Focusing crimes of honour through drama (original) (raw)

Social and Moral Education Through Drama: A Force For Change

2002

From its organised origins, there has always been a view that drama has had an educational potential. For much of its history drama has been tied to the religious, moral and social aspects of the community in which it has been produced. This dissertation is a consideration of the educational potential of drama and theatre as a social and moral force. It will examine some contemporary educational debates and will provide a broad background of the relationship of drama to social and moral education. The dissertation will also examine the Drama in Education movement in Britain and its relationship with social and moral education. For the purpose of this research, the consideration of both the development of drama and the debate of where best to place drama in relation to theatre, English and other Arts in Britain is examined to draw out conclusions and recommendations for the Kuwaiti context. Given that the Kuwaiti experience is largely about theatre, the renewed relationship between s...

Beyond the obvious : three acts in educational drama

2009

Researching research is not a common theme in educational drama. Nor is the educational drama process from a participant perspective a typical focus of research, at least not if the participants are disabled. Yet this is the theme of this thesis, a drama in three acts. The aim of this thesis is to describe, analyse, and discuss both the ways in which research within educational drama can be carried out and represented, and the experiences of the participants of the educational drama process. The theoretical framework that steers the research process is built up of two pairs of frames, each of them, like Russian nesting dolls, containing further frames. The first frame, relating to the outcomes of conducting research in educational drama, comprises philosophical, representational, and personal theories. As the second question asks what educational drama is, the subject related frame is built up of pedagogical, drama educational, and aesthetic theories. The study in its entirety follows the structure of the researcher's hermeneutical learning process and takes the form of a journey starting from what is familiar, stretching towards what is new and different, and finally returning back to the beginning with a new view on what was there at the start. The thesis consists of two separate but related studies. The first, a familiar study conducted earlier, Alpha in Act I, was carried out among upper secondary school pupils. In the second, the new and therefore unfamiliar study, Omega in Act III, the participants are adult individuals who are physically and communicatively disabled. In between these two Acts an element of "Verfremdung" where the Alpha study is systematically scrutinized as the purpose is to teach and to manage the reader to think. Meta-discussions on the philosophical issues of the study are conducted throughout the text, parallel to the empirical parts. The outcomes of the first research question show that philosophical, methodical, and representational consistency is crucial for research. While this may sound like stating the obvious, this has nevertheless not always been considered fact, especially not within qualitative research. The outcomes further stress that representational issues are also to be recognized when presenting non-rational aspects of educational drama. By wording the world, through the use of visualising language, the surplus of meanings of educational drama can be, as they are within this study, made visible, sensible, and almost tangible, not only cognitively understandable. The outcomes of the second question point to the different foci of the studies, with Alpha focusing on the rationally retold experiences and Omega focusing on nonrational experiences. The outcomes expose educational drama as a learning process comprising doing, reflecting, and being. The doing aspect communicates the concrete efforts in creating a piece of theatre, while the being aspect relates experiences of being as situated, embodied and sensuous, reciprocal, empowering, aesthetic and artistic, and existential. Reflection is the twine that runs throughout the process and connects both doing and being. In summary, the outcomes could be formulated as "learning from learning how to make theatre". Content 1 Prologue 2 A drama in three acts 2.1 Scenery-research design 2.2 Programme-theoretical frames 2.3 Script-structure Act I Alpha-The implicit framework Act II Epiphany-the turning point Scene 1-Positioning Alpha Scene 2-Consequences of positions Act III 93 part I Omega-The explicitly chosen position Scene 3-Changed positions Scene 4-Adjusted aim and research questions Scene 5-Hermeneutics suggested as a philosophical framework Scene 6-Consequences of the change Scene 7-Validity and ethical consideration part II Omega-The obvious and beyond Scene 8-Cast Scene 9-Preparations Scene 10-Negotiation and Creation Scene 11-Performance 3 Educational drama-how and what 3.1 Adjusting methods of research 3.2 Being, reflecting, and doing 4 Epilogue References the ICF also includes a list of environmental factors." Available http://www.who.int/classifications/icf/en/ Retrieved 15.12.2008. 7 By "intertextuality" is meant that every text and every reading of text depends on prior readings of texts and codes. In the intertextuality as these texts meet new meaning will appear. About intertextuality see Kristeva (1980). 8 Within this thesis I use the concept drama and educational drama as synonymous concepts. These concepts refer to what also is called drama in education (DIE) and theatre in education (TIE). Within this distinction DIE is primarily regarded as theatrical curricular teaching methods and TIE is more focused on participatory performance programmes. Including a non-educational context these distinctions would be named applied drama versus applied theatre (Nicholson, 2005, 2-3). 9 According to Gadamer (1997, 146) the best way to pinpoint one's understanding or prejudice is to put it at risk. 10 A dramaturgical technique that can be used to weave together two scenes in theatre or in film. (Sundstedt,1999). 11 "Realist tales" refers to a form of representation derived from van Maanen (1988) who describes the author of such tales as an omnipotent onlooker who is, without being involved in the field of research, capable of catching the reality on a piece of paper and interpreting it correctly. See also Woods (1999) and Richardson (2000). I also refer to the 'scientific writing' concept, which represents a belief that words are "objective, precise, unambiguous, non-contextual, and non-metaphoric" (Richardson 2000, 925). The opposite of this form of writing is the "experimental" or the "literary" (Richardson 2000, van Maanen 1988, Woods 1999). These forms are further discussed in the thesis. 13 Nativity is one of the three drama projects which are included this study. The two others are Alpha and Omega, which additionally constitute the research projects of the study. 14 According to the principle of tacit knowledge, Wittgenstein (1921/61) makes a distinction between things that are non-uttered and non-utterable. 15 The second research project in educational drama is named Omega and is presented within Act III of this thesis. 16 According to Eriksson (1992, 60), the research process starts with a concern instead of a problem. She claims that our search does not begin with our knowledge and our science but with our concern. By daring to feel concern within herself the researcher can direct her gaze towards what she feels is in order within her own area. 31 I want to remind the reader that the aims that are formulated in the two research projects, Alpha and Omega, are subordinate to this main aim. 32 Webster´s Encyclopaedic Unabridged Dictionary of the English Language 33 The concept text hereditists from the Latin textum, woven fabric, and textere, to weave (SAOB, Available 40 Åsberg, 2000. 41 Uljens, 1998. 42 Methodology is related to the Greek concepts methódos which means 'method' or 'way of doing'. The concept consist of the parts meta, after, and hódos, way and the final part logos meaning 'the philosophy of'. Methodology is not synonymous with method but rather 'the philosophy of methods'.

Drama in Education reaching beyond Art Form or Teaching Tool Dichotomy

European Journal of Social Science Education and Research, 2018

Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity – play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum. Key words:: drama in education, theatre pedagogy, participatory practices, holistic teaching, sensitive topics.

Drama, school and social change: Theoretical approaches to learning in history and culture

As a cultural mode, in its diverse styles and forms and presented to audiences in various ways, drama is pervasive and prevalent in contemporary life. In some education, it is now embedded in the school curriculum and is increasingly popular with students. What are the theories that can be used to describe and analyse cultural and historical effects on the learning of drama? An example is taken from a drama lesson in school, analysed from a cultural and historical perspective and drawing from the work of the Russian psychologist Vygotsky and the cultural theorist Raymond Williams. Working with ideas drawn from Vygotsky's work on drama and the development of mind and Williams' view of the place of drama in contemporary culture, this paper makes an argument for historical and cultural approaches to drama and learning. It is an approach that is particularly applicable to schooling and has implications for the exploration and explication of the relation between drama, learning...

Creative Learning Through Drama

The article is based on a study, Creative learning through drama, carried out by the authors in 2007-2009 on creative learning through drama. The authors looked into the place of drama as an art form and drama in education in primary, secondary and upper secondary schools in Iceland. The main research question was: Can drama affect students' ability to learn? To answer the research question, mixed methods were used. A total of 16 teachers were interviewed and 22 students, three participation observations were done, and curricula for Art both in secondary and upper secondary schools were examined and compared. At the same time the project aimed to raise the educational profile of drama. The findings of the study showed that drama is particularly useful for students with learning disabilities and for immigrant students.

Creativity in Education and Drama

This article gives an account of how drama in schools can unlock the use of imagination, intellect, empathy, perception and courage of pupils. Through it, ideas, responses and feelings can be expressed and communicated. It gives the potential to face challenge, to question and to bring about change in life. This is an exhilarating time to be involved in teaching the arts in schools. . Direct engagement in drama is essential as part of an arts-rich curriculum that every pupil has a right to experience such situation which they may face in life.Through it they become familiar with the culture and conventions of the language, state and the country. They can also learn to exercise critical judgement when making, performing and responding to drama of all kinds