Innovative education strategies implemented for large numbers of undergraduate nursing students: the case of one South African university nursing department

The nurse education and training landscape in South Africa has changed in different ways over the past century, with the result that education and training of nurses does not necessarily translate into an adequate supply of professional nurses for the health care service. Today there is a shortage in this category. Factors which contribute to this shortage include nurses moving from the public to the private sector due to perceived better conditions of service, migration, burden of disease, reduction in bed occupancy and an ageing nurse population. Many professional nurses are now reaching retirement, and it is imperative that the training and supply of young professional nurses for the country be reconsidered in the light of this. According to Pillay, the majority of nurses’ training begins in the public sector and their knowledge is grounded on this experience. When sufficient experience is gained, they seek out better opportunities in the private sector and migrate to the more developed countries. This loss of experience from the public sector impacts negatively on the capacity to mentor new graduates, which in turn results in the young, professional, trained nurses seeking better opportunities with organizations where they can develop further. The net result of this is that the public sector is left with overworked, older staff who are on the verge of retirement.Web of Scienc

Theatrical Intimacy Direction and Drama Therapy: A Community Workshop

Within the last several years, the field of intimacy direction and coordination has grown exponentially, both in usage within theatre and film and within public consciousness. Contributing to this rise is an increased awareness of and consideration for the potential psychological and emotional harm of production processes on performers. Both intimacy directors and drama therapists are uniquely equipped to handle such concerns: intimacy directors, due to their their frequent engagement with sensitive and potentially activating material, and drama therapists, due to their background in and understanding of both artistic and clinical processes.This thesis presents the process and results of a workshop for drama therapists in training and intimacy professionals. The workshop explored the similarities of the professions and the ways in which practitioners in both fields can borrow and learn from each other. Findings from both the literature and the workshop revealed common philosophies within the profession, including a focus on social justice and trauma considerations, as well as shared practices such as the use of dramatic rituals and de-roling

“Following the SWP Uniform”: A Play with ‘Bleeding’ Humans

“Following the SWP Uniform” is a PhD thesis in the form of a Live-Action Role-Play (LARP). It manifests a multimedia digital Sensory Ethnography with the South Wales Police (SWP) in an engaging, playful invitation to ‘Explorers’ to join the research process: In pursuit of the Researcher’s research trajectory of patrolling along with SWP in the streets and following SWP uniforms on social media, Explorers co-experience ethnographic ‘places’ that emerge. Conceptualising place as experiential, contingent and interactive expresses the thesis’ more-than-representational methodological embeddedness and aligns with how LARPs function through (rule-based) improvisation. The thesis also materialises an aesthetic, experimental appeal to being ‘effective’ by being ‘affective’: What Explorers know through their experience of “Following the SWP Uniform” is equivalent but uniquely embodied and unpredictable. The same is true for what the Researcher learns from SWP, and what SWP know. Orientation is provided by focusing the LARP on ‘making Swansea a safe place’. Thus, this play empirically highlights notions of safe-place-making through online and offline police interactions, in the urban, devolved setting of Swansea whose policy-agenda changes the police’s ‘professional responsibilities’ and lived realities. By highlighting the emotional labour involved in policing as a ‘friendly Welsh community service’, this play elucidates contesting interpretations and feelings of ‘safety’, ‘belonging’, ‘responsibility’ and ‘community’. Most importantly, “Following the SWP Uniform” shares the SWP’s take on what it means to be (and act as a) Human, and why such is a valuable resource that needs protection

Twelve Angry Men: A Twenty-First Century Reflection of Race, Art, and Incarceration

Twelve Angry Men: A Twenty-First Century Reflection of Race, Art and Incarceration is a Comparative and Digital Humanities Honors Thesis concentrating on Africana Studies, theatre, sociology and legal studies to demonstrate the importance of investing in incarcerated communities through theatre and education. In Chapter I, I critique the loss of identity attached to incarceration, and introduce the foundation for Black bodies individuals being discriminated against in the prosecution system. I analyze the “Punishment vs Progress” mentality, and introduce current educational programs in place in prisons. I elaborate on the details of our production, as well as the makeup of actors. An inside student closes the chapter with remarks of his own personal experience as an actor in the production. In Chapter II, I dissect the “cast list” of the criminal prosecution system (the prosecutor, defense attorney, and jury) and analyze the ways in which these roles coexist. I critique the “white knight, win-at-all-costs” mentality of prosecution, and offer the history of the criminal prosecution system to reinforce my sentiment that an all-white, anti-Black force of “justice” can never be just. In Chapter III, I analyze the data of incarceration rates, Black incarceration, and the discrimination of conviction. Bail money is explained and criticized, and the costs of mass incarceration are highlighted. Solutions to mass incarceration are explained, and they include the elimination of prosecutor “tunnel vision” and eliminating the prosecutor attitudes of the previous chapter. The chapter concludes with experiences from an inside student. In Chapter IV, I disclose the costs of a Broadway production and the compensation of artists. Then, the anti-Blackness of compensation and opportunity is critiqued. Black theatre, enterpainment, and trauma are all analyzed, and the experience of Hamilton’s Daniel James Belnavis is analyzed. The chapter highlights the exclusion of actors based on race, gender, and sexuality and compares Hamilton to Twelve Angry Men. The chapter concludes with noting the effects of casting and the intentional or unintentional meaning of representation on stage. In Chapter V, I conclude that change cannot happen without definitive action. Reform prosecution in conjunction with education and theatre programs will lower recidivism rates and better society

Psychodrama : a clinical approach in the treatment of adolescents

Psychodrama, as first developed by Jacob Levi Moreno, is a systematic group technique which utilizes enactments in the therapeutic setting. Clients are encouraged to be "now active"-to ventilate feelings and develop insight within a supportive environment. Psychodrama is a specific group technique within psychotherapy, well documented as a viable clinical tool for assisting clients to develop more adaptive behaviors in society. The following thesis is a partial literature review of theories in psychodrama and its therapeutic applications for adolescents within the multicultural clinical setting, specifically with African-Americans.Includes bibliographical references (leaves 77-78)California State University, Northridge. Department of Education

Hybrid Knowing: Preserving Physically and Digitally Entangled Traces in Hybrid Game Design

This dissertation represents the written portion of an interdisciplinary research-creation project that explores ways of studying creative practices with a focus on a kind of interactive experience called a hybrid game. It represents a contribution to the field of critical game design research. It builds on research from an extensive range of fields, including queer game design, intersectional feminist theory, critical design, critical game design, game design practice and methods, practice-based research and research-creation research, performance and theatre, live-action roleplay studies, alternative controller studies, autoethnography, and archival studies. From there, this research proposes and uses a methodology for studying the practice of creating interactive experiences that have non-standard, custom physical elements along with digital ones, especially those involving a facilitator. I make the case that autoethnography, though it has some limitations, is a well-suited method for research-creators engaged in design research. I performed this autoethnographic research through the use of three case studies undertaken over two years. During that time, I used the methodology that I proposed to create records of my own design practice. Using these records, including audio recordings, video recordings, photography, sketches and handwritten notes, a digital journal, and playtesting data, I analyze the process and each project in turn. I argue that in order to avoid self-deception and arguments made only based on designers' memories, it is crucial for the study of design processes to create timely records of practice. Further, I argue that this serves as both valuable data for the designers who do so as it facilitates learning about their own practices, as well as for other game design researchers seeking primary sources

Roleing In & Out of Character

This thesis explores different methods for an actor to safely get in and out of character. There is a myriad of methodologies for actors to get into their roles, but not much public information on how actors should get out of character. My research navigates how to release a role, or ‘de-roleing,’ along with what actors need in preparation for taking on a role, or ‘pre-roleing.’ The risks of not having an efficient pre-roleing and de-roleing method are emphasized. Using a combination of ideas brought on by Augusto Boal, Susana Bloch, Suzanne Dieckman, and others, I explore methods to de-role and elaborate on what I found has worked. The lack of a sufficient pre-roleing method is directly linked to why so many actors suffer from boundary blurring. As a theatre educator, it’s our responsibility to educate theatre students on the risks of not having a healthy methodology, along with guiding them towards sufficient pre- and de-roleing methods. By cultivating awareness about pre-roleing and de-roleing, we prevent future actors from self-detriment. Inspired by my experience of boundary blurring with a past role, I have implemented pre-roleing methods in my roles over the past year. My methods have enabled me to separate myself from my character with more ease and have led to new discoveries. Through exploring different de-roleing concepts, pre-roleing techniques are revealed along with a call to action for theatre educators. Analysis from roles done during my master’s program and vernacular to be familiar with if wanting to continue acting is discussed. My intention is to showcase the necessity of having a healthy pre-roleing method if one wants to de-role safely out of a role, which in turn would minimize the effects of an emotional hangover on an actor post-production

Dissociations in Acting: An investigation of how existing and emergent acting methodologies may be used to create new knowledge and practice, informed by and in response to dissociative identity disorder

This thesis aims firstly to develop a new methodology entitled Re-centre for enhancing actor safety through de-roleing, in conjunction with the second aim of creating original authentic portrayals of Dissociative Identity Disorder (DID) in theatre. This is a practice-based MPhil that uses an interdisciplinary approach and has been organised around two key concepts, the notion of de-roleing and that of dissociative identity disorder. It examines the contrasts and parallels between the two using a variety of techniques including an analysis of the concepts in the literature, autoethnographic observations, as well as the creation and audience reception of bespoke performances created for two projects. The theoretical principles of this study centre upon key practitioners such as Mark Seton, Bryony Kimmings and Bobby Baker. The research is influenced by the work started in Australia surrounding the welfare of actors by Mark Seton and in America by Kate Busselle as well as British stereotypes and attitudes towards wellness by Sally Cook. Throughout the thesis, I draw on practitioners Bryony Kimmings and Bobby Baker that have been active in representations of trauma in theatre as well as drawing on my own experiences of mental health challenges and using them in theatre performances. I have built and reformed the past and current representations of DID as well as creating a method for actors embodying traumatic characters with an aim to get this implemented into mainstream teaching. This thesis is ethically complex, dealing with my own wellbeing and self-care as well as those of vulnerable adults and industry professionals. This is central to the research as I have spent time exploring my current and past self. I have a strong personal link to this research having felt ‘stuck’ in several different characters when training. This has resulted in an intimate ethical insight as a theatre-maker and the impact that this could have on the wider community