EdD – Educational Theatre in Colleges and Communities – Practice-based Doctorate – Deadline Approaching

NYU’s EdD program in Educational Theatre prepares the next generation of arts professionals.

The EdD program is a 42 point program which provides specific pathways for specialized study at the doctoral level in three areas of educational theatre praxis: Drama in Education, Applied Theatre, and Theatre for Young Audiences and Play Production. It is a practice-based doctorate with an emphasis on arts-based research methods.

Why study Educational Theatre at NYU?

Engage with leading educators and practitioners

  • Immerse yourself in course work and conduct research with a world-renowned faculty in arts-based methods and practice as research.

Get connected

  • Our global partnerships with leading cultural houses and educational institutions provide unparalleled opportunities for scholarship and practice.

Join our community

  • Located in Greenwich Village, the hub of international arts happenings, our program is intimate and supportive within one of the largest and most innovative private research universities in the world.

The Application Deadline for fall 2016 is December 1st.

For More Information, visit:

Target Audience

The Ed.D. in Educational Theatre is designed for individuals who intend to pursue leadership positions in the practicing professions, preparing candidates for senior positions as principals, superintendents, arts administrators, researchers, curriculum developers, policy analysts, educational consultants, and theatre practitioners.

Program Goals

Through a broadly designed and individualized curriculum, students in the Ed.D. in Educational Theatre will develop their artistic praxis and the leadership skills needed to transform today’s learning communities in a variety of educational, cultural, and vocational contexts.

The Ed.D. program emphasizes collaborative and practitioner-based study, providing comprehensive research and artistic training that equips graduates with the knowledge and skills to have significant impact in the worlds of educational theatre, arts policy, and practice.

In particular, students will develop authority in one of three areas of specialization:

•              Drama in Education (i.e., studies in drama/theatre curriculum, special education, integrated arts, assessment and evaluation)

•              Applied Theatre (i.e., studies in community-based theatre, theatre of the oppressed, the teaching artist, diversity and inclusion)

•              Theatre for Young Audiences and Play Production (i.e., studies in acting, directing, dramaturgy, playwriting, dramatic literature, arts-based research methodologies)

As a culminating study, students design and conduct a practitioner-based study under the direction of doctoral program faculty, developing a project drawn from one or more of the program’s specializations (as listed above) and are encouraged to complete their program in five years.

How to Apply

Applications for the Ed.D. in Educational Theatre are accepted from candidates with demonstrated interest in practice-based research. A satisfactorily completed master’s degree is expected prior to application along with a portfolio of work demonstrating arts based research credentials, professional arts experience, and leadership in the field.

For more detail on admissions requirements or to apply, please visit: http://steinhardt.nyu.edu/graduate_admissions/guide/edtc/edd

For further information about the program or its curricula, please contact:

Dr. Jonathan Jones at jpj201@nyu.edu

Posted on | Posted in Uncategorized |

Theatre Practices in Puerto Rico: Once in a Lifetime Experience

By Rachel Gubow

The Theatre Practices in Puerto Rico intersession was a once in a lifetime opportunity that allowed me to explore dance, movement, and theatre through a different cultural lens.

In Javier Cardona’s physical theatre class I was pushed to physical and mental limits as our ensemble explored unconventional ways of creating movement that connected body and voice as one whole instrument.  Our trip was filled with delicious food, meeting brilliant artists, seeing moving performances, and learning to dance bomba.

One of our many adventures in the city of Old San Juan included participating in a parade to celebrate San Sebastian Festival which fills the narrow city streets with over half a million people!  As we all enjoyed the beautiful weather and rich bonding experience, I came to a deeper understanding of how we can use art and theatre to break down barriers and tell stories that connect us within and across cultures.

From the Editor

Greetings and welcome to the spring semester!

As Program Director, David Montgomery. noted in his semester in review post in December, we have many exciting projects which have occurred during the winter break and which will follow later this semester including our study abroad trip to Puerto Rico, Nan Smithner’s main stage production of The School for Scandal, among others. Be sure and check the blog every Tuesday throughout the semester for program news and announcements. And, as always, remember that Revue is all about the experience of the NYU Educational Theatre community – so if you would like to contribute, be sure and let me know.

Best,

Jonathan Jones

Revue Editor

jonathan.jones (at) nyu.edu

 

Posted on | Posted in Uncategorized |

Student and Alumni Updates

Kristin R. Benner (EDTA ‘12)  received a full time drama elementary (K-2) teaching position in the Montclair Public Schools in Montclair, NJ at the Gifted and talented/performing arts magnet. She puts on three productions a year and could not be more thankful for what NYU did to prepare her for this position.

 

 

Jeanine DeFalco (EDTC ‘12) is a Doctoral fellow in Cognitive Studies at Teachers College, Columbia, on an Army Research Lab grant studying detection of engagement and affect in a simulation-based combat medic training environment. Her general focus is on embodied cognition, narrative, and creative problem solving using role play.

Mary Leigh Filippone (Undergraduate ‘06) runs the Theatre Department at Springfield High School just outside Philadelphia where her production of Our Town was recently honored as Best Play of 2013 by the Greater Philadelphia Cappies. She is pursuing a Master’s degree in Arts Administration at Drexel University. Mary currently serves as the President of the Board of Governors at the Players Club of Swarthmore Pennsylvania.

 

 

Julianna Krawiecki (EDTC ‘12) was awarded with a State of New Jersey Commendation Citation Award for the development and performance of “Our Stories of Sandy”, a student devised performance piece that illustrated Hurricane Sandy through the eyes of a middle school student. She teaches music and theater at Manalapan-Englishtown Middle School in New Jersey.

Christina Kosyla (EDTA ‘13) has accepted a teaching position with Stuart Country Day School in Princeton, NJ. Stuart is an independent, Catholic school for girls in grades K-12. Christina will be teaching religion (K-2), drama (3-5), and directing the Upper School fall play.

Robin Levenson (PhD ‘07) is currently a Professor at City College, CUNY, in the Interdisciplinary Arts Department where teaches speech and theatre, specializing in non-native speakers and actor training. Her students won prizes for speech at LaGuardia Community College in 2011 and 2012, and first place in 2013 at the CUNY‐Wide Annual Student Speech Contest.


Alex Sarian (EDTC ‘07) was appointed to the newly created position of Director of Finance & New Business at Lincoln Center Institute, the education division of Lincoln Center for the Performing Arts.  In this role, he oversees all aspects of business development, marketing, digital/social media and consulting services for programs with an annual reach of 350,000.  He joins Lincoln Center after serving as the Director of Education at MCC Theatre and founding Affinity Arts Group, a private consulting practice.

 

Robert Stevenson (UG ‘13, EDTC ‘14) was one of several recipients of the Ida Bodman Service Award at the Steinhardt Baccalaureate Commencement in May. The award, recognizing his work with Uproar Theatre Corps, celebrates superlative and extraordinary service and exhibiting the highest standards of leadership in school activities.

Lantie Tom (EDTC ‘12) has been professionally designing and building masks, puppets, and the occasional prop for theatre and education programs – sometimes with Educational Theatre alumni! Each project is unique, and she had the recent pleasure of working with Barnard-Columbia Ancient Drama Group, The Forum Project, and Paideia Institute for Humanistic Study.

 

From the Program Director

Time goes by quickly.  It seems like we just started the fall 2012 semester and now we are preparing to graduate many of our students this spring. As the semester comes to a close and I reflect on the academic year, I’m astounded by the quality and depth of student work that has transpired in our educational theatre classrooms and performance spaces, much of which is documented in this blog. Projects that have happened beyond coursework have also been impressive–and inspiring. All one has to do is look back over the numerous Educational Theatre list-serve notices and invitations sent over the last 10 months to find an abundance of theatre activities on display–including applied theatre workshops, play readings, TYA productions, fully produced plays, and many other teaching/learning opportunities and events for which our students have been involved. These reveal an incredible record of collaboration, artistry, diversity and passion within the Educational Theatre community.

While the semester comes to an end, the summer and fall launch new and exciting course possibilities for students who are continuing their studies.  In its 16th year, this summer we are excited to continue our annual New Plays for Young Audiences series at the Provincetown Playhouse in June, as well as the class that accompanies it, Problems in Play Production. Students of our London summer program, being led by Philip Taylor, will have numerous rich experiences, including site visits to Oily Cart and the Conference on Dorothy Heathcote as new additions to the curriculum. Some students will continue on after London and join other Educational Theatre students in our course in Dublin, led by Joe Salvatore, as they study community-engaged theatre. Back on campus, our annual Looking for Shakespeare program continues as Nan Smithner is getting ready to direct Shakespeare’s As You Like It with young people and graduate students helping through their enrollment in the course,Directing Youth Theatre.  There’s still space available for Educational Theatre students to register for this course. In just a couple of weeks, I’ll be the instructor for Teaching Through Drama, where middle school students will come once a week over a three week period to experience drama with the graduate students, one time with special guest Cecily O’Neill leading a drama workshop–and the NYU students will facilitate a drama experience for the young people in week three. There’s also an Acting: Scene Study class to consider, being taught by Amy Cordileone, as well as other summer course offerings. All of the course titles and descriptions are listed on the blog posted on May 3rd (see below), and I want to stress that it’s not too late to register for any of these classes.

What a great year! Congratulations to all who are completing their studies and receiving their degrees.  Your hard work and commitment have contributed to the successful completion of your degree requirements, and more importantly, the Program in Educational Theatre is a better place because we have talented students like you.

Have a wonderful summer everyone!

Sincerely,

David Montgomery, PhD

Director, The Program in Educational Theatre

Summer Courses

While the spring term draws to a close, it is not too late to make plans for summer courses. Below, you will find course descriptions for available summer courses in Educational Theatre. If you are interested in enrolling in a course, be sure and schedule an appointment with your academic advisor soon!

Acting: Scene Study

In this course students will continue the exploration begun in Acting: Fundamentals with in-depth scene & monologue preparation from the contemporary stage. Studio work will focus on the given circumstances, creating a physical life for the character, & miming the relationships that drive the play.

Storytelling in the Classroom

Storytelling dynamically engages us in the act of learning. This highly participatory class explores storytelling as an art form and as a tool in the classroom and community. Students explore its historical context, educational use and significance, performance techniques, and types of tellable tales.

Methods and Materials of Research in Educational Theatre

This class will explore the diverse research designs available for investigation in Educational Theatre. An examination of how to construct a research and grant proposal, as well as data collection and analysis techniques, and the various forms of representing data including performed ethnography. A required course in the MA programs.

Theatre Practices: Problems in Play Production

This course examines how artists work with new plays in a development process. The course addresses theories and methods of play development including script analysis, rehearsal, and performance of works-in-progress. Students have opportunities to observe rehearsals, attend performances, and dialogue with playwrights, directors, and dramaturgs associated with the New Plays for Young Audiences series at the Provincetown Playhouse.

http://steinhardt.nyu.edu/music/edtheatre/programs/summer/newplays

Drama in Education II

Study contemporary applications of drama in community sites. Topics include community-engaged drama, participatory theatre, theatre for seniors, and prison theatre.

Teaching Through Drama

This course provides an essential foundation upon which to build a drama-in-education practice. It introduces students to many drama-in-education strategies; critiques the educational rationale which supports them; & analyzes the process of structuring drama work as a medium for learning across the curriculum & beyond. Students will become critically acquainted with the pedagogical principles which delineate the teaching terrain of the drama-in-education practitioner.

Drama with Special Ed Populations

Examines the practices and theories of educational theatre as they apply to working with elementary and secondary students with special needs. At its core, this class is about good teaching. Any professional teaching in today’s schools will work with a child with a disability. Differentiated instruction is not about teaching a class, but rather teaching a student. This hands-on course will isolate specific drama approaches and techniques and adapt them for the physically, cognitively, or emotionally challenged student.

Directing Youth Theatre: Looking for Shakespeare

High school students work with a director and graduate students from NYU to shape an original production of Shakespeare. This program is unique in that the ensemble members will work with director, Nan Smithner, and a dramaturg to discover how a Shakespearean play resonates for them, within their own personal experiences. Using these connections as a source and inspiration, the ensemble members will rehearse and perform their own version of the play. The production will be supported by designers and stage managers.

http://steinhardt.nyu.edu/music/edtheatre/programs/summer/shakespeare

Independent Study / Practicum

Under faculty mentorship, students craft their own research project in one of the program’s four concentration areas: drama education, applied theatre, theatre for young audiences, and theatre production.

Forum: Developing New Work for the Theatre

Developing New Work for the Theatre
Friday, April 26 & Saturday, April 27

The Program in Educational Theatre is a community of diverse artists, educators, and audiences with a commitment to creating and participating in engaging theatrical experiences, not necessarily in traditional spaces or by traditional measures, but through consistent investigation of artistic processes and aesthetics. The development of original work has been central to the Program’s mission since its inception, and this forum proposes to generate new knowledge within the field as we address the following questions:

1. How do artists establish rigorous, intentional new works development processes
that are innovative and sustainable? 

2. How does accountability serve the stakeholders in a new works development
process?

3. How do we define and measure success in a new works development process?

Schedule of Events 

Register for the Forum here.

Location: 35 West 4th Street, New York NY 10012 (Frederick Loewe Theatre and Education Building)

 

Dr. Kim, Byoung Joo

Dr. Kim, Byoung Joo

Byoung-Joo Kim, is a drama/theatre practitioner, researcher, and educator who has been working across the continents.  Born and raised in Seoul, Korea, he decided to study drama/theatre in New York City.  There he met great mentors and influences, such as Lowell Swortzell, Philip Taylor, Nellie McCaslin, Maxine Greene, Frances Rust, Nancy Smithner, and Chris Vine, those who eventually changed Byoung-Joo’s vision of drama and his career path.  Byoung-Joo worked as drama teaching artist (a.k.a. actor-teacher) for the renowned Creative Arts Team (CAT) under the artistic/educational leadership of Chris Vine.  For more than four years, he devised diverse drama curriculum, consulted teachers and administrators, and implemented issue-based drama workshops for children, students, parents, and teachers around NYC and beyond.  The excellence of CAT drama work, combined with the talented devotion of the colleagues, strongly reinforced his passion for drama education and trained him to grow not simply as practitioner but also as artist and educator.  Byoung-Joo earned M.A. in 1998 and eventually his Ph.D. in the program of Educational Theatre from New York University in 2005.

Upon returning to his native Korea, Byoung-Joo began his long-planned dream to introduce and spread out diverse and at times challenging drama and arts education in Korea.  With a small group of young drama/theatre artists and educators, Byoung-Joo founded PRAXIS, a clear reminder of his view on drama education – a combined endeavor of action and reflection, practically, practice and research.

His first project, TIE “A Big Blue Whale’s Dream” (2005) touched on a sensitive issue of disability awareness and inclusion in Korea. The project received grants from government and regional arts agencies and visited primary schools for two years.  Byoung-Joo and PRAXIS then continuously developed a series of participants-centered and socially challenging Forum Theatre works on diverse social and educational issues. “The Butterfly Effect” (2008) tackles on Korea’s serious social issue of ‘intense competition’ for young people.  “Mom, we’ve got another baby” (2009) challenges the dilemma of low-birth rate and child care.  “Stop! Let’s help Mrs. Baek” (2010), devised and performed by the senior citizens dealing with the issue of the elderly in Korea.

Byoung-Joo and PRAXIS also have worked on projects for specific groups of socially marginalized: participatory drama programs for teenagers; senior theatre programs for the elderly; and interactive drama programs for young children are among them. Since 2010, “Applied Theatre project with the Homeless” has been one of the hard-working and meaningful projects for PRAXIS. It has grown into a forming of a homeless theatre company ‘Yeon-Feel-Tong’. In 2012, PRAXIS devised and implemented TIE program on school violence “Eyes Wide Shut? Eyes Wide Open!” to nearly 30,000 middle school students. It was a part of an unprecedented, largest public project funded by Seoul Metropolitan Office of Education.  In 2013, Byoung-Joo led PRAXIS to a new challenge by directing a large-scale theatre production “The Forgotten”.  The production combined grave historic facts with delightful imagination of early Korean independence fighters during the Japanese occupation of Korea in the 1920’s.

As a researcher and educator, Byoung-Joo has maintained his delicate balance with his time as practitioner.  He has published a number of research articles in academic journals including RIDE, presented keynotes and papers at international conferences in Taiwan, AATE in Vancouver, and IDEA in Hong Kong and Paris.  He first introduced the ‘applied theatre’ to Korea by translating of <Applied Theatre> by Philip Taylor in 2009 and organized a 3-day “Applied Theatre National Workshop and Conference” in 2010.  His primary research interests are drama/theatre education, TIE/Forum Theatre and Applied Theatre practices, professional development, and qualitative research on drama and arts education.

Currently, he is the assistant professor and program director of Graduate Program of Educational Drama/Drama Education at Seoul National University of Education (SNUE), still the only academic graduate program of the title in Korea.  Byoung-Joo is the proud founder and has been Artistic & Education Director of PRAXIS for 10 years.  Since 2011, he has been Vice President of Korea Association of Drama/Theatre Education (KADE).  In 2013 IDEA World Congress in Paris, Byoung-Joo received an honour of being elected as Vice President of General Meeting Committee (GMC) for the year 2013 – 2016.

Kim, Byoung Joo (Ph.D.)

Associate Professor & Program Director,

Program of Drama Education

Graduate School of Education

 

Director,

Center for International Cooperation and Education,

Seoul National University of Education

 

Artistic & Education Director

PRAXIS

Institute of Drama/Theatre and Education

 

E-Mail: praxis@snue.ac.kr dramapraxis@gmail.com

Mobile: 82-10-9961-3316

 

Last Updated: 2015. 10.20

 

Posted on | Posted in Uncategorized |