Theses (Theatre)

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The Sage collection of juvenile drama : an examination of its value as a source of primary material in nineteenth century English theatre research
(1976) Winn, Peter Charles
The purpose of this thesis is to examine the value of the Sage Collection of Juvenile Drama at the University of Victoria as a primary source of Nineteenth Century theatre history research material; to provide a history of the Sage Collection itself: and to provide sufficient information about a significant portion of the collection so that informative museum displays may be mounted. Chapter I is concerned solely with the history of the collection and with an explanation of the collection's physical condition. Chapter II begins the task of examining the value of the collection with a discussion of the way in which English Juvenile Drama in general is said to have reflected the live theatre of early Nineteenth Century London. The present state of scholarship in the field is examined, and the significance of the Sage Collection within the context of other collections and library resources in Canada is assessed. In Chapter III the field is narrowed to issues associated with the publishers of Juvenile Drama who are best represented in the Sage Collection: the English publishers of the mid-Nineteenth Century, and in particular J.K. Green. Green's early history and business methods are examined to see to what extent the publisher can be expected to provide faithful records of specific live productions in his Juvenile plays. Chapter IV, which forms the body of the thesis, is concerned with a chronological play-by-play analysis of Green's work with special attention being paid to some twenty-six plays which were wholly original to Green. The method employed in each analysis is as follows: (1) the originality of the play is determined; (11) an effort is made to discover which live production (if any) provided Green with his model; (111) Green's play is examined to see to what extent it was faithful to the live production; and (iv) the Juvenile play is finally examined for information about the live production that might not be obtainable from any other source. Chapter V summarises the findings of Chapter IV and an assessment is made of evidence that seems to prove that Green made faithful copies of at least nineteen specific live productions. The most important value of the Sage Collection, however, is found not in the specific detail that it can provide of specific productions but in the way in which it represents a spectrum of all the most typical and successful genres of popular theatre in the early and mid-Nineteenth Century. It is suggested, therefore, that the collection be used as a teaching aid and to direct theatre historians into avenues of wider research, rather than be regarded solely as an object of research in itself.
Drama as a therapeutic intervention with behaviourally disturbed adolescents in alternative school programs
(1993) Whitman, Linda Mary
One in a crowd : Brian Way's concept of the individual and its use in the drama work of Margaret Faulkes Jendyk.
(1990) Walker, Loretta Yantra
The importance of the individual 1s a central principle in the drama philosophy of Margaret Faulkes Jendyk at the Univers1ty of Alberta. Her early work 1n this area was with Brian Way, who offered a diagram of the concept of the individual 1n his 1967 book, Development Through Drama. As a fundamental concept in an educational practice it relates to Western culture generally and specifically; it provides a compass for human development, and makes being a central concern. The thesis is divided into two parts. By examining philosophy, religion, politics, psychology, art and science, we locate Brian Way's concept in Western social and cultural tradition. Weighing language and def1nit1on, we assess the meaning of Brian Way's concept of the individual in relation to other models. In the second part we examine how Margaret Faulkes Jendyk uses Way's concept of the individual 1n her teaching. Her approach and method has lead her to formulate a vision of the spectrum of human creativity, the creative process of grama. Interview, Margaret Faulkes Jendyk' s own writing, and autobiographical narrative are used to explore the concept of the individual as it relates to this creative process.
Beckett as symbolist : Samuel Beckett and the theatre of the modern avant-garde
(2001) Sutherland, Timothy Brian
The thesis is essentially an investigation of the aesthetic conventions of the mise-en-scene m Beckett 's theatre. In order to provide a frame of reference, Beckett's theatre is contextualized within the aesthetic conventions of the theatrical avant-garde in the modern period. The origins of avant-garde aesthetic conventions in the theatre of French Symbolism are examined and traced through various movements of the modern period, using drawing on play-texts, manifestos, and theories as well as first hand accounts of witnesses and participants of the events in question.Several important critical accounts of the period and of the avant-garde are also consulted. The conventions of the avant-garde are examined in the light of Carl Jung's Archetypes of the Collective Unconscious. Jung 's subsequent influence on Beckett' s theatre is also examined
A History of Chinese theatre in Victoria
(1995) Sebryk, Karrie Marion
Possibly as early as 1860, Cantonese opera was performed with all its splendor and symbolic choreography in one of Victoria's five Chinese theatres. In isolation and obscurity from Occidentals, performances of vibrant colour with cacophonous music that passionately and rhythmically accompanied the fluid grace of the actors or the lightening acrobatic precision of warriors captivated a dedicated audience. More than just entertainment, Cantonese opera reinforced and rejuvenated the ancient Chinese culture, reaffirming their identity and retarding the assimilation process that came so easily in North America. Political turmoil and war prevented Chinese troupes from touring North America. As a result, a new generation of entertainment developed to meet the cultural needs of the Chinese population. Resident music societies and dramatic organizations performed Cantonese opera locally and established new entertainment traditions that reflect Chinese theatrical conventions.
The rise of actors' unions and organizations in the United States
(1981) Sears, Chris
Jean-Louis Barrault, theatrical innovation in the 1960's
(1987) Riva, Rosalinde Ariana
The Play of Adam : drama, art, and society in the twelfth century
(1974) Parry, David MacKenzie
The twelfth century in Europe presents us with two kinds of religious plays: those of the liturgical tradition; and those normally referred to as "vernacular" plays. The liturgical plays of the twelfth century are often more elaborate than earlier liturgical plays. In overall treatment of subject matter, and in style, however, there is a continuity from early liturgical drama to that of the twelfth century. Vernacular plays do not appear until the first half of the twelfth century, and there are only two extant twelfth-century examples of the form: the Ordo Representacionis Ade; and La Seinte Resureccion, dated respectively ca. 1150 and ca. 1175, and both written in the Anglo-Norman dialect, probably in England. Formal elements in the vernacular plays appear at first sight to link them to the liturgical tradition. Similarly, short passages in some. liturgical plays appear to link them to the emergence of vernacular plays. Both these factors have led critics to. refer to the plays like the liturgical Sponsus and the vernacular Ordo Representacionis Ade as, "transitional" plays which demonstrate an "evolutionary stage" between liturgical and vernacular drama. This is a false perspective. Despite apparent stylistic similarities actual differences between the modes are profound. The most crucial difference between the modes is that of purpose. Reduced to essentials, the purpose of the liturgical plays is "evidential" or "presentational", and that of the vernacular plays "didactic" or "homiletic". The reasons for the differences in mode are rooted in a radical change in mental attitude both within the church and within society-at-large, occurring around the end of the eleventh and beginning of the twelfth centuries. Strong social changes occurred, producing among other things the urban communes of "free" men. A radically new theological view of the meaning of the Fall and Redemption of Man, and the Incarnation of Christ, was formulated, In art, new expressive form and new emotional content reflected the new cultural needs. The first half of the twelfth century saw the emergence of coherent new attitudes to man, the 'meaning of his life in this world, and the nature of his salvation. The church began to try to make its methods more relevant to the conditions pertaining in the temporal w9rld, in order to affirm more effectively the true faith in ordinary men and women who were finding a new freedom of thought and action opening up to them. Art also began to reflect these changes in its depiction of a more "realistic" spatial context than hitherto, in which figures could move; in a more humanized treatment of the human form; and in a new organization of subject-matter, which began to show a marked appeal to human reason in a new relationship between form and content. When twelfth century dramatic texts are examined in the light of these changes, it becomes clear that the vernacular plays of this period differ-from the liturgical plays because they were created to serve a new purpose which fits into the general pattern of changes in thought, social behavior, and art in the same period. The vernacular plays recognized the setting of this world, and represented it in relatively "realistic" fashion, in order that man should recognize the relationship of divine history to his own life in the contemporary world. They humanized character and action to the same end - because Christ was incarnated as man, from man, and suffered and died as man, so that through Him man could personally a tone for his original sin. Finally, organization of subject matter in the vernacular plays was thought out in terms which sought to clarify the relationship between certain episodes in Biblical history, and particularly between God and man. Their purpose was to teach clearly and effectively to the audience a way through this world to salvation in the next, not denying the meaning of earthly existence, but seeing it as as a necessary and meaningful preparation for existence in God's eternity. Appended to the thesis is a text which offers a reconstruction of the missing portions of the Ordo Representacionis Ade, using materials from other contemporary sources, and organizing it according to the conclusions reached in the thesis regarding the original content, structure, and intention of the play.
Connecting the dots : an analysis of the living stage's archival holdings
(1995) McNerney, Sheila
Those who spearheaded the regional theatre movement fought a revolution and emerged victorious, and their revolutionary spirit seems to live on in a generation of reformers. Many regional theatres and their associate artists have continued the effort to redefine the role of theatre in the United States. One result of this search for meaning has been the formation of community outreach programs which first appeared in the 1960s. It is through these programs that the next revolution, or rather reformation of American theatre will occur. The work of the Living Stage, the outreach arm of Washington, D.C.'s Arena Stage, seems to have anticipated this imminent reformation. Under the direction of Robert Alexander, this company is one of the first and most significant outreach programs in the history of American regional theatre. However, its work has been virtually ignored in print both by theatre scholars and the company's colleagues in the professional community. Instead, the recording of its history has been left primarily to journalists and freelance writers. Consequently, the documentation of the Living Stage's development, work and achievements is incomplete, inconsistent, and steeped in hidden agendas and unstated biases. Since 1967 the Living Stage has maintained a clipping file, an amalgamation of the written reception of its work, which consists primarily of newspaper clippings (many of which are unidentified). It includes articles from journals, newsletters, magazines, theatre trade publications, and the Arena Stage's and the Living Stage's in-house publications, as well as transcripts of radio broadcasts, audition notices, and grant conferral announcements. An analysis of these archival holdings (225 in total) illustrates what can happen when the documentation of a theatre company's history is left entirely to the press, and how this problematic documentation can ultimately serve theatre scholarship.
Toward a theory of ownership in the dramatic process
(1990) Malczewski, C. L.
The objective of this study was to define ownership and to investigate the way in which dramatic learning plays a critical role in its development. The investigation used three areas of research. First, an examination of general educational theory and practice identified conditions and agents that appear to be significant to the ownership process. The modern educational practice of teaching written composition was surveyed to reveal the way in which the concept of ownership appears to be an integral part. This investigation confirmed that the conditions and agents identified in general educational theory are critical factors in some general educational practices. Second, a dramatic learning unit by Gavin Bolton entitled 'Totalitarian State," was examined as an example of drama practice in which ownership is embedded. The unit was described and analyzed in order to discover how the conditions and the agents which affect ownership relate to the dramatic process. Third, reinforcement for the critical nature of ownership and the conditions and agents which support it was sought by examining the art form of the theatre. The data collected from directors and actors through personal interviews and from the examination of personal journals was analyzed to test the validity of this theory. The conclusion combined all three areas of research--general education. drama education. and the theatre--to outline a blueprint for ownership. The possible implications of this blueprint for general and drama teaching practice and implementation were explored. The results of this thesis investigation demonstrate that ownership is a critical factor in learning and that dramatic learning fosters the development of ownership. Dramatic learning augments and reinforces the agents and conditions that are significant to the ownership process. The results of this study conclude that dramatic learning provides a poweful medium for ownership that is essential to all educational practice.
The development and implementation of the current secondary school drama and theatre courses in British Columbia
(1984) Lynds, Lawrence Ralph
This thesis describes the development of educational drama in British Columbia secondary schools from its earliest roots to the current secondary drama/theatre curriculum, including the implementation of the current secondary program. The various origins of theatre in British Columbia are examined; and the development of a drama/theatre curriculum is traced from its beginnings in 1939 to 1984. The study stresses the changes in philosophy as the curriculum evolved through three stages: student oriented, theatre oriented, and a combination of both. One chapter describes the processes which resulted in the implementation of the current drama/theatre curriculum. Another chapter presents an examination of the extent to which the implementation processes were successful. A questionnaire was administered to teachers of one course, Drama Nine, to determine if curriculum revision in theory had been followed by revision in practice. Another purpose of the questionnaire was to determine what further assistance was needed by teachers to make the adoption of the new course more complete. The study found that the majority of drama teachers had accepted the approach described in the new curriculum and were using most of the material in the new curriculum guide and resource books. The reasons offered for the success of the curricular change emphasize teacher-centred curriculum building and implementation. The study recommends specific improvements in the current curriculum in the areas of speech and the transit ion from improvisation to scene work. The addition of several projects is suggested. As well, the study recommends some changes in teacher training procedures and the establishment of regular communication between the drama/theatre teachers professional organization, the Association of British Columbia Drama Educators, and the teacher training institutions of the prov i nee. The conclusion looks to the future, suggesting routes for further curriculum endeavour, including a study of the 'Drama for understanding' concept and its place in British Columbia drama education.
Drama and theatre : a bridge between old and new education in Nigeria
(1982) Lyndersay, Danielle M. (Danielle Madeleine)
The purpose of the study was to design a broad programme of drama/theatre activities to help meet the changing educational and cultural needs of primary school children in Nigeria. The Programme was devised with the National Policy on Education enunciated by the Federal Republic of Nigeria in 1981 and the needs of Nigerian children in mind. This policy defined primary education as "education given in an institution for children aged normally six to eleven plus," but, in reality, it frequently includes teenagers. In order to provide a firm philosophical base for the use of such a programme a study of the historical and theoretical background of play and drama in education was undertaken and definitions and working theories of "creative dramatics" in the United States, "drama-in-education" in Great Britain and "developmental drama" in Canada were explored. A study of the social and cultural background of Nigerian children and their educational needs was undertaken and methods for integrating drama into the curriculum developed. The use of drama by the classroom teacher in language arts, literature, social studies, art and music was emphasized. Specific teaching strategies involving drama and Nigerian content were designed. Comparisons between the concepts of informal classroom drama and formal performance-oriented theatre were drawn. The history of the Children's Theatre movement as a universal twentieth century phenomenon was outlined and its more recently developed forms of "participation theatre" and "theatre-in-education" cited. In addition, four alternative forms of theatre, all of which included elements of drama as well as theatre and developed by outstanding artists (Keith Johnstone, Maxime Klein, Augusto Boal and Jonathan Fox) were analyzed. From a study of these models and the concepts of classroom drama, the writer devised an alternative theatre form entitled Educative Theatre for use in Nigerian schools. Educative Theatre refers to a drama/theatre event presented for an audience of children by adults and utilizing "walket-puppets" and audience participation. The implications of this study are many. First, the suggested programme would involve all members of the educational community--the children as audience members and active participants, the secondary and university students as actors, the teachers in training as teachers and the parents and community leaders as resource personnel for Nigerian content. Second, the programme would provide a bridge between the formal rote-memory learning methods and the more modern learning concepts. Third, the program me would involve many of t he traditional Nigerian cultural at tributes which would make learning a more enjoyable activity.
Being yourself on purpose : the actor and the Glasgow Citizens' Theatre
(1987) Long, Maureen Agnes
Second language acquisition in cultural understanding through theatrical metaphor
(1997) Leavitt, Catherine Jane
The objective of this thesis is to present a methodology for second or foreign language acquisition through culture in the art forms of drama and theatre. The thesis exams the 'acquisition' of language and sets up the argument for cultural context. It draws upon the twelve years of English as a Second Language and English as a Foreign Language teaching which inform the writer's experience. Chapter one examines what we mean by culture and the part it plays in constructing and constraining language. Chapter two analyzes the science of linguistics and narrows the definition of linguistics to the pursuit of knowledge about the phenomenon of human language. In Chapter three, culture and language are examined through dramatic play. The critical role of Drama in language acquisition is examined and validated. These examinations confirm that the enacting through the creating of meaning provides the stimulus for exercising new language options. The fourth chapter explores the extended language opportunities that immersion in the art form of theatre offers to second language learners. A comparison of social, behavioural and psychological approaches between Japanese (Zeami) and western (Stanislavsky) theatre, verifies the embodiment of culture in theatre. This exploration validates my argument for acquiring culture and language through theatre. The conclusion examines the standard curriculum for teaching English as a Second language in British Columbia and confirms that the Drama/Theatre methodology has yet to be seriously employed in language programs. The thesis outlines the Drama/Theatre EFL programme the writer designed and implemented in Japan, at Tokushima Bunri University. The results of the Drama/Theatre methodology implemented at Tokushima Bunri University, demonstrate that Drama and Theatre are significant media for the development of effective and affective speech, the confidence to express pinions freely, and the ability to use imagination for creating meaning making.
Models for drama/theatre education in the secondary schools of British Columbia
(1982) Johnston, Denis
This thesis describes seven models for educational drama that may be found in secondary school drama programmes in British Columbia. Each model has been named after its most famous practitioner, except for the School Play which is not strongly associated with any one person. A chapter devoted to each model describes its background and its distinguishing features, and summarizes its practice and effects in today's schools. The models described in this way are: 1. The Ward Model - rehearsals for unscripted plays based on stories provided by the teacher. 2. The Slade Model - free form play under the benign guidance of a sympathetic leader. 3. The Way Model - whole group exercises designed to develop empathetic sensitivity. 4. The Spolin Model - exercises and theatre games designed to develop theatrical acting skills. 5. The School Play - an imitation of adult forms of theatre. 6. The Moffett Model - diverse dramatic activity to develop increased personal response to literature and improved communications skills. 7. The Heathcote Model - diverse dramatic activity as a social method of intellectual and intuitive learning. Since the models have been chosen because of their particular importance to educational drama in British Columbia, the final chapters contain an overview of the history of school drama in this province. Topic include the first school plays, early administrators of school and community drama, the rise of provincial festivals and teacher organizations, and successive authorized drama curricula. Since personality plays a major role in drama teaching, there is also some biographical information on some of the pioneers in the promotion of drama in our schools.
The relationship between employability skills and drama/theatre skills taught in drama/theatre in education
(2000) Greenberg, Ilene-Jo
The intention of this thesis is to examine the relationship between employability skills and the kinds of skills that are practised and taught in drama/theatre in education. Chapter One presents my own personal background in drama and theatre and the extent to which I have been involved in drama/theatre in education both as a performer/participant and as a teacher/director. It shows the effects of change in curriculum from my perspective as a teacher of twenty-nine years. It also explains why I have pursued my interest in the connection between employability skills and skills taught in drama/theatre education. Chapter Two continues with the description of my research which includes a definition of terms, literature review, and methodology. Chapter Three is a report and examination of ten interviews which I have conducted with various employers, from small businesses to internationally acclaimed companies, in order to establish their views on what the basic employability skills or management skills might be. I have been able to compare the skills that these employers cite with those that are recognized by Human Resources Canada, as well as other notable authors about business. In Chapter Four, I have taken three lessons from three master teachers of drama/theatre and examined the skills which are taught in drama and that are also common to those skills required in business. Chapter Five dedls with leadership and changes in the world of work. Also in this chapter, I discuss the changes in relationship of the roles between the worker, the manager and the boss. Finally in Chapter Six I conclude and summarize my research. The results of this summary reveal that there is a distinctive overlap between the skills required for employment and those of drama/theatre.
Native teaching and learning dramatic teaching and learning
(1988) Foreman, Kathleen Joyce
The objective of this study was to investigate whether or not Educational Drama offers Native teacher education students a teaching/learning methodology which is compatible with a Native teaching/learning style. The impetus for this investigation was the author's experience teaching Educational Drama to Native teacher education students through the University of Calgary's Native Outreach Program from 1982-1986. The study utilized three areas of research. First, reflection on the author's experience provided first-hand documentation of Native students' reactions to dramatic teaching and learning. Second, traditional Native teaching and learning methods were outlined, followed by a brief overview of the period of non-Native controlled Native education and its effects on the traditional Native teaching/learning. Research investigating the possibility of a distinct Native teaching/learning style was reviewed. Third, Educational Drama, its definition, function and unique teaching/learning methods was discussed with regard to identifying a 'dramatic' teaching/learning 'style' which spans curricular boundaries. The conclusion of this study combined all three areas of research--personal, Native teaching/learning and dramatic teaching/learning--to identify the similarities and differences between a Native and a dramatic teaching/learning style. The results of this thesis investigation demonstrate that Educational Drama, as a teaching/learning methodology, shares many fundamental values, interaction patterns and teaching/learning approaches with what has been identified by the research as a Native learning style. The differences between the two styles involve the use of language within the learning environment. These differences are not barriers between the two styles, but bridges which facilitate development of teaching and learning strengths. The results of this study on Native teaching and learning and dramatic teaching and learning conclude that Educational Drama offers Native teacher education students a teaching/learning methodoloy which is compatible with a Native teaching/learning style.
Theatre in education : a new theatre genre
(1985) Ferens, Sandra Marie
This thesis defines and defends the aesthetic and educational position of a new theatre genre, Theatre in Education (TIE) begun at the Belgrade Theatre in Coventry, England, in 1965. It was created through a liaison between the professional Belgrade Theatre and the Coventry Local School Authority and its purpose was to increase the involvement of the theatre and the community in serving educational objectives. This idea spread across the United Kingdom. Three specific examples of Theatre in Education (TIE) programs involving the Belgrade Theatre of Coventry, the Cockpit Theatre of London and the Octagon Theatre of Bolton are described and a definition for the purpose of this thesis is derived as follows: "Theatre in Education is a form of theatre intended for audiences attending an institution of formal education. A TIE program is researched and created by its performers around a topic or theme of relevance to its intended recipients by either constituting part of their formal school curriculum or being of more general relevance to their life experience. A TIE program includes elements of orthodox theatre as well as sections of direct audience involvement which may include the physical and verbal participation in the dramatic conflict." A discussion supporting the contention that Theatre in Education, should be considered a new theatre genre is conducted. Supported by the theories of education philosophers and theatre authorities Jerome S. Bruner, Susanne Langer, Bertolt Brecht and Peter Brook, a valuable argument is presented. It, illustrates that the principles of progressive education which center on the active participation of the learner in the act of learning are transposed in TIE into a theatre event which centers upon the activity of the audience in the act of theatre. Thus, through a combination of orthodox theatre form, discussion, physical audience involvement in dramatic conflict, and carefully structured preliminary and follow-up activities, a viable new theatre genre has evolved in which education provides the context and theatre provides the means.
John F. Leonard and his high school operettas
(1993) Esau, Mary Lois
The recorded productions of indigenous, Canadian, musical-dramatic works prior to 1950 are few in number. Furthermore, the majority of these pieces were mounted in the Eastern provinces of Ontario, Quebec, and Nova Scotia. Occasionally a production was written to be performed by children but for the most part, an adult cast was required. The opportunity to contribute to the existing canon of Canada's music theatre history presented itself when the writer learned of John F. Leonard, a British Columbia composer of high school operettas, mentioned by Dale McIntosh in his book History of Music in British Columbia: 1850-1950. Leonard died in 1967, but his manuscripts still exist and are being kept by the Langley Centennial Museum, Langley, British Columbia. Preliminary investigation revealed that other primary source material including the following was also being held in the John Leonard Collection: scrapbooks of newspaper reviews, cast pictures, personal correspondence, memoirs, a pamphlet entitled The Story of John F. Leonard, and a collection of songs published as Golden Days: Selections from the Operettas of John F. Leonard. Freedom to access this resource material and the exciting possibility that Leonard's operettas might still be worthy of performance today, spurred the writer on to further research. In order to properly evaluate the operettas Leonard wrote it seemed important to research the music training Leonard received and to examine factors that influenced his style of writing. Therefore Chapter One includes biographical material regarding Leonard's formative years, first in England and then in Salmon Arm, British Columbia. Leonard's sister Marjorie Fulmer recorded valuable background information from this part of Leonard's life in The Story of John F. Leonard and in her memoirs kept in the British Columbia Archives and Record Service, Victoria. Another major resource vital to the reconstruction of Leonard's early years as a musician was the Salmon Arm Observer. Each of Leonard's five operettas, "The Maids of Hamlin" (1943) , "Bow Bells" (1944) , "The Girl of the Bandolier" (1946), The Rajah of Singh" (1947), and "Fort Langley" (1956), was mounted at least twice. The first four were produced by the small, rural, Langley High School and then remounted by John Oliver High School, a school situated in a working class district of Vancouver and also the city's largest high school. The fifth operetta, written for the musical forces of John Oliver High School was restaged two years later by Gladstone High School , another Vancouver high school, as a Centennial pageant renamed "T'Lagunna." According to newspaper reviews Leonard's operettas were highly praised by student casts, school educators, and local audiences. To qualify the success of Leonard's operettas, Chapter Two deals with the setting in which his works were written and produced. Data required for this chapter necessitated the reading of school newspapers and yearbooks, Langley and Vancouver newspapers, as well as the interviewing of people involved with his productions. Leonard wrote the scores and, with the exception of "Fort Langley," the libretti for his operettas. Therefore Chapter Three includes not only an analysis of selected songs but also a discussion of one of his libretti -- "Bow Bells." As other classics in the operetta repertoire have been given new books or updated dialogue to suit the more demanding tastes of today's audience so too Leonard's operettas must be edited to meet present-day standards. The second edition of the Encyclopedia of Music in Canada recognizes John Leonard's contribution.
Description, definition, evaluation and implementation of Theatre-in-Education
(1983) Dossor, David Albert Norman
This study seeks to resolve misconceptions arising from Canadian interpretations of the educational theatre movement known as Theatre-in-Education or TIE. In so doing, the development of the TIE movement is traced and discussed. Particular attention is paid to the aspect of participation and the suggestion is put forward that the TIE movement is an inevitable manifestation of the effects of progressive education on the traditional form of children's theatre. This definition and description of Theatre-in-Education is supported by a detailed analysis of a Theatre-in-Education programme which was developed by the researcher in 1981-1982. This analysis comprises an outline of the programme's development, an evaluation of its worth as an educational service an a suggested means of implementation. Three main objectives for the programme are outlined and discussed. These objectives are: 1. To design and present a unique learning experience that would enrich the children's understanding of a part of the grade five social studies curriculum, 2. to enable the project members (the TIE team) to discover and utilise the necessary skills of actor/teachers, 3. to demonstrate to classroom teachers and school administrators the learning possibilities inherent in a Theatre-in-Education programme, and 4. to consider how a Theatre-in-Education programme might be implemented.

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