APPENDIX G
TRIANGULATION MATRIX OF SURVEY SCALE ITEMS AND QUALITATIVE OBSERVATIONS
Triangulation Matrix Of Survey Scale Items and Qualitative Observations
(Text in italics indicates scale items, and findings from focus groups and observation are not italicized.)
Behavioral Engagement Emotional Engagement Cognitive Engagement (Reverse worded) I don’t make
a habit of watching Shakespeare plays.
I would say that
Shakespeare’s plays are interesting.
(Reverse worded) I do not put in extra effort to create my Shakespeare character. (Reverse worded) I rarely
read from Shakespeare plays. I would say that acting in a Shakespeare play is fun. I practice to learn confidence in speaking in front of people. I will invite friends to
participate in or watch a Shakespeare play.
I think that watching a
Shakespeare play is fun I pursue learning about acting skills outside of camp.
(Reverse worded) Shakespeare quotes rarely come to my mind in daily life.
My opinion of Shakespeare’s
plays is positive. (Reverse worded) I do not put in extra effort to understand Shakespearean language. I talk with others about
Shakespeare plays or characters.
(Reverse worded) The behaviors/emotions of
Shakespeare’s characters are confusing to me.
When I don’t understand something in a Shakespeare play, I read about it later.
Positive Observation Indicators Positive Observation Indicators Positive Observation Indicators
Making eye contact Smiling Going aside with a
collaborator to plan a scene Following along in the script Clapping Contributing ideas to the
interpretation of the scene Participating in discussion Laughing Sharing acting tips A verbal statement indicating
participation Encouraging another member of the troupe Responding to coaching with a positive response (e.g. trying a new skill)
Reciting scenes without the
aid of the script Bringing food to share with friends Sharing information on the play or Shakespeare with the cast.
Triangulation Matrix Of Survey Scale Items and Qualitative Observations (continued) Active listening to others Asking fellow actors to sign
their copy of the script Evidence of thinking about the play at home. Good management of personal
props
Singing with others during break
Mentioning a discussion about the play outside of camp Compromises with others
when interpretations differ
Helping others memorize lines or find costumes and props
Seeking out a coach to discuss ideas
Trying again after a failure Crying or laughing for characters in a scene.
Bringing drawings made at home to share ideas for camp. Attending consistently Trusting other actors in scenes
that require coordination like fight scenes or fainting scenes.
Arriving at camp with ideas for how to act or interpret an assigned role.
Collaborating on blocking a scene
A verbal statement indicating emotion or emotional
connection with a character
Following along in script or watching the rehearsal when offstage.
Crying from anxiety or frustration during a creative process
Developing innovative and meaningful line readings
Negative Indicators Negative Indicators Negative Indicators Looking at a phone or device Distracting with words or
actions A verbal statement indicating a lack of cognitive engagement
Looking elsewhere during
discussion Looking into space Not attempting to respond to coaching (e.g. not willing to try a new skill)
Playing games unrelated to camp
Appearance of stress Not following along in script or watching the rehearsal when offstage
Needing the script when lines should be memorized
A verbal statement indicating negative emotions toward camp or the play.
Not taking responsibility for interpreting their role
Attending camp without a costume or props
Separating from others during break or lunch
Blaming others or
circumstances for failure to memorize lines.
Triangulation Matrix Of Survey Scale Items and Qualitative Observations (continued) Reluctance to enter rehearsal
room when camp begins Criticizing others in a non-constructive manner for their choice of acting style,
costume, etc.
Tuning out during experimentation with innovative line readings
Leaving the group during rehearsal without telling the coach.
Listening to music with headphones or earbuds
Not listening to others with respect
Making comments designed to hurt the feelings of another person
Poor management of personal props
Self-report indicating a lack of emotional engagement
Failure to compromise with others when interpretations differ
Giving up after a failure A verbal statement indicating a lack of participation
.
Sitting out during
collaboration on blocking a scene
APPENDIX H
Cronbach’s Alpha for Three Constructs
Construct N of
cases Cronbach’s Alpha Cronbach's Alpha Based on Standardized Items Items N of Behavioral
Engagement 48 .830 .833 5
Emotional Engagement 48 .685 .713 5
VITA
Joyce Bryson McPherson earned a Masters of Fine Arts in creative writing and has taught English composition for Belhaven University and the University of Tennessee at Chattanooga. She has written over a dozen biographies and fiction novels for children. She has also served as the director of a theatre camp that has introduced the works of Shakespeare to hundreds of young people over the last 17 years. As a result of her work with Shakespeare, she has published 14 abridged plays for student theatre productions. Her work with young people led to the
development of her doctoral dissertation. She serves as a teaching artist for Tennessee public schools, where she continues to encourage active learning to help students become cocreators with William Shakespeare as they produce his plays.
Joyce is also the mother of nine children, whom she home educated for 30 years. Their interests and enthusiasm for trying new ideas were the inspiration for her research into active learning.