Drama In Education Research Papers (original) (raw)

In this paper, the role of educational drama was examined as a means of promoting primary school students' social competence.

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- Drama In Education

Este artículo relata una experiencia y su valoración de formación permanente del profesorado basada en el aprendizaje vivencial utilizando como estrategia metodológica el Teatro del Oprimido (TO) para estimular y favorecer la reflexión sobre la práctica educativa. Sus objetivos básicos fueron dar a conocer la formulación teórica y la metodología del TO y hacer la transferencia de las estrategias metodológicas vivenciadas a la práctica docente. El estudio se ha planteado desde una óptica cualitativa con el estudio de caso único. Y como resultados más destacables hay que reseñar el interés y la percepción de la utilidad personal y profesional del TO como instrumento de reflexión sobre la acción y generador de clima positivo. El Teatro del Opri-mido es una formulación teórica y un método estético cuya teo-ría y praxis están inspiradas en la Pedagogía del Oprimido de Paulo Freire, utiliza las técnicas dramáticas como un instrumen-to eficaz para la comprensión y la búsqueda de alternativas a problemas sociales, interpersonales e individuales.

- by Susana Pendzik
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- Psychology, Play Therapy, Psychodrama, Philosophy

Öz Bu çalışmanın temel amacı, eğitimde drama destekli etkinliklerin altı yaş (60-72 ay) çocuklarının duygusal becerilerine etkisini ortaya koymaktır. Çalışma, deney grubunda 7 kız, 6 erkek, kontrol grubunda ise, 7 kız, 5 erkek olmak üzere toplam 25 çocukla gerçekleştirilmiştir. Araştırma, Eğitim Bakanlığına bağlı bir ilkokulun iki anasınıfında gerçekleştirilmiş ve araştırmada öntest-son test kontrol gruplu yarı deneysel desen kullanılmıştır. Çalışmada veri toplama aracı olarak araştırmacılar tarafından geliştirilen Duyguları Tanıma ve Anlama Testi (DUTAT) kullanılmıştır. Çalışmada, araştırmacılar tarafından geliştirilen ve 36 etkinlikten oluşan " Drama Destekli Duygusal Becerileri Geliştirme Etkinlikleri " kullanılmıştır. Etkinlikler, belirlenen 7 duygusal beceriyi geliştirmeye yönelik olarak hazırlanmış ve 12 haftalık bir program dahilinde uygulanmıştır. Yapılan analizler sonucunda, deney grubundaki çocuklar ile kontrol grubundaki çocukların duyguları tanıma ve anlama son test puanları arasında deney grubu lehine anlamlı farkların olduğu bulunmuştur. Araştırmanın bulguları doğrultusunda, deney ve kontrol gruplarındaki farklılaşmaların, drama destekli duygusal becerileri geliştirme etkinliklerinden kaynaklandığı ileri sürülebilir. Anahtar sözcükler: Duygusal beceri, duyguları tanıma, duyguları anlama, eğitimde drama. Abstract The main purpose of this study is to investigate the effects of drama supported educational activities on six year old (60-72 months) children's emotional skills. A total of 25 children participated in this study in two groups. In the experimental group, there were 7 girls and 6 boys, and in the control group, there were 7 girls and 5 boys. The research used a quasi-experimental pretest-posttest control group design and was conducted in two preschool classrooms of the Ministry of Education. As the data collection tool, Recognizing and Comprehending Emotions Test (DUTAT) developed by the researchers of this study was used. Researchers used the " Activities for Drama Supported Emotional Skills " that consists of 36 exercises. These exercises were prepared to develop the designated 7 emotional skills and they were applied over 12 weeks. As a result of analysis, it is observed that there was a meaningful difference, to the advantage of the experimental group when the total points of Recognizing and Comprehending Emotions Test for the experimental and control groups were compared.

- by elif bozcan
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- Drama In Education, Drama, Preschool Education

In this special issue, authors provide theories, practices, and examples of how the arts are wonderful tool to teach literacies to emergent bilingual students, families, and communities. It concludes with a chapter of multiple resources... more

- by Amanda Claudia Wager and +4
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- Performing Arts, Teaching English as a Second Language, Open Access, Arts Education

Se presentan tres unidades didácticas dirigidas al profesorado de educación primaria para orientarles en la preparación de sus clases y talleres de dramatización. Se conceptualizan los objetos como soportes y desencadenase de la expresión.

- by Tomás Motos
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- Drama In Education, Creatividad, Dramatizacion
- by Martin Braund
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- Drama In Education, Simulation, School science, Teaching Methods

O presente artigo relata a experiência de trazer formas e objetos presentes na cultura popular para a prática de ensino de Teatro junto às turmas de 7° ano do Ensino Fundamental do Colégio de Aplicação da UFRJ, durante sete meses do período letivo de 2014. Pretende-se destacar a similaridade de aspectos da cultura popular com o universo teatral, com ênfase nas noções de grupo e representação. O trabalho foi desenvolvido em três fases que pretenderam organizar o resgate das experiências em cultura popular dos alunos, a formação de grupos, a construção de suportes cênicos inspirados na Folia de Reis e no Mamulengo e, por fim, a criação e apresentação de cenas com período de compartilhamento do aprendizado com alunos do Fundamental I.

- by Débora Azevedo
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- Drama In Education, Cultura Popular

Bu araştırmada, yaratıcı drama yönteminin öğretmen adaylarında HIV/AIDS'e ilişkin farkındalığa etkisinin incelenmesi amaçlanmıştır. Ankara'daki bir devlet üniversitesinde öğrenim gören 19 öğretmen adayı ile yürütülen araştırmanın uygulamaları yedi oturumda ve 21 saatte geçekleştirilmiştir. Karma yöntem desenlerinden iç içe desenin kullanıldığı araştırmanın nicel verileri anket, nitel verileri ise yarı yapılandırılmış görüşme formu ve öğretmen adayları tarafından tutulan günlükler ile toplanmıştır. Nicel verilerin analizinde, frekans analizi kullanılmıştır. Nitel veriler, tümevarımsal içerik analizi yöntemi ile çözümlenmiştir. Araştırmada, öğretmen adaylarının HIV/AIDS bulaşma yollarına, hastalıktan korunma ve tedavi yollarına ilişkin farkındalıklarının arttığı belirlenmiştir. Öğretmen adaylarının HIV/AIDS'li kişilere karşı genel olarak olumlu bir tutum sergiledikleri sonucuna ulaşılmıştır. Öğretmen adaylarının, HIV/AIDS'in bulaşma yolları ile fark ettikleri doğru bil...

- by simge yılmaz
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- Drama In Education, HIV and AIDS education, Drama, Creative Drama
- by Adam Cziboly
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- Marketing, Sociology, Drama Education, Drama In Education

Move, Act, Play, Sing (MAPS) explored early childhood teaching and learning in the performing arts through community artist interventions and relational practices and pedagogies. The research developed three early childhood centre case studies where teachers, children, and parents worked together with community artists, the research team, and other colleagues to explore emergent pathways of performing arts teaching and learning. In MAPS, community artists in music, dance, and drama worked alongside teachers and children in semi-planned, open, and improvisatory pedagogical settings set up to explore the potentialities of performing arts learning and teacher responses in the centre environments and communities. The ethnographic inquiry focused on how the early childhood teachers engaged in meaningful performing arts experiences through the research process and looked at ways in which centres could engage in sustainable, ongoing performing arts teaching and learning.

- by John Roder
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- Education, Educational Research, Early Childhood Education, Arts Education

Albeit school teachers ’ traditional concepts are believed one of the obstacles of fostering children’s creativity, their voices and demands were not heard among the attempts of promoting creativity education in Taiwan. This study aims to gain an in-depth understanding of primary school teachers ’ responses of adopting creative pedagogy in an Asian context. Ten-week lessons based on the framework of creative pedagogy were designed and taught to two six-grade classes by the researcher. During the lessons, the classroom teachers acted as non-participant observers; their views concerning the pedagogy and ethos were collected through individual interviews in the end of the project. Strategies employed in the lessons were considered useful in developing creative qualities. Tensions of adopting creative pedagogy were also indicated. Their concerns revealed certain misconceptions of as well as the support they need in adopting creative pedagogy. A need to contextualise creative pedagogy is...

- by Yu-sien Lin
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- Psychology, Learning and Teaching, Drama In Education, Creative Pedagogy
- by Patrice M Baldwin
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- Drama In Education

The three-day experiential training seminar described here lasted 20 hours and was the starting point of the It Could Be Me – It Could Be You project, which was designed and implemented by the Hellenic Theatre/Drama & Education Network (TENet-Gr) and UNHCR Representation in Greece. It was the first action, designed at the end of 2014, which has become the core of the project. Its aim was to meet the need of participants, mainly teachers, to be informed about human rights and refugees, to raise their awareness and empower them to approach such matters in their classes/groups, using the experience they had acquired and the methodology and activities they had learnt about during their three-day training. The methodological approach to achieve this goal uses the dramatic art and, more specifically, Drama-in-Education and Theatre of the Oppressed techniques, as well as a selection of games, improvisations, and role play games. The basic pedagogic principles underpinning the approach are constructivism, experiential learner-centred learning, critical pedagogy and, more specifically, the approach of Theatre
as Education.

The battle to maintain the inclusion of drama within the curriculum appears to be never-ending, but targeted strategies and arguments for drama’s inclusion may need to be revisited and recalibrated. The important role of professional learning communities and activist communities of practice are identified as being integral to supporting sustainable educational change. This article provides a particular focus on curriculum developments in Australian as a site for some perceived successes in maintaining a space for drama education.

- by Susan Davis
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- Curriculum Studies, Arts Education, Drama In Education, Applied Drama/Theatre

Jesień 2016 roku upłynęła młodzieży z kutnowskich szkół pod znakiem walki o tron. Dokładnie tak, gdyż właśnie „Walka o Tron 1733” to tytuł dużego projektu edukacyjnego realizowanego wspólnie przez Fundację Budzenie Pasji i Muzeum Regionalne w Kutnie, którego pomysłodawcą był niżej podpisany. Projekt oparty był na metodzie larp, którą będę chciał poniżej przedstawić i poniekąd zarekomendować. Doświadczenia realizacji kilku podobnych projektów, w których wzięło w latach 2012-2016 ok. 1700 uczniów, skłaniają mnie do sformułowania kilku zasad (wcale nie żelaznych!), które powinno się uwzględnić tworząc a następnie przeprowadzając taki projekt dla młodzieży.

The paper presents the results of “Live Action
Role Plays in School Education,” a quasi-experimental
project piloted in 2010 and 2012 and conducted in
2013 by Games Research Association of Poland and
educational publisher Nowa Era. In this project, larp
was used in high-schools as a revision class before a
test in History, the hypothesis being that larp as pretest
revision leads to higher retention of knowledge
than traditional revision classes. Small sample size
cannot be considered conclusive evidence, but the
preliminary findings seem encouraging for further
research. Beside students’ test scores, the report
provides non-standardized qualitative observational
data on participant attitudes, plus information about
practical issues of edu-larp research in public school
environment. Next to the findings, the text reports
on the research process and the rationale behind its
modification

- by Michal Mochocki
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- Drama In Education, Game Based Learning, History Education, Game-based Learning
- by Tory S . Thorkelson
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- Drama In Education

自表演藝術納入九年一貫國家課程以來，臺灣戲劇教育相關研究與實踐有顯著成長的趨勢。由於當前戲劇教育理論方法多自西方譯介而來，推動者在初期階段將重心放在使之由陌生而落地生根，本無疑義。不過，部分當初為了「便於理解」或「利於普及」的說法，已使得後繼研究者與教學者在未明究理的情形下產生了訛誤，間接影響到戲劇教育學術論述以及課程教學的內容與品質。其中，傾向將「創造性戲劇」、「教育戲劇」與「過程戲劇」等不同型態的教室戲劇異中求同，強調其理念與工具的共通性，模糊它們在本源、立意、課程結構與操作型態上的殊異。這麼做雖然符應了戲劇教育界國際發展的趨勢，亦投合教師立即應用之需，但長此以往，卻可能限縮戲劇課程、教學與研究多元開展或循序深掘的可能性。有鑑於此，本文重返「創造性戲劇」、「教育戲劇」與「過程戲劇」的源頭，探查它們的流變，辨析三者的異同，期能啟示教室戲劇的實踐者與研究者重整行囊再出發，厚實戲劇課程、教學與研究的概念基礎，走穩下一哩路。

- by Yunwen Chen
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- Drama Education, Drama In Education, Process Drama, Creative Drama
- by Marie H Umerkajeff
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- Drama In Education

Στην παρούσα εργασία παρουσιάζεται μία απόπειρα εισαγωγής της μεθόδου του Θεόδωρου Τερζόπουλου ως θεατρικής τέχνης στην Α/-θμια εκπαίδευση, με σκοπό να διερευνηθεί αν αποτελεί χρήσιμη διδακτική πρακτική στο μάθημα της Θεατρικής Αγωγής. Πιο συγκεκριμένα, αυτό που μελετάται είναι, αν η καλλιτεχνική φιλοσοφία για τις έντονες σωματικές πρακτικές, τις οποίες υιοθετεί ο εν λόγω σκηνοθέτης για να προετοιμάσει τους ηθοποιούς στο έργο του, είναι εφικτό να προσομοιωθούν στις συνθήκες διδακτικής πράξης για μαθητές/-τριες εννέα με δέκα ετών. Για το εγχείρημα αυτό χρησιμοποιήσαμε ως μέθοδο έρευνας την έρευνα δράσης και ως βασική τεχνική για τη συλλογή των δεδομένων μας την παρατήρηση. Τα όσα διερευνήθηκαν, συλλέχθηκαν και αναλύθηκαν ως δεδομένα, μας οδήγησαν στη διαπίστωση πως τα παιδιά αντέδρασαν θετικά στις ιδιαίτερες αυτές σωματικές τεχνικές και κατάφεραν να εκφραστούν δημιουργικά με το σώμα τους, να χρησιμοποιούν σωστά τη διαφραγματική αναπνοή, να εκτελούν μία θεατρική δράση με ορθή εκφορά του λόγου και να δρουν ως ομάδα για την παραγωγή ενός καλλιτεχνικού αποτελέσματος.

- by Vassiliki Riga
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- Action Research, Drama In Education, Applied Drama/Theatre, Theatre Education
- by Mabel Giraldo
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- Teaching and Learning, Education, Didactics, Drama In Education

In the migration of drama from one medium to another a text is reshaped, and different audiences are addressed by adaptations because of the process of remediation. This article evaluates the significance of the intermedial migrations that happened to the 'Beckett on Film' project in which Samuel Beckett's 19 theatre plays were performed on stage, then filmed for an international festival, then shown on television in the UK, USA, Ireland and elsewhere. The analysis focuses on the television versions and shows how their distribution and reception contexts framed their meanings in different ways, and assesses how medial migration destabilised the object of analysis itself at the same time as the work became able to address multiple audiences and fulfil different cultural roles.

- by Jonathan Bignell
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- Intermediality, Drama In Education, Samuel Beckett, Irish Theatre

The place of drama in the education system.

- by Leah Wilson
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- Education, Theatre Studies, Drama In Education, Drama

The aim of this research is to explore the space between drama education and dramatherapy as practised in the UK and find a way of describing it. I begin by looking at five areas relevant to both professions: theatre and anthropology,... more

- by Clive Holmwood
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- Drama In Education, Dramatherapy, Liminal Space

While most drama-in-education activities include the students in the dramatic process, the teachers are often excluded. This exclusion creates a gulf between the fictional world inhabited by the students and the real world of the teacher, making it difficult for the teachers to scaffold and challenge the students without undermining the fictional world. One exception to this phenomenon is Teacher-in-Role. This article will analyze the process drama technique called Teacher-in-Role and discuss its functions, types, benefits, potential challenges, and solutions to avoid or manage these challenges. This article also includes examples of Teacher-in-Role to provide the readers with a better understanding of how this process drama technique can be used.

YADER-Yaratıcı Drama Dergisi (2017)

- by Gökhan Karaosmanoğlu
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- Museum Studies, Museum, Drama In Education, Museum Education

Storytelling is powerful, not only for the listener but for the teller as well.
“When a child tells a story, he not only means something, feels something,
refers to an event; most important, he DOES something.”1
They may be
sharing part of their life and identity, attempting to make someone laugh,
or trying to make sense of an experience. Storytelling invokes creativity
and imagination and helps children work through social, emotional, and
cognitive challenges. Coupled with story acting and writing, it supports
multiple early childhood domains and skills.
Here we share information about the storytelling practice pioneered by
the late preschool teacher/researcher Vivian Paley.

- by Victvic Victvic
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- Ethnolinguistics, Ethnography, Dramaturgy, Drama In Education
- by María Eugenia Flores and +1
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- Theatre Studies, Drama In Education, Drama, Spanish as a Second Language

This article analyses adult and child development in the zone of proximal development in an educational practice based in Vygotsky’s theories of play: the playworld educational practice. The playworld educational practice is a central component of a Scandinavian play pedagogy that promotes shared responsibility amongst adults and children for engaging in adult–child joint play. The playworld practice, which is based on a work of children’s literature, includes joint adult–child scripted and improvisational acting and set design. We explore conditions under which playworld activities create a zone of proximal development that fosters development in both adult and child. Our analysis, based on data from a K-1 classroom, expands Vygotsky’s concept of the zone of proximal development so that we see not only the unidirectional development of a child toward an adult stage of development but also the simultaneous development experienced by adults participating in the zone with the child.

Students find the abstract ideas in the physical
sciences difficult and they may have persistent
misconceptions. One way of improving
understanding is to use active, creative
approaches in teaching. Drama is one example.
This article describes three improvisations used
by undergraduate primary teacher trainees. Their
presentations have been analysed and the
trainees questioned. The findings show that
drama helps them to explain abstract ideas and
that they value this approach to learning science.
A case is made for the use of drama generally in
teaching science in schools and colleges and a
list of requirements to encourage this is provided.

- by Martin Braund
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- Drama In Education, Arts and Sciences
- by Flourakis Andreas
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- Greek Literature, Theatre Studies, Dramaturgy, Drama In Education

From the introduction to "The Existential Actor: Life and Death, Onstage and Off." In the book I look at approaches to the art, craft, and training of actors beginning with Aristotle, through Diderot, Talma, Delsarte, Stanislavski, and on to Brecht, Strasberg, Meisner, Grotowski, Overlie, and more. I explore these many attempts to codify the actor's process and find my own synthesis in four elements: shape, action, transaction, and surrender. The underlying theoretical framework derives from existential philosophy and psychology, and especially the work of Ernest Becker who held that, in theatrical terms, the primary "action" of every human being is the construction and defense of a project of identity and meaning.

- by Jeff Zinn
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- Theatre Studies, Theatre History, Drama In Education, Existential Psychology

This paper investigates the possibilities of embodied inquiry and representation as occurring through a theatre devising process with youth. Contemporary theatre methods, along with poststructural and performance theory, inform an alternative approach to dominant constructions of drama and theatre practices in education. The student in this project is considered a learning self in motion (Ellsworth, 2005); the process and analysis taken up acknowledges the body as an emerging, phenomenological, and relational corporeality. Exploring a sensational and rhizomatic approach to practice and research, this project loosens the body from the representational paradigm dominating applied theatre research, and brings it to the centre of the pedagogical and analytical endeavour.

- by Mia Perry
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- Qualitative methodology, Drama In Education, Embodiment, Devised Theatre
- by Marie H Umerkajeff
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- Teacher Education, Learning and Teaching, Drama In Education
- by George Belliveau
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- Drama In Education, Drama