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The rhetoric of theatre for young au...

Lorenz, Carol Louise.

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The rhetoric of theatre for young audiences and its construction of the idea of the child.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The rhetoric of theatre for young audiences and its construction of the idea of the child./
作者:	Lorenz, Carol Louise.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2000,
面頁冊數:	367 p.
附註:	Source: Dissertation Abstracts International, Volume: 61-12, Section: A, page: 4618.
Contained By:	Dissertation Abstracts International61-12A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9998600
ISBN:	9780493076355

The rhetoric of theatre for young audiences and its construction of the idea of the child.
Lorenz, Carol Louise.

The rhetoric of theatre for young audiences and its construction of the idea of the child. - Ann Arbor : ProQuest Dissertations & Theses, 2000 - 367 p.

Source: Dissertation Abstracts International, Volume: 61-12, Section: A, page: 4618.

Thesis (Ph.D.)--University of Pittsburgh, 2000.

For most of the twentieth century, theatre for young audiences, or TYA, was a theatre of integration propaganda shaped by adult perceptions of the intrinsic nature of the child, of what values the child was to be given, of what voice the child was to have, and of what the child's relationship to adults was to be. These perceptions were informed by a variety of cultural ideologies and pedagogic theories that, in large degree, defined childhood as a state of being qualitatively different from adulthood, a time of the not-yet-ness of adulthood in which the young lack the experience, knowledge, and understanding possessed by adults. Thus, the child was perceived as intellectually and psychologically limited, in need of instruction in accord with the dominant hegemonic social ideas.

ISBN: 9780493076355Subjects--Topical Terms:

522973
Theater.

The rhetoric of theatre for young audiences and its construction of the idea of the child.
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245 1 4 $a The rhetoric of theatre for young audiences and its construction of the idea of the child.
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500 $a Source: Dissertation Abstracts International, Volume: 61-12, Section: A, page: 4618.
500 $a Adviser: Atillio Favorini.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2000.
520 $a For most of the twentieth century, theatre for young audiences, or TYA, was a theatre of integration propaganda shaped by adult perceptions of the intrinsic nature of the child, of what values the child was to be given, of what voice the child was to have, and of what the child's relationship to adults was to be. These perceptions were informed by a variety of cultural ideologies and pedagogic theories that, in large degree, defined childhood as a state of being qualitatively different from adulthood, a time of the not-yet-ness of adulthood in which the young lack the experience, knowledge, and understanding possessed by adults. Thus, the child was perceived as intellectually and psychologically limited, in need of instruction in accord with the dominant hegemonic social ideas.
520 $a Theatre for the young was to be a tool of enculturation. Its primary purpose was to persuade the child to accept the cultural agendas hidden within the language of the play, thereby ensuring the continuation of an homogenous society with its common vision and common goals. It strove to create an image of the child for both the child and adults according to society's ideals and needs. The result was a didactic and formulaic theatre that defined and limited the parameters of knowledge and experience given to the young. Missing from this theatre was the child's voice; h/his points of view and psychological needs were ignored. Instead, the child was addressed by adult voices hidden behind young protagonists.
520 $a By the 1960s, however, a new generation of youth---more knowledgeable and sophisticated than their parents had been at their age---was beginning to find its own voice, asserting itself as different from, but not inferior to, adult culture. By the 1970s, playwrights writing for the young were beginning to portray the young as psychologically and intellectually complete human beings whose experiences deserved to be articulated and explored. Thus, since the 1970s, the best of contemporary theatre for the young has reflected the lives, concerns, issues, and feelings of the young with respect for their youth, intelligence, and sensitivity.
520 $a This dissertation explores the evolution of the rhetoric of theatre for young audiences during the twentieth century and how that evolving rhetoric has influenced the child's perception of himself and adult society's construction of the idea of the child. Each chapter explores some aspect of the evolution of the rhetoric of theatre for young audiences. Chapter I examines its philosophic, social, educational, and literary roots. Chapter II discusses the divergent roads that theatre for the young took during the early years of the twentieth century and the ultimate establishment of a theatre that existed primarily for its pedagogic value. Chapters III through VI examine the contributions of selected playwrights whose innovations have enabled theatre for the young to evolve from a didactic theatre of integration propaganda to a dialectical theatre of self-discovery and mutual understanding. Chapter VII takes a final look at where theatre for young audiences has been and is now as well as its possibilities for the future.
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