Suzanne Burgoyne

• Ph.D.
• Managing Director at University of Missouri

In response to the underemphasis on creativity in college engineering education and the limited knowledge and skills of early-career engineering faculty to nurture students' creativity, the Creativity Academy was designed as a faculty development program. Using theatre-based approaches, the program aimed to train early-career engineering faculty me...

Previous research papers have shown how creativity can flourish in learning environments where students are not admonished for taking risks or facing failure. Unfortunately, these types of learning environments/creativity practices are not interwoven methodologically into most STEM curricula; indeed, studies demonstrate that engineering students’ l...

(Permanent URL: https://peer.asee.org/41420) Creativity is critical to innovation; therefore, it is essential that engineering faculty members seeking to prepare their students for an increasingly complex, innovation-driven workforce should demonstrate not only understanding of and desire for creative thinking in their classrooms, but also competen...

Creativity is critical to engineering. This study aimed to understand engineering faculty members’ perceptions of creativity and its relationship with engineering, their teaching philosophies, how they perceived their own and their students’ creativity, and how their teaching philosophies affected their beliefs of incorporating creativity into engi...

In this chapter, we describe how a bioengineering professor and a theatre professor collaborated to implement a creativity curriculum in a bioengineering capstone design course. Starting in 2015, the team has not only embedded theatre-based creativity instruction in the fall semester class but researched the impact of the pilot training projects. I...

Innovation arises from creativity. "Thinking outside the box" has long been seen as a necessary precursor to innovation and invention in engineering. However, creativity is rarely part of traditional engineering curricula. In 2015, our group began to explore integrating theater-based creativity methods into bioengineering capstone design. Evaluatio...

The authors describe a science communication training called “Decoding Science” and the steps taken to develop and assess program effectiveness. Evaluation is based on a triangulated framework involving feedback from graduate student trainees, faculty trainers, and ordinary citizens who are not specialists in the field. Three cohorts of graduate ST...

The creative process is fun, complex, and sometimes frustrating, but it is critical to the future of our nation and progress in science, technology, engineering, mathematics, as well as other fields. Thus, we set out to see if implementing methods of active learning typical to the theatre department could impact the creativity of senior capstone de...

As I moved into the role of coeditor this past fall, I thought that learning from my predecessors would be the wise way to approach this new position. Certainly my editor, D. J. Hopkins, has helped immensely in this endeavor. And, as I reached out to former editors, a collective history began to emerge that merited sharing with a wider audience. Wh...

The scene: A seminar on audience response at an American Society for Theatre Research conference. One of the authors of this article, having discovered that every paper in the seminar relied solely on theory, innocently raised the question, “Why not ask the audience how they actually responded to the performance?”—thus triggering the hostile respon...

What are the advantages and drawbacks of using inter-active theater for faculty development on multicultural issues?

In this account of a study of a Theatre of the Oppressed (TO) intervention in a preservice teacher classroom, the authors explore an alternative way of learning to teach, as well as the dynamics of interdisciplinary collaboration between Theater and Education. Measures of racial and political attitudes did not demonstrate any change in the preservi...

Preparing pre-service teachers to negotiate the complexities of professional practice and to provide meaningful educational experiences for PK-12 students requires teacher educators to assist education students in developing a multicultural knowledge base. Such knowledge is essential to understanding the diverse nature of school environments and th...

Theatre Topics 9.2 (1999) 157-179 In "A Crucible for Actors: Questions of Directorial Ethics," which appeared in the first issue of Theatre Topics, Suzanne Burgoyne posed the question of what impact acting may have on student performers' personal lives. The article resulted from her own experience directing The Crucible, in which she observed what...

While formulating a production concept for The Rainmaker, director Suzanne Burgoyne and dramaturg Shirley Huston‐Findley uncovered a fairy tale structure embedded in the text; we then investigated feminist analyses of how traditional fairy tale heroines provide negative role models for women. Instead of deconstructing The Rainmaker, however, we re‐...

Theatre Topics 6.1 (1996) iv Three years have flown by, three years in which Theatre Topics has provided an opportunity for the sharing of opinions, discoveries, and disagreements. My editorship concludes with an issue containing two "clusters" of articles. The pedagogy cluster begins with Robert Barton and Amy Sarno-Fradkin's timely suggestions ab...

Acknowledgements Preface 1. A Hidden World 2. Elinor Renfield Directs The Cherry Orchard: "You can observe a lot by watching 3. Maria Irene Fornes Directs Uncle Vanya and Abingdon Square: "To Be Quiet on the Stage 4. Emily Mann Directs Execution of Justice: "Take it all in": A Collective Witnessing 5. JoAnne Akalaitis Directs The Voyage of the Beag...

Suzanne Burgoyne Dieckman is Associate Professor of Theatre in the Department of Theatre at the University of Missouri, Columbia. 1. Dyer, who insists that "a profession requires commitment to ethical principles," includes a chart illustrating "the process of professionalization of a number of professions and would-be professions in the United Stat...

Augusto Boal's Theatre of the Oppressed (TO) has become a widely-used interactive theatre form. In this article, we analyze the responses of students who participated in a TO course. As the course progressed, the class broke into two opposing factions. While the instructor, who was teaching her first TO class, acknowledges that she made major mista...

Thesis (M.A.)--Ohio State University, 1970. Includes bibliographical references (leaves 131-132).

Thesis (Ph. D.)--University of Michigan--Speech. Typewritten. Bibliography: leaves 460-506. Reproduced by microfilm-xerography. Ann Arbor, Mich., University Microfilms, 1976. 21 cm.