Pub Date : 2020-01-02DOI: 10.1080/08929092.2019.1688210
Betsy Maloney Leaf, B. Ngo
ABSTRACT This article examines how youth participants in a community-based theatre program confronted and grappled with issues of diversity and difference while rehearsing and performing a play about Ruby Bridges and school desegregation. It draws on data from an ethnographic study examining ways in which an interracial, intergenerational cast perform work about the Civil Rights movement. The research explicates how artistic practice can be used as a tool to name social injustices and to counteract educational contexts that reproduce inequality. It contributes to the knowledge base of out-of-school learning contexts that inform contemporary approaches to learning in the arts.
{"title":"“Fear of what we don’t know”: Grappling with diversity in a youth theatre program","authors":"Betsy Maloney Leaf, B. Ngo","doi":"10.1080/08929092.2019.1688210","DOIUrl":"https://doi.org/10.1080/08929092.2019.1688210","url":null,"abstract":"ABSTRACT This article examines how youth participants in a community-based theatre program confronted and grappled with issues of diversity and difference while rehearsing and performing a play about Ruby Bridges and school desegregation. It draws on data from an ethnographic study examining ways in which an interracial, intergenerational cast perform work about the Civil Rights movement. The research explicates how artistic practice can be used as a tool to name social injustices and to counteract educational contexts that reproduce inequality. It contributes to the knowledge base of out-of-school learning contexts that inform contemporary approaches to learning in the arts.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"78 - 94"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1688210","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42048540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2019.1633719
Molly Mattaini
ABSTRACT Ability-Inclusive Sensory Theatre (AIST) is an emerging genre of Theatre for Young Audiences which serves young people with autism and other cognitive disabilities. Distinct from sensory friendly or relaxed performances, these productions build the entire aesthetic experience to cater to an audience with sensory differences. The space created in these productions mirror the social concept of “autistic space” in which the needs of people on the autism spectrum inform the physical and social design of the environment. This article explores how AIST productions create autistic space through script development, audience engagement, immersive design, soft transitions, sensory objects, and an audience-centric dramaturgy.
{"title":"Creating autistic space in ability-inclusive sensory theatre","authors":"Molly Mattaini","doi":"10.1080/08929092.2019.1633719","DOIUrl":"https://doi.org/10.1080/08929092.2019.1633719","url":null,"abstract":"ABSTRACT Ability-Inclusive Sensory Theatre (AIST) is an emerging genre of Theatre for Young Audiences which serves young people with autism and other cognitive disabilities. Distinct from sensory friendly or relaxed performances, these productions build the entire aesthetic experience to cater to an audience with sensory differences. The space created in these productions mirror the social concept of “autistic space” in which the needs of people on the autism spectrum inform the physical and social design of the environment. This article explores how AIST productions create autistic space through script development, audience engagement, immersive design, soft transitions, sensory objects, and an audience-centric dramaturgy.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"42 - 54"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1633719","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43209559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2019.1672231
Teresa A. Fisher
ABSTRACT This article examines the process of TYA new play development specifically focusing on the model utilized in the NYU Steinhardt series, New Plays for Young Audiences (NPYA), and contrasting it with other models. Beginning with an overview and brief history of US-based TYA new play development, this article explores how the process differs when situated in an academic setting. This examination particularly focuses on the efficacy of using nonprofessional actors, the inclusion of an accompanying graduate class, challenges in securing youth collaboration, and the evolution of post-show discussions in NPYA’s process. A brief discussion of the larger field of TYA new play development is also offered.
{"title":"TYA new play development in academia: The New Plays for Young Audiences model","authors":"Teresa A. Fisher","doi":"10.1080/08929092.2019.1672231","DOIUrl":"https://doi.org/10.1080/08929092.2019.1672231","url":null,"abstract":"ABSTRACT This article examines the process of TYA new play development specifically focusing on the model utilized in the NYU Steinhardt series, New Plays for Young Audiences (NPYA), and contrasting it with other models. Beginning with an overview and brief history of US-based TYA new play development, this article explores how the process differs when situated in an academic setting. This examination particularly focuses on the efficacy of using nonprofessional actors, the inclusion of an accompanying graduate class, challenges in securing youth collaboration, and the evolution of post-show discussions in NPYA’s process. A brief discussion of the larger field of TYA new play development is also offered.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"66 - 77"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1672231","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47137438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2019.1582445
T. Fletcher, Michelle L Sherman, J. Lawrence, Jennifer L. Parrish
ABSTRACT Aim Arts, culture, and entertainment venues routinely serve children with special needs. For this needs assessment, we surveyed a range of venues to understand the knowledge and confidence of staff who work with children with participation challenges, and explored how occupational therapists could help them optimize children’s participation. Significant relationships existed between knowledge of conditions and confidence in meeting the needs of children with participation challenges. This also revealed what participants felt they needed in order to provide quality experiences, including facility assessments, proactive preparation, program development, and staff education. Participants believed collaboration with occupational therapists could help achieve this.
{"title":"Serving theatregoing children with special needs: Implications for inter-professional collaboration","authors":"T. Fletcher, Michelle L Sherman, J. Lawrence, Jennifer L. Parrish","doi":"10.1080/08929092.2019.1582445","DOIUrl":"https://doi.org/10.1080/08929092.2019.1582445","url":null,"abstract":"ABSTRACT Aim Arts, culture, and entertainment venues routinely serve children with special needs. For this needs assessment, we surveyed a range of venues to understand the knowledge and confidence of staff who work with children with participation challenges, and explored how occupational therapists could help them optimize children’s participation. Significant relationships existed between knowledge of conditions and confidence in meeting the needs of children with participation challenges. This also revealed what participants felt they needed in order to provide quality experiences, including facility assessments, proactive preparation, program development, and staff education. Participants believed collaboration with occupational therapists could help achieve this.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"30 - 41"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1582445","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41452282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2020.1764428
Nicole L. Lorenzetti, A. C. Kruger
ABSTRACT This study examined the impact of educational drama on behavior management techniques used by Teaching Artists (TA’s) during a guided sociodramatic play residency. Four TA’s, two males and two females, teaching a total of eight Kindergarten classrooms were observed on videotape to see how they managed student behavior during the first lesson and the last lesson of a guided sociodramatic play residency. Four categories were coded for: no management, directive management, supportive management, and mixed management. There was a statistically significant difference reduction in the amount of directive behavior management employed by the TA’s between Lessons 1 and 13. The preliminary results indicate that further empirical study be done on the direct of effects of educational drama on self-regulation development in children. This may reflect an increase in children’s self-regulation over time, perhaps as a function of the sociodramatic play activities. Direct, experimental examination of children’s behavioral change during drama residencies are warranted. As the need for teamwork skills and effective communication is vital in school, self-regulated behavior is imperative for academic achievement and social competency, and educational drama may have an impact on gaining these skills.
{"title":"Going to “The Land of Drama”: Behavior management techniques in a kindergarten sociodramatic play residency","authors":"Nicole L. Lorenzetti, A. C. Kruger","doi":"10.1080/08929092.2020.1764428","DOIUrl":"https://doi.org/10.1080/08929092.2020.1764428","url":null,"abstract":"ABSTRACT This study examined the impact of educational drama on behavior management techniques used by Teaching Artists (TA’s) during a guided sociodramatic play residency. Four TA’s, two males and two females, teaching a total of eight Kindergarten classrooms were observed on videotape to see how they managed student behavior during the first lesson and the last lesson of a guided sociodramatic play residency. Four categories were coded for: no management, directive management, supportive management, and mixed management. There was a statistically significant difference reduction in the amount of directive behavior management employed by the TA’s between Lessons 1 and 13. The preliminary results indicate that further empirical study be done on the direct of effects of educational drama on self-regulation development in children. This may reflect an increase in children’s self-regulation over time, perhaps as a function of the sociodramatic play activities. Direct, experimental examination of children’s behavioral change during drama residencies are warranted. As the need for teamwork skills and effective communication is vital in school, self-regulated behavior is imperative for academic achievement and social competency, and educational drama may have an impact on gaining these skills.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"16 - 29"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2020.1764428","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42956114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2020.1729916
Angela Sweigart-Gallagher, V. P. Lantz
ABSTRACT In this article, we consider the performance of girlhood represented in the American Girls Pastime Theater Kits from the 1990s. The kits included scripts, cast lists, programs and tickets, and a director’s guide that offered clear instructions to help girls become theatre directors, producers, and designers. We argue that the kits provide multiple pathways for centering girlhood in performance. With their introduction of professional vocabulary and basic theatre skills, the director’s guides lead girls to develop agency in and control over theatrical production. We also contend that the scripts contained within each kit reframe historical narratives by placing young girls at the center of important moments in American history or key cultural developments. The themes in the plays deal, in part, with serious problems that most child-centric narratives avoid, like death, injury, and injustice, allowing the girl-actors to explore trials and trauma through acting/play. In general, we suggest that the kits offer girls an avenue for self-expression and girl-centered storytelling largely absent in professional theatre and historical fiction, but it does so in ways that limit girls’ self-expression to pleasant narratives that elide socioeconomic, racial and ethnic differences. Ultimately, we suggest that the theatre kits serve as a fascinating case study for self-made girlhood performances, but question what meaning is neglected or lost when the Pleasant Company dictates the historical narrative being enacted.
{"title":"Staging American girlhood the pleasant way: Centering girls in history and performance with the American Girl Theater kits","authors":"Angela Sweigart-Gallagher, V. P. Lantz","doi":"10.1080/08929092.2020.1729916","DOIUrl":"https://doi.org/10.1080/08929092.2020.1729916","url":null,"abstract":"ABSTRACT In this article, we consider the performance of girlhood represented in the American Girls Pastime Theater Kits from the 1990s. The kits included scripts, cast lists, programs and tickets, and a director’s guide that offered clear instructions to help girls become theatre directors, producers, and designers. We argue that the kits provide multiple pathways for centering girlhood in performance. With their introduction of professional vocabulary and basic theatre skills, the director’s guides lead girls to develop agency in and control over theatrical production. We also contend that the scripts contained within each kit reframe historical narratives by placing young girls at the center of important moments in American history or key cultural developments. The themes in the plays deal, in part, with serious problems that most child-centric narratives avoid, like death, injury, and injustice, allowing the girl-actors to explore trials and trauma through acting/play. In general, we suggest that the kits offer girls an avenue for self-expression and girl-centered storytelling largely absent in professional theatre and historical fiction, but it does so in ways that limit girls’ self-expression to pleasant narratives that elide socioeconomic, racial and ethnic differences. Ultimately, we suggest that the theatre kits serve as a fascinating case study for self-made girlhood performances, but question what meaning is neglected or lost when the Pleasant Company dictates the historical narrative being enacted.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"15 - 3"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2020.1729916","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48581247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2020.1745345
Jim DeVivo
{"title":"A review of Playwriting in Schools: Dramatic Navigation by John Newman","authors":"Jim DeVivo","doi":"10.1080/08929092.2020.1745345","DOIUrl":"https://doi.org/10.1080/08929092.2020.1745345","url":null,"abstract":"","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"110 - 112"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2020.1745345","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43306650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2020.1745344
Tamara Goldbogen
I recently found myself faced with the challenge of teaching a class full of elementary education students who were new to drama and, in fact, new to the arts as a whole. When I asked them about drama in the classroom they looked confused and concerned, proclaiming, “I’m not creative.” How could I, as their instructor, help them to overcome the misconception that drama in the classroom is often seen as nothing more than a brain break or an extracurricular activity? As an educator and practitioner with a background in theatre for young audiences, arts integration, and creative drama, I know the power that drama can have for learning in the classroom. It has always been the magical tool in my toolbox that I could use with a wide variety of ages and settings, but how could I introduce elementary education students to this new way of thinking about teaching and learning? Drama-Based Pedagogy: Activating Learning Across the Curriculum by Kathryn Dawson and Bridget Kiger Lee turned out to be exactly what I was looking for, a text that demystifies creative drama and places it squarely in an educational context. Dawson and Lee utilize the term Drama-Based Pedagogy to describe their specific practice that uses active and dramatic approaches to engage students in academic, affective, and esthetic learning. As described by the authors, the theoretical background of Drama-Based Pedagogy can be found in the constructivism of Vygotsky as well as the critical learning theories of Freire. These theories help illuminate one of the text’s strengths, which is a focus on coconstructed learning and dialogic meaning making. This book is divided into three parts: the why, what, and how of Drama-Based Pedagogy.
{"title":"A Review of Drama-Based Pedagogy: Activating Learning Across the Curriculum by Kathryn Dawson and Bridget Kiger Lee","authors":"Tamara Goldbogen","doi":"10.1080/08929092.2020.1745344","DOIUrl":"https://doi.org/10.1080/08929092.2020.1745344","url":null,"abstract":"I recently found myself faced with the challenge of teaching a class full of elementary education students who were new to drama and, in fact, new to the arts as a whole. When I asked them about drama in the classroom they looked confused and concerned, proclaiming, “I’m not creative.” How could I, as their instructor, help them to overcome the misconception that drama in the classroom is often seen as nothing more than a brain break or an extracurricular activity? As an educator and practitioner with a background in theatre for young audiences, arts integration, and creative drama, I know the power that drama can have for learning in the classroom. It has always been the magical tool in my toolbox that I could use with a wide variety of ages and settings, but how could I introduce elementary education students to this new way of thinking about teaching and learning? Drama-Based Pedagogy: Activating Learning Across the Curriculum by Kathryn Dawson and Bridget Kiger Lee turned out to be exactly what I was looking for, a text that demystifies creative drama and places it squarely in an educational context. Dawson and Lee utilize the term Drama-Based Pedagogy to describe their specific practice that uses active and dramatic approaches to engage students in academic, affective, and esthetic learning. As described by the authors, the theoretical background of Drama-Based Pedagogy can be found in the constructivism of Vygotsky as well as the critical learning theories of Freire. These theories help illuminate one of the text’s strengths, which is a focus on coconstructed learning and dialogic meaning making. This book is divided into three parts: the why, what, and how of Drama-Based Pedagogy.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"107 - 109"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2020.1745344","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46378056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/08929092.2019.1633720
Elizabeth Brendel Horn
ABSTRACT Through the lens of the author’s experiences as a former young actor, adult TYA practitioner, and individual in recovery for an eating disorder, this autoethnographic exploration weaves together personal narratives to examine youth bodies, body image, consent, and the role of the adult for young in youth theatre and theatre education spaces.
{"title":"And so she plays her part: An autoethnographic exploration of body image, consent, and the young actor","authors":"Elizabeth Brendel Horn","doi":"10.1080/08929092.2019.1633720","DOIUrl":"https://doi.org/10.1080/08929092.2019.1633720","url":null,"abstract":"ABSTRACT Through the lens of the author’s experiences as a former young actor, adult TYA practitioner, and individual in recovery for an eating disorder, this autoethnographic exploration weaves together personal narratives to examine youth bodies, body image, consent, and the role of the adult for young in youth theatre and theatre education spaces.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"55 - 65"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1633720","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41643128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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