Developing wonder: Teaching theatre for the very young through collaboration with developmental psychology

References

• Alperson, K. (2017) Final project journal: Sleepy sheep” submitted for Learning Community Course: Developing Wonder: Psychology, Theatre, and Children, Pace University, May 5th, New York, NY, USA.
   Google Scholar
• Alrutz, M. 2009. Visionaries wanted! Theatre for very young audiences in the United States. In Theatre for early years: Research in performing arts for children from birth to three, ed. W. Schneider, 119–26. Frankfurt: Kinder-, Schul- und Jugendtheatre, Peter Lang.
   Google Scholar
• Alrutz, M. 2015. From Point A to Point B. Virginia, USA: Arts on the Horizon. director.
   Google Scholar
• Baillargeon, R. 1987. Object permanence in 3½-and 4½-month-old infants. Developmental Psychology 23 (5):655. doi:10.1037/0012-1649.23.5.655.
   Web of Science ®Google Scholar
• Boddie, C. (2016) Director of education/school engagement, New Victory Theatre, personal email exchange, September 20th
   Google Scholar
• Bowlby, J. 2008. Attachment. New York: Basic books.
   Google Scholar
• Brown, M., ed. 2012. Oily cart: All sorts of theatre for all sorts of kids. Stoke on Trent: Trentham Books; New ed. Edition.
   Google Scholar
• Chance, S. 2009. An elaborate dance. In Lowdown, ed. J. Gronow, Vol. 31.5, 8–9. Adelaide: Carclew.
   Google Scholar
• Chance, S. 2012. This [Baby] life. Australia: Sally Chance Dance. director.
   Google Scholar
• D—, J. (2017) “Final project journal: sleepy sheep”, submitted for Learning Community Course: Developing Wonder: Psychology, Theatre, and Children, Pace University, May 5th, New York, NY, USA.
   Google Scholar
• Dana, M. 2011. Artistic director, immediate medium, on panel, Re-Imagining Shakespeare at New Victory Collaboratory Symposium, The New Victory Theatre, January, New York, NY, USA.
   Google Scholar
• Dartnell, G. (2017), Personal email exchange, April 24
   Google Scholar
• Dartnell, G., and T. Morris. 2003. Oogly Boogly. London: National Theatre. directors.
   Google Scholar
• DeLoache, J. S., K. F. Miller, and K. S. Rosengren. 1997. The credible shrinking room: Very young children’s performance with symbolic and nonsymbolic relations. Psychological Science 8 (4):308–13. doi:10.1111/j.1467-9280.1997.tb00443.x.
   Web of Science ®Google Scholar
• Fletcher-Watson, B. 2013. Child’s play: A postdramatic theatre of Paidia for the very young. Platform, Staging Play, Playing Stages 7 (2):14–27, Autumn.
   Google Scholar
• Fletcher-Watson, B. (2016) “More like a poem than a play”: Towards a dramaturgy of performing arts for early years, Thesis, Royal Conservatoire of Scotland & University of St. Andrews 2016, Appendix C - Database of TEY Productions 1978-2015, 331–32
   Google Scholar
• Fletcher-Watson, B., S. Fletcher-Watson, M. J. McNaughton, and A. Birch. 2014. From cradle to stage: How early years performing arts experiences are tailored to the developmental capabilities of babies and toddlers. Youth Theatre Journal 28:130–46. doi:10.1080/08929092.2014.940075.
   Google Scholar
• Fowler, C. 2009. Installation theatre: creating a performance space for babies and toddlers. In Experiencing art in the early years: Learning and development processes and artistic language, small size papers, ed. F. Nerrantini, 113–18. Bologna: Edizioni Pendragon.
   Google Scholar
• Frabetti, V. 2009. With our eyes and skin. In Experiencing art in the early years: learning and development processes and artistic language, small size papers, ed. F. Nerrantini, 35–37. Bologna: Edizioni Pendragon.
   Google Scholar
• Giles, S., and J. Wilson. 2012. How high the sky. South Yarra, Australia: Polyglot Theatre. directors.
   Google Scholar
• Goldfinger, E. 2011. Theatre for babies. In Key concepts in theatre/drama education, ed. S. Schonmann, 295–99. The Netherlands: Sense Publishers.
   Google Scholar
• Goldstein, T. R. 2009. Psychological perspectives on acting. Psychology of Aesthetics, Creativity, and the Arts 3 (1):6. doi:10.1037/a0014644.
   Web of Science ®Google Scholar
• Goldstein, T. R., and A. Filipe. 2017. The interpreted mind: Understanding acting. Review of General Psychology. doi:10.1037/gpr0000116.
   PubMed Web of Science ®Google Scholar
• Goldstein, T. R., and E. Winner. 2012. Enhancing empathy and theory of mind. Journal of Cognition and Development 13 (1):19–37. doi:10.1080/15248372.2011.573514.
   Web of Science ®Google Scholar
• Goldstein, T. R., and M. D. Lerner. 2018. Dramatic pretend play games uniquely improve emotional control in young children. Developmental Science. doi:10.1111/desc.12603.
   Web of Science ®Google Scholar
• Goldstein, T. R., M. D. Lerner, and E. Winner. 2017. The arts as a venue for developmental science: Realizing a latent opportunity. Child Development 88 (5):1505–12. doi:10.1111/cdev.12884.
   PubMed Web of Science ®Google Scholar
• Goldstein, T. R., and P. Bloom. 2011. The mind onstage: Why cognitive scientists should study acting. Trends in Cognitive Science 15:141–42. doi:10.1016/j.tics.2011.02.003.
   PubMed Web of Science ®Google Scholar
• Goldstein, T. R., and P. Bloom. 2015. Characterizing characters: How children make sense of realistic acting. Cognitive Development 34:39–50. doi:10.1016/j.cogdev.2014.12.001.
   Web of Science ®Google Scholar
• Gopnik, A. 2007. Why babies are more conscious than we are. Behavioral and Brain Sciences 30 (5–6):503–04. doi:10.1017/S0140525X0700283X.
   Web of Science ®Google Scholar
• Gopnik, A., A. N. Meltzoff, and P. K. Kuhl. 1999. The scientist in the crib: Minds, brains, and how children learn. New York, NY: William Morrow & Company.
   Google Scholar
• Haren, S. 2009. Plop. Adelaide, South Australia: Windmill Theatre. director.
   Google Scholar
• Haren, S. 2010. Grug. Adelaide, South Australia: Windmill Theatre. director.
   Google Scholar
• Harris, P. L. 2000. The work of the imagination. London, UK: Blackwell Publishing.
   Google Scholar
• Johnson, S. C., C. S. Dweck, and F. S. Chen. 2007. Evidence for infants’ internal working models of attachment. Psychological Science 18 (6):501. doi:10.1111/j.1467-9280.2007.01929.x.
   PubMed Web of Science ®Google Scholar
• Jost, L. 2011. Wink. Brooklyn, New York: Spellbound Theatre. director.
   Google Scholar
• Jost, L. (2017) Artistic director Spellbound Theatre, Personal interview, April 20th.
   Google Scholar
• Kapstein, A. (2017) What comes first: The art or the science? Paper presented at ITYARN conference, as part of the 19th ASSITEJ World Congress and Performing Arts Festival for Children and Young People, Cape Town, South Africa
   Google Scholar
• Keenan, T., S. Evans, and K. Crowley. 2016. An introduction to child development. Thousand Oaks, CA: Sage.
   Google Scholar
• Kennedy, D. 1992. The hermeneutics of childhood. Philosophy Today Spring, 36 (1):44–47. doi: 10.5840/philtoday199236134.
   Web of Science ®Google Scholar
• Kennedy, D. 1998. Reconstructing childhood. Thinking: the Journal of Philosophy for Children 14 (1):29–37.
   Google Scholar
• Kernoghan, J. (2017) Artistic Director, Replay Theatre, Personal interview, January 19th
   Google Scholar
• Kyle, S. 2010. BabyChill. Edinburgh: Starcatchers. director.
   Google Scholar
• Lamb, M. E. 2015. Unraveling the processes that underlie social, emotional, and personality development: A preliminary survey of the Terrain. In Handbook of child psychology and developmental science, ed. R. M. Lerner, Vol. 3, 7th ed., 1–25. New York: Wiley.
   Google Scholar
• Leaphart, R. 2013. Off the Map. New York: Trusty Sidekick Theatre Company. director.
   Google Scholar
• Lloyd, M. R. (2018) Director of artistic programming, New Victory Theatre, personal email exchange, February
   Google Scholar
• Lott, S. 2017. Campfire. New York: Trusty Sidekick Theatre Company. director.
   Google Scholar
• Lynch, P. 2003. Egg and spoon. London: Theatre Lyngo. director.
   Google Scholar
• Manley, A. 2007. My house. Edinburgh: Starcatchers. director.
   Google Scholar
• Manley, A., and S. Reppe. 2009. Potato needs a bath. London, England: Polka Children’s Theatre. director.
   Google Scholar
• Montefusco, M. 2016. Bout a bout. Toulouse, France: Le Clans des Songes. director.
   Google Scholar
• Newell, A. 2013. Babble. Belfast, Northern Ireland: Replay Theatre. director.
   Google Scholar
• Orenstein, C. (2008) “The New Victory Danish festival a new perspective on puppetry and family entertainment”, TDR: The Drama Review, Volume 52, Number 3 (T 199) Fall, pp. 187–95. Doi:10.1162/dram.2008.52.3.187
   Google Scholar
• Peterson, D. (2017) Artistic Director, Trusty Sidekick Theatre Company, personal email exchange, September 17th
   Google Scholar
• Piaget, J., and B. Inhelder. 1969. The psychology of the child, Vol. 5001. New York, NY: Basic books.
   Google Scholar
• Reiniger, R. 2014. "Clouds are made of white"! The intersection of live-art and puppetry as an approach to post-dramatic children’s theatre. In The Routledge companion to puppetry and material performance, ed. D. Posner, C. Orenstein, and J. Bell, 76–83. Routledge, July 17.
   Google Scholar
• Reiniger, R., and O. Wagner. 2007. Frau Sonne und Herr Mond machen Wetter. (Mrs Sun and Mr Moon Make Weather). Bautzen, Germany: Puppentheatres am Theatre Jungen Generation. directors.
   Google Scholar
• Ristic, J., and J. T. Enns. 2015. Attentional developmental the past, the present, and the future. In Handbook of child psychology and developmental science, ed. R. M. Lerner, Vol. 2, 7th ed., 158–203. Wiley: New York.
   Google Scholar
• Roach, J. R. 1985. The player’s passion: Studies in the science of acting. Ann Arbor, Michigan: University of Michigan Press.
   Google Scholar
• Robertson, G. 2010. White. Edinburgh, Scotland: Catherine Wheels. director.
   Google Scholar
• Sandborg, B. 2006. Songs from Above. Sweden: Teater My and Teater Refleksion. director.
   Google Scholar
• Scottish Criteria for Quality Assessment. 2004. Originally presented at What You See Is What You Get, Imaginate, Edinburgh, Scotland, circa.
   Google Scholar
• Shimizu, Y., and S. C. Johnson. 2004. Infants’ attribution of a goal to a morphologically unfamiliar agent. Developmental Science 7 (4):425–30.
   PubMed Web of Science ®Google Scholar
• Shmidt-Chapman, J. 2012. Shadow play. New York: Trusty Sidekick Theatre Company. director.
   Google Scholar
• Thelander, D. A. 2011. BabySpace. Serbia: Mixer Festival, Belgrade. director.
   Google Scholar
• Thelander, D. A. 2015. Sensescapes. Sweden: Stockholm. director.
   Google Scholar
• Trusty Sidekick Theatre Company. 2013. The trusty sidekick model for creating theatre for the very young, TYA/USA’s One World Theatre Conference, Cleveland, Ohio, Playhouse Square,May.
   Google Scholar
• UN Convention on the Rights of the Child, General Assembly, Part 1, Article 31, 1989 http://ipaworld.org/childs-right-to-play/un-convention-on-the-rights-of-the-child/
   Google Scholar
• van de Water, M. (2012) Theatre, youth, and culture: A critical and historical exploration, Palgrave Studies in Theatre and Performance History, New York, Palgrave Macmillan.
   Google Scholar
• Webb, T. 2006. Baby balloon. London, England: Oily Cart. director.
   Google Scholar
• Webb, T. 2012. In A pickle. London, England: Oily Cart. director.
   Google Scholar
• Webb, T. 2013. Tube. London, England: Oily Cart. director.
   Google Scholar
• Webb, T. 2015. Light show. London, England: Oily Cart. director.
   Google Scholar
• Webb, T. (2016) Artistic Director, Oily Cart, personal interview, December 12th
   Google Scholar
• Weinert-Kendt, R. (2010) “Baby theatre comes of age”, American Theatre, TCG, September, 42–44
   Google Scholar
• Young, S. 2009. Interactions and installations: Dialogues between theory and practice. In Experiencing Art in the early years: Learning and development processes and artistic language, small size papers, ed. F. Nerrantini, 41–50. Bologna: Edizioni Pendragon.
   Google Scholar