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Thesis Jenefer Dizon

Thesis Jenefer Dizon

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Published by van7wicca
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Published by: van7wicca on Jan 10, 2009
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08/17/2013

 
DEVELOPMENT OF A PRIMERFOR ORGANIZING A HIGHSCHOOL THEATRE GUILD
BY: JENNIFER I. DIZON
CHAPTER I
 THE PROBLEM AND ITS BACKGROUND
INTRODUCTION
A school’s foremost goal is to educate the students.
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In fact mostschools try hard to give the best quality education to their students bystrengthening their curriculum. When education is talked about, many wouldthink primarily of the academic subjects. This idea is shared by most of theschool administrators, parents, and even the students. They tend to focus onthe major subjects like English, Mathematics and Science fallowed by theother subjects. The focus is clearly on the linguistic and logical-mathematicalintelligence. What many schools do not know is that they should also providean environment catering to the students’ multiple intelligences includingartistic and interpersonal. Involving students in drama and theatre artsthrough the organization of theatre guilds is a way of 
 
addressing thisproblem.
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1
 The hook
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 The problem (the students need to develop their multiple intelligence)
1Sample No. 2
 
According to Perez (2003), participation in this kind of interest clubprovides opportunity for the students to develop students’ skills creativityand potentials.Hildawa (2000) stressed that through the successful use of dramaactivities, a paradigm shift from the present day concentration of contemporary schools from concentration on linguistic and logical-mathematical intelligences alone to a broader spectrum of intelligences isexpected.However, Caterall (1999) underscored the need for the teacherinstruction in the handing of theatre arts related activities believing that thesuccess of the activity depends on how the theatre education guides thestudents.
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 The importance of drama in education is also explained by educatorslike Courtney (1989) He says that at the same time that the various dramaticapproaches have been made to practical class work in recent years; aphilosophic basis has been evolving. It has grown naturally out of previousthoughts and in making its judgments from known facts and its denial of ‘system,’ proves that drama education is based on an empirical method of thought.
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H.J. Blackman, Britton and E.J. Bruton (1975) said:
The danger of classification of any kind is that, starting asa convenient generalization, it comes to be pursued in place of the living complexity it attempted to summarize, and working isdictated by the generalization instead of by the actual existingsituations.
Burton extended this by saying it is impossible for us to create a‘philosophy’ as previously known, for we are within the scheme we are tryingassess:
…it is not for us to say that human beings should, or should no, respond in this or that way, thy do- or do not. And thisacceptance of life in totality is our starting principle.
 These thinkers reject education when it is seen as training in reason,will, conscience, taste, or sensibilities and emotions. Rather, activity is vitalto education.
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Another problem (there is a need of a teacher instruction in creating a guild)
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Another Problem (there is a lack of a system)
2Sample No. 2
 
In the classroom situation, much of the children’s work is in group andit is obviously important that Dramatic Education should take full account of modern research into the characteristic of groups.
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As with so many intellectual fields within the social sciences, groupstudy originated with Freud. He said that social groups were based on thepattern of the family, and that this has a certain biological need. When weare setting up a group organization for improvisation, movement drama, andthe like, we are providing children with specifically structured groupenvironment which influences the personality in a specific way (Courtney1989)According to Hobgood (1988,) theatre teaching of high quality buildson the foundation of emotional and intellectual commitment.
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The importanttenets that stand behind and go far to explain the quality achievements of outstanding theater teachers will be proposed here as central premises of theater education and training. I f we state them and then consider theirimplications, one makes useful discoveries. The first premise according to Hobgood is that
Theater is an important, complex art of intrinsic culturalinterest that deserves thorough study.
It was in support of this premise that the pioneers of theater educationwaged struggles for recognition of the field. According to him, Baker, Mabie,Drummond, Stevens, Koch, and other determined men and women did notsimply prove by their accomplishments the truth in this proposition. Theycampaigned for the right of the other, perhaps less persuasive, teachers toshow the validity of the premise. For the reason they were involved, directlyand indirectly, in the movement fifty years ago to establish a nationalassociation of theater teacher that would carry on that campaign.According to Hobgood, in most educational settings in America today,this first premise is accepted. It is not too much to say that the entirestructure of theater education arose from the foundation laid by thatprinciple. We may reasonably doubt that any teacher who subscribe to lesswill be likely to hold influence for long with sensitive students deeplyinterested in the theater. The practitioners and supporters of theater education today tend toforget the battles fought in its behalf two or more generations ago. The first
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 The rationale (The theatre experience must be contained in a group “family”)
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 The rationale (The benefit of emotional and intellectual commitment) and the premisessporting it)
3Sample No. 2

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