BA (Hons) Drama and Performance
Permanent URI for this collectionhttps://eresearch.qmu.ac.uk/handle/20.500.12289/7234
Browse
156 results
Search Results
Item The Lighthouse(2020)Item Can cross-generational drama workshops help develop the communication channels between kinship carer and the child under their care? Student(2020)This study seeks to find out if cross-generational drama workshops help develop the communication channels between kinship carer and the child under their care. This study will practically investigate the working methods of Augusto Boal by utilising his games from Forum Theatre and Image Theatre with kinship carers and the children in their care. The study aims to examine where the participants communication breakdowns come from and if these games help resolve some of the problems within these families. After carefully selecting which Augusto Boal exercises to use in the workshop sessions and finding participants who were willing to participate in the study, it was possible to begin structuring the workshop programme. This written component is accompanied by a portfolio and this details the process of the workshop series. Through reflecting on the overall process and analysing both the quantitative and qualitative feedback from each of the participant families, it is possible to confirm cross generational drama workshops can help to develop communication channels between kinship carers and the children under their care.Item How is mobility a barrier when completing Wright and Sites ‘A Mis-Guide to Anywhere?’(2020)The overall purpose of this study is to investigate mobility in its relation to a series of walking tasks. The central research question aim to answer is into this study is: “How is mobility a barrier when completing Wright and Sites ‘A Mis-guide to Anywhere?’” The book in question designed for walkers in the urban environment inside and contains with tasks, often referred to as ‘Mis-Guides’, for the reader to complete. The purpose of the research is to discover if mobility creates a barrier when completing each individual task, and therefore the opening up the question of what limitations can present themselves on a mobility impaired user. The study follows a practice-based method of research into Wright and Sites Mis-Guides in a qualitive form, through the use of a practical portfolio and photographic documentation. This allowed the researcher to record each experience, as well as offer an alternative option for a mobility impaired person to complete. As a researcher and a participant in the study, with an anterior cruciate ligament injury, it should be considered that this study is based on personal experience. The findings determine that mobility is an obstacle when attempting to complete 45% of the Mis-Guides themselves. The most significant result is the environment surrounding the Mis-Guides as well as mobility creates a barrier to certain users being able to successfully complete the mis-guides. It could be argued that the Mis-Guides are only suitable for average walkers and not suited to a mobility impaired user. Although a selection of the Mis-Guides are partly suited to a mobility impaired user, the environment surrounding the entire book is not best suited.Item A practical investigation contrasting the traditional acting methods of Konstantin Stanislavski and the innovative methods of Jurij Alschitz, looking at their influence on an actor’s character interpretation through working with text analysis and composition of the role.(2020)This study explores how the traditional techniques of Konstantin Stanislavski and the innovative methods of Jurij Alschitz influence the actor´s understanding of character interpretation through text analysis and the composition of the role. Being such extensive techniques, it is a challenge to examine them in their entirety. That is the reason why the study reduces the scope of research and concentrates on two of the core tools of an actor: text analysis and organising the composition of the role. The Stanislavski system is like a handbook of practical exercises that actors use to show emotions on stage by placing themselves mentally and physically in character (Stanislavski 1986). Jurij Alschitz´s first teacher, Jurij Malkovsky, was one of Stanislavski's students and strongly supported this method. Under Malkovsky´s tutelage, Alschitz started to practise the Stanislavski system as well. However, after he completed his second degree at the Russian Academy of Theatre Arts, Alschitz changed the direction of his work into the innovative method of Game theatre (WTTI 2018). This approach encourages actors to keep an emotional distance between themselves and their characters, rather than to psychologically immerse themselves in the role as in the Stanislavski system. The research will examine how both systems make an impact on an actor's character interpretation and the differing experience of implementing both systems from the actor's point of view.Item Can the implementation of regular practical drama workshops, into disability service user’s weekly activity schedule, help them in achieving the four priorities, set out in The Keys to Life 2019-2021 delivery plan?(2020)This study explores the impact that weekly drama workshops have on people with disabilities’ achievement of the priorities identified in ‘The Keys to Life’ (2019). The four priorities of ‘The Keys to Life’ (2019) are living, learning, working and wellbeing. The study aims to analyse the effectiveness of drama, in regard to achieving the four priorities identified. ‘The Keys to Life’ (2019) was created with the purpose of ensuring that people with learning disabilities can live their life to its full potential. This study reflects on a practical investigation which observes twelve adults with learning disabilities over a period of six weeks. Findings from the practical investigation will aim to create a correlation between drama and the outcomes attached to the priorities identified in ‘The Keys to Life’ (2019). The study considers relevant academic research and analyses the impact of weekly drama workshops against the outcomes of ‘The Keys to Life’ (2019), through qualitative methods. A pre and post workshop assessment carried out by the researcher, observations and an interview with the activities co-ordinator will highlight any changes in candidate’s behaviours for evaluation and analysis. The data collected will be analysed against the outcomes attached to the four priorities. However, the small sample group and qualitative data gathered, means that no definitive conclusion can be drawn. This study uses a methodology which includes the development and implementation of six drama workshops into the weekly activity schedule of a group of adults with learning disabilities. These workshops were carried out within a Glasgow based charity that supports adults with disabilities. The development of the workshops was heavily influenced by the work of Ian McCurrach and Barbara Darnley (1999) in ‘Special Talents, Special Needs’. ‘Dramatherapy for People with Learning Disabilities’ by Anna Chesner (1995) was also influential throughout the development process.Item Genuine Intentions or Ulterior Motives? “What are the common motivations for censoring theatre in Britain and have these remained consistent since the introduction of the Theatres Act 1968?”(2020)Theatre has forever challenged boundaries and provided a space for the development of liberal ideas. However, there has also always existed those who aim to see controversial and provocative opinions quashed. Previously under the Royal Prerogative, the Lord Chamberlain assumed the position of statutory censor for British theatre under the Licensing Act 1737. Thus, began the 231-year reign of statutory censorship over British theatre until its abolition under the 1968 Theatres Act. Censorship still currently exists in many forms, ever evolving under the influence of a myriad of socio-political factors. This dissertation draws on the broad range of existing literature on the history of British theatre censorship. It offers a fresh perspective on the motivations that drove individuals and institutions to censor during the Lord Chamberlain’s time as statutory censor and the period of time since its abolition. Through the analysis of a number of censorship cases, this dissertation identifies the common motivations for censoring British theatre that remained consistent before and after the abolition of the Lord Chamberlain’s Office. Furthermore, this study discusses the emergence of hidden agendas for personal or political gain and identifies these as common occurrences in the censoring process.Item Dutch resistance in theatre: an analysis of rebellious works and actions of Dutch theatre makers from the Eighty Year War and World War Two(2020)This is a text-based dissertation with a historical methodology. It intends to look at the role theatre makers historically played in the resistance against foreign occupation of the Netherlands. This will be done by laying out two impactful conflicts from Dutch history: The Eighty Year War and World War Two. When the subject of the conflict and of the resistance has been clarified, the dissertation will delve into rebellious works and acts of resistance by theatre makers from both these eras. These will finally be laid side by side to analyse common themes and define the role and influence theatre makers had, and to conclude how, if at all, this work influenced the Dutch identity as defined in these times of strife.Item ‘How does a solo untrained dancer’s experience differ from a solo classically trained dancer when exploring Pina Bausch’s techniques in a rehearsal process?’(2020)This study seeks to explore how a solo untrained dancer’s experience may differ from a solo classically trained dancer experience when exploring Pina Bausch’s techniques in a rehearsal process. Pina Bausch was a choreographer and practitioner who relied heavily on her dancers to help her produce work through a question and response method. Pina Bausch was the outside eye in this process and was there to question her dancers and get them to draw their responses from their personal experiences and their lives. Pina Bausch started her career as a classically trained dancer who then went on to look at contemporary dance and experimented with performance techniques until she created a structure in which she completely revolutionised dance and the arts. This study takes a unique look at Bausch’s rehearsal process and how ‘valuable’ classical dance training is for this field of work. Furthermore, this project aims to see if this dance training is beneficial or a hinderance when using Bausch’s methods and techniques in a rehearsal process. Therefore, this study looks to see just how accessible Bausch’s rehearsal process is for anyone who may be interested in partaking in rehearsals of a similar manner. In order to answer the question at the forefront of this study a relevant literature review has been formed in order to piece together consistent and coherent workshops based on Bausch’s rehearsal methods and techniques, this process was then used as the basis for the practical research. This study is comprised of a written report and a DVD which documents the practice through practical workshops.Item “Visibility and representation of women playwrights in Scotland: are women writers in a healthier place now in comparison to the 1970’s?”(2020)This research project will investigate the current visibility and representation of women writers in Scotland. To fully grasp and understand the current level of representation, this project will also investigate women writer’s visibility within the 1970s to give a complete and adequate picture for contrast. By examining a 50-year progression into Scotland’s theatrical landscape, it will naturally reveal the ways in which the nation’s social and political outlook has aided the visibility of women writers. The research will aim to explore the level of diversity and inclusion within the current theatre output in Scotland, thus determining whether or not equality for women has improved over a 50-year period. For the purpose of this thesis, the researcher will be using the gender term “women” and “woman” as well as gender pronouns “she” and “they” to represent all women writers and theatre makers who identify with this terminology. This research will attempt to be as inclusive as possible to capture a diverse snapshot of women playwrights within Scotland. In order to successfully carry out this research, academic literature and previous data collection was reflected upon to showcase gaps within the field. From the overview of academic literature, qualitative research methods were chosen due to the project adopting a strong sense of social consciousness. The data collection methods included an open ended structured questionnaire, followed by an open ended semi-structured interview with Stellar Quines. Both methods provided a wealth of data to underpin the research. In summary, the research has highlighted a subtle yet steady progression for women writers in Scottish theatre, yet has also highlighted the vast amount of inequality that still prevails for many women.Item “To explore the benefits of Musical Theatre and the effects it can have on the social and mental development of adolescents within St Columba’s High School”(2020)The study investigates the art form of Musical Theatre and the effects it can have on the social and mental development of adolescents within St Columba’s High School. This was measured through analysis and reflection on a series of 10 practical rehearsals, in which I facilitated a small group of senior pupils. I directed and choreographed a musical number for them to perform. To add, the participants were encouraged to discuss the process frequently and such discussions were voice recorded and transcribed. The aims, objectives and structure of each rehearsal has been logged and formally typed up. These weekly rehearsal logs can be seen in the Practical Portfolio element of this study. Alongside this, I have compiled weekly reflections. These consist of an analysis of each individuals journey throughout the process, highlighting both their struggles and improvements. Each rehearsal uncovered the participants insecurities and as they progressed a collective positive growth became very evident. The study was concluded by video recording the participants performing their piece and they were then asked to comment on the process from start to finish; how it has effected them as a person and if there was anything substantial they were going to take away from the experience.