have been involved in kabuki since its origin and this will be accomplished by presenting a timeline of events of women’s involvements starting from the Edo Period (1603-1868) to the modern periods of Meiji (1868-1912), Taishō (1912-1926), and a little after. This timeline section of this paper will be divided into three parts: one part dedicated to women’s involvement in the Edo Period, a second part will be dedicated to women’s involvement the early Meiji period, and the third part will focus on women’s participation in what I call “kabuki-blended spaces. Although women’s involvement in kabuki does not end after these moments, the scope of this paper will be limited to these points. Next, (2) the second goal of this paper will be to analyze how varying conceptualizations of sex/gender have influenced the discrimination of women’s involvement in kabuki. This second section will be divided into three sections with each section focusing on a major idea that have contributed to the discrimination of women in kabuki. The first related conception that will be analyzed is cultivation, the second related idea will be that of sexology, and the third will be that of naturalism. While I am not claiming these are the three sole ideas that contributed to the discrimination, they are nonetheless three that will prove to have been influential. Now, with the paper now being briefly outlined, let us examine how women were involved in kabuki during the Edo period.Item Making the Body Visible through Dramatic/Creative Play: Critical Literacy in Neighborhood Bridges(Center for Applied Research and Educational Improvement, 2010-11) Lewis, Cynthia; Doerr-Stevens, Candance; Ingram, DebraThis report describes and examines the meaning and use of critical literacy in The Children’s Theatre Company’s Neighborhood Bridges (Bridges) program. Critical literacy is an orientation to reading that includes an understanding of how texts (oral stories, books, media) position readers (listeners/viewers), how readers position texts, and how texts are positioned within social, cultural, historical, and political contexts. Critical literacy is central to the philosophy of Bridges, which involves elementary and middle school students in storytelling and creative drama. An important goal of the program is to develop in children the capacity to analyze and challenge dominant social and cultural storylines as they create new storylines through imaginative retellings and reenactments. Of particular interest in this report is how critical literacy is facilitated via various opportunities for drama/creative play and Teacher Artist interactions with students during the four phases of a typical Neighborhood Bridges session.Item Pagan Imagination in Popular Culture; the Relationship Between Elves, Ghosts and Icelanders as Cultural Identity(2015-05) Gíslason, BjörgvinElves, ghosts and prophetesses have been, and remain, a significant part of Icelandic belief, culture and national identity. These beliefs are deeply rooted in connection to the land, and the hidden creatures that live in it. This phenomenon is referred to as the pagan imagination, and will be explored through five Icelandic works of arts by three separate artists.