Specialized Programs in Drama: a gateway to self and art in society (original) (raw)
Related papers
Building theories of their lives: Youth engaged in drama research
International handbook of student experience in …, 2007
When we entered one of our school research sites for the very first time, three years ago, we asked the group of 35 grade-11 students whether they had any advice for us as we began our research. This is after we had taken some time to explain to them that we were interested in understanding better how students worked in a drama classroom, how they related to one another, to their teacher, and how they saw themselves in the larger world of the school. A lone hand rose: "You'd better stay a long time." "Excuse me?" "You'd better stay a long time if you want to learn something about us or drama or school." Versions of this same piece of advice were echoed in the three other school sites in which we would spend the next three years researching. On day one, there it was. Clear direction from our youth participants to draw no hasty conclusions about who they are, how they work, or the place called school. If we wanted to learn something about students, we had better be prepared for the long haul. The qualitative study that will provide the backdrop for this chapter has aimed to examine the experiences of youth in urban drama classrooms in order to develop a theoretical and empirically grounded account of the dynamic social forces of inclusion and exclusion experienced by adolescents within their unique contexts of public, urban North American schooling. Drama Education, Youth, and Social Cohesion: Reconstructing Identities in Urban Contexts is an ethnography of four urban sites-two in Toronto, two in New York City-particularly concerned with investigating the extent to which drama education in classrooms illuminates the intersections of youth's personal/cultural lives with their school lives in the formation of their social, academic, and artistic identities. Central to our understanding of, and indeed hope for, greater social cohesion and understanding of diversity among youth in schools is the notion of 405
Canadian Journal of Education, 2018
Drawing from a multi-sited, global ethnography on youth civic engagement and artistic practices, the author uses students’ perceptions from one Canadian high school, as they reflect on their experiences in a drama classroom, to ask what we might learn about the macro discourses and processes of social innovation from the local, artistic, and collaborative activities of young people. Learning from young people that they do not imagine themselves as the coherent social grouping our institutions have imagined them to be raises questions about the role educational institutions might be playing in developing and activating plural and progressive forms of sociality and social innovation more broadly.
Drama, Theatre and Performance Education in Canada: Classroom and Community Contexts
This book brings together the voices of various scholars and educators interested and engaged in the broad field of Drama, Theatre, and Performance Education in Canada. The individual chapters offer distinct Canadian perspectives on these approaches from elementary through postsecondary levels, as well as in local communities through applied theatre and other performance-based initiatives. Such a collection seemed imperative today, as the last resource that brought educational drama and theatre perspectives together in a book format was Canadian Drama Mosaic (2004) edited by Margaret Burke in preparation for the International Drama Education Association conference in Ottawa. Scholarship and practice in this field has continued to develop in the last eleven years, with new faculty members entering drama/theatre education positions across the country and working alongside the leaders of the field. In order to acknowledge these developments—and to contribute to a growing international presence and recognition of the excellence of drama and theatre education practices in Canada—the need for a book such as this emerged.
WHY BRING STUDENTS TO THE THEATRE? AN EXPLORATION OF THE VALUE OF PROFESSIONAL THEATRE FOR CHILDREN
Experienced by thousands of children every year, professional theatre for young audiences (TYA) is still a relatively new and understudied phenomenon in Canada. The purpose of this research has been to learn why teachers bring their students to the theatre, specifically Young People's Theatre (YPT), and to determine how these connect to the perceptions of those who work at and with the theatre. In order to understand the complexities of the impetus to bring students to YPT, the limitations and successes teachers encounter in doing so, this ethnographic study was situated at the intersection of spatial and curriculum theories and has included surveys, interviews and participatory observation. This research provides greater understanding of the challenges and benefits of including theatre-going in one's educational repertoire. These new insights contribute to contemporary scholarship on aesthetic education and arts-based community building and provide opportunities for further research about teaching and learning through theatre.
The Aesthetics of Towards Youth: Making Relations in and through Theatre
Theatre Research in Canada, 2020
cet article de Kathleen Gallagher et andrew Kushnir présente une étude ethnographique effectuée de 2014 à 2019 auprès de 250 élèves dans des salles d'art dramatique au canada, en angleterre, en Inde, en Grèce et à Taïwan. L'expérience et les résultats de la recherche ont servi de base à la pièce Towards Youth, un projet de théâtre documentaire coproduit par les compagnies torontoises Project: Humanity et crow's Theatre en février 2019. cet article fait état du lien qui s'est construit entre la chercheuse en chef et le dramaturge ayant participé au projet. ces derniers font état de leur vision commune de l'oeuvre, de leurs principes esthétiques et éthiques en ce qui a trait à la recherche et à la dramaturgie, ainsi que des efforts qu'ils ont déployés pour tenter de comprendre comment leur auditoire a reçu la pièce documentaire et les pédagogies qui y étaient associées. Mots clés : théâtre documentaire, théâtre verbatim, recherche ethnographique, esthétique relationnelle, esthétique du soin, recherche sur le public This article introduces a multi-year, multi-site ethnographic study undertaken with 250 young people in drama classrooms in canada, England, India, Greece, and Taiwan between 2014 and 2019. The experience and findings of that research then became the basis of an original documentary play,
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
Mantle of the Expert 2.0: from drama in education towards education in drama
Drama Research: international journal of drama in education, 2020
There has been little research examining the balance between process and product in children’s arts education. In this study, Mantle of the Expert, the ‘drama in education’ approach of Dr. Dorothy Heathcote, MBE (1926-2011), has been explored as a method to create a non-scripted theatre performance with seven children between the ages of eight and ten years old. They participated in a single case study of twelve workshops, two semi-structured interviews and one public performance. In this way, the researcher investigated whether Mantle of the Expert could be successfully deployed in the creation of an artistic product and in ‘education in drama’. The results indicate that, in addition to various artistic competencies, the participants developed a strong ownership as performers by means of the process-oriented approach, the collective role element and the non-scripted component of this scheme of work. The researcher suggests that Mantle of the Expert could be further developed into a method that strengthens the artistic process and product in children’s education in drama even more, by further implementing the competence of using artistic mastery or craftsmanship in the methodology.