Thematische Bibliographien / Drama in education

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Auswahl der wissenschaftlichen Literatur zum Thema „Drama in education“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Drama in education"

Ta Park, Van My, R. Henry Olaisen, Quyen Vuong, Lisa G. Rosas und Mildred K. Cho. „Using Korean Dramas as a Precision Mental Health Education Tool for Asian Americans: A Pilot Study“. International Journal of Environmental Research and Public Health 16, Nr. 12 (18.06.2019): 2151. http://dx.doi.org/10.3390/ijerph16122151.

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Precision mental health (MH) holds great potential for revolutionizing MH care and reducing the burden of mental illness. Efforts to engage Asian Americans in precision MH research is necessary to help reduce MH disparities. Korean drama (“K-drama”) television shows may be an effective educational tool to increase precision MH knowledge, attitudes, and behaviors (KAB) among Asian Americans. This study determined whether KAB improved after participating in a K-drama precision MH workshop, and examined the participants’ perspectives about K-dramas’ utility as an educational tool. A K-drama precision MH workshop in English/Vietnamese/Korean was conducted with a convenience sample (n = 122). Pre-/post-tests on precision MH KAB (genetics and genetic testing, and MH and help-seeking) and a survey on K-dramas’ utility as an educational tool were administered. Findings revealed a significant difference in the pre- and post-test KAB scores overall, by genetics and genetic testing, and by MH and help-seeking. There were also significant increases in the overall post-test KAB scores by workshop (language) participation. Overall, participants responded positively on the utility of K-dramas as a precision MH educational tool. This study demonstrates the feasibility of K-drama as an innovative and widely available health education tool to educate communities about precision MH.

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Turčilo, Lamija, und Mersiha Kolčaković. „Informalno obrazovanje i pozorišna drama“. Obrazovanje odraslih/Adult Education 9, Nr. 2 2009 (2009): 105–14. http://dx.doi.org/10.53617/issn2744-2047.2009.9.2.105.

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This article analyses how theater drama can help in adult education. It is pointed that in the theater we see informal education, that is gaining new knowledge, skills, values... Research made in Sarajevo suggests that theater is in the function of adult education, but this function should be developed better in the future.

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Brunner, Diane. „Drama in Education“. Teaching Education 9, Nr. 1 (Juni 1997): 73–74. http://dx.doi.org/10.1080/1047621970090112.

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van de Water, Manon. „Drama in education: why drama is necessary“. SHS Web of Conferences 98 (2021): 02009. http://dx.doi.org/10.1051/shsconf/20219802009.

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The article dwells on the use of drama and performance techniques in education and social work in connection with multiple intelligence theory, emotional intelligence theory, and brain based learning. The author connects the use of drama in the alternative theories of teaching and learning based on recent neuroscientific research, and lays out an integrative approach to teaching and learning that promotes inclusion, diversity, and social awareness, through embodied and contextualized learning. If we perceive cognition and emotion as interrelated, then drama as an educational tool becomes essential. It creates metaphors of our lives, which we lead through both cognitive and emotional domains. Art and creativity play an essential role in connections between the body, emotions, and the mind. Moreover, as we live in relationship to the rest of the world around us, our learning is embodied, our brain, emotions, and physiology are constantly connected. Thus, the article demonstrates that drama and performance are vital in teaching the whole child, whether taught as a discipline or used as a teaching tool. This means, the author claims, educators, neuropsychologists, and theatre and drama specialists have to have open minds and be willing to step out of comfort zones and together make a case for using theatre and drama methods as a way to improve human lives.

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Liu, Peng. „Exploration of Drama Education in the Practice of Aesthetic Education in Chinese Universities“. Journal of Education and Educational Research 5, Nr. 1 (14.09.2023): 85–88. http://dx.doi.org/10.54097/jeer.v5i1.11735.

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Based on the relationship between the cultivation of aesthetic ability and drama art education, this paper analyzes the aesthetic connotation of drama education and the current situation of drama education in colleges and universities, and takes the drama club in colleges and universities as the research object to analyze the realistic path of drama education to improve the aesthetic ability of colleges and universities. , in order to clarify the strategy of the integrated development of drama education and aesthetic education in colleges and universities, especially the improvement basis and implementation direction of the lack of implementation of aesthetic education in colleges and universities in western China.

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Edmiston, Brian. „Drama as Ethical Education“. Research in Drama Education: The Journal of Applied Theatre and Performance 5, Nr. 1 (Februar 2000): 63–84. http://dx.doi.org/10.1080/135697800114203.

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Calvert, Dave. „Drama, disability and education“. Research in Drama Education: The Journal of Applied Theatre and Performance 18, Nr. 4 (November 2013): 417–18. http://dx.doi.org/10.1080/13569783.2013.838344.

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Sang Soo Lee. „Japanese Education through Drama“. Journal of North-east Asian Cultures 1, Nr. 39 (Juni 2014): 361–75. http://dx.doi.org/10.17949/jneac.1.39.201406.021.

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Guneysu, Sibel, und Nida Temiz. „Perceptions about Drama before and After Drama in Education“. Procedia - Social and Behavioral Sciences 46 (2012): 2046–50. http://dx.doi.org/10.1016/j.sbspro.2012.05.426.

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Zheng, Sisi. „Process drama in Chinese education: Possibilities and challenges in governmental policy papers and the curriculum of moral education“. Applied Theatre Research 9, Nr. 2 (01.11.2021): 155–72. http://dx.doi.org/10.1386/atr_00055_1.

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The article explores the potential of applying process drama in moral education in Chinese schools. By conducting a thematic review of the current national curriculum and policy documents from both historical and contemporary perspectives, the interconnection between the role of art and moral cultivation in China is discussed. Through an analysis of the national curriculum, the article suggests that applying process drama in school education can contribute to learning in the curriculum areas of both aesthetic and moral education. However, the existing commingling of concepts and definitions influences the actual drama practices in China. Consequently, a discussion of terminology is brought in, as well as an argument for the need to include drama as a discrete subject in schools, in addition to its function as a method for educational purposes. A process drama sample from the author’s drama praxis is included. The overall aim of the article is to contribute to an extended understanding of educational drama and theatre in a Chinese context and to gain new insights into possibilities and challenges for the future implementation of drama in education in China.

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Dissertationen zum Thema "Drama in education"

Blewitt, David. „Drama in Tudor education : education in Tudor drama“. Thesis, University of Bristol, 1986. http://hdl.handle.net/1983/9c1050cb-a734-4151-b3f4-63ff22554368.

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The present work argues for the invaluable contribution of boy actors to the evolution of Tudor drama. Since most young scholars later went up to university or the'Inns of Court, I have also considered the course of drama in those institutions. This drama in education was given its prime impetus by visiting professional troupes, whose itineraries included schools, universities and the Inns. The education in drama they set before their audiences helped shape the schools drama, which was able to develop and expand in a way denied the professionals by the consequences of the Reformation. Not till Leicester's men established themselves at the Theater were the professionals enabled once again to strive towards their eventual pre-eminence. The argument in those'sections dealing with the colleges of Winchester, Eton and Westminster is supported by original archival material hitherto unavailable in print. The Introduction states the situation at the moment of the foundation of the Theater and of the first Blackfriars. That significant moment marked the beginnings of the decline in the fortunes of the forces of drama in education. The prehistory is rooted in the broad educational changes of the late fifteenth and early sixteenth centuries (Chapter I) and in the seminal effect upon the drama of the sermons of the mendicant preachers of the later Middle Ages (Chapter I). These twin influences forged the drama of pre-Reformation England, defined the roles of professionals and boys alike (Chapter II).

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Harpe, Sabina Dorothea. „Children's conceptions of drama in education“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30644.

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This study has been an investigation of children's views of drama in education. It invited children to reflect on the dramatic process as used by a classroom teacher in the context of integrated units of study. The specific research question addressed was: What are children's conceptions of drama when used by a non-specialist classroom teacher as an integral part of learning? Children, ages 10-12 years, were observed and then interviewed in a semi-structured manner. The data were analyzed according to the phenomenographical research methodology. This suited the intent of the study in that the aim of phenomenography is to discover and describe the world as seen by participants. The results were presented in the form of conceptions which are descriptions representing the various ways people view, experience or conceptualize their experiences. Seven such conceptions, falling into three different groups, were discovered. The first group identified three ways in which children viewed drama as a purposeful strategy used by a teacher: (a) drama is a tool, (b) drama is a way of linking, and (c) drama is a novel way of teaching. The second group identified three ways in which children viewed themselves participating in the dramatic process: (a) drama is something one must take part in, (b) drama is play, and (c) drama takes on a life of its own. The third group dealt with one specific area of drama and identified role taking as being like the donning of a cloak. Insights from the study centered around three major observations: (a) the importance of understanding the meaning making of learners, (b) the importance of reflection, and (c) the power of drama in education as an educational strategy. Implications for educators and recommendations for further research were derived from these themes.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate

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Okoli, Emmanuel Chinyeaka. „Reconciling cultural values through drama education“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20798.pdf.

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Finneran, Michael J. „Critical myths in drama as education“. Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1987/.

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Drama as education is a relatively young concern, which has been primarily occupied with developing a strong tradition of practice. As a result it has suffered from a dearth of theoretical and critical engagement. This situation has led to the existence of a range of unquestioned beliefs and practices that underpin much of the governance, traditions, knowledge and operation of drama in educational settings. The thesis examines the existence and location of the community of drama as education, reviews the discourse of the community, and seeks to understand previous attempts at demythologising. This thesis proposes a critical understanding of the idea of myth in order that it can be used in a positive and beneficial manner. Utilising a post-modern critical research methodology, it constructs a bricolage of theoretical perspectives that collectively are used to locate, identify and interrogate areas of myth. A new typography of myth reveals four dominant areas of operation, and examines the manner in which myths impact upon the educational and cultural institutions in which they occur. The forces that conceive of, operate and perpetuate myth are understood to be language, power and ideology. These elements operate in conjunction with each other, with human agency at the helm. The thesis is in nine chapters. Chapter 1 sets the scene and introduces the range of the research. It is followed by Chapter 2 which seeks to put in place a range of theoretical perspectives upon which the methodology is constructed. Chapter 3 provides further theoretical insight into the location of the research, and Chapter 4 constructs a critical mythic bricolage, defines its usage, and proposes a contemporary typology of myth. Chapter 5 identifies the ‘Point of Entry Text’ – the primary school drama curriculum in the Republic of Ireland, and deals with the category of governing myths. Chapter 6 is concerned with traditional myths, Chapter 7 examines epistemological myths, and Chapter 8 teases out operational myths. Finally, Chapter 9 looks to the future of myth after demythologising, and seeks to begin engaging with the inevitable process of remythologising.

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Wissmann, Cheryl. „Linking creative drama with Christian education“. Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Graham, Shelley T. „Dramaturging education and educating dramaturgs : developing and establishing an undergraduate dramaturgy emphasis at Brigham Young University /“. Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd511.pdf.

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Cody, Tracey-Lynne. „Drama education in New Zealand schools: the practice of six experienced drama teachers“. Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.

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This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lenses of Artist and Co-artist, the study identifies the socio-cultural nature of the practice of these teachers. Teachers’ artistry is revealed through creative use of drama tools and processes to create aesthetically-rich learning experiences. The significance of relational pedagogy to teaching and learning in these drama classrooms is also examined within the study. Teachers’ accounts reveal the ways they seek to develop interpersonal relationships with and between students, and establish ensemble-based approaches to learning in drama. As co-artists, participants employ pedagogies that empower students to actively participate in a community of drama practice, intentionally developing students’ capacities for collaboration, creativity and critical thinking, while discovering and developing their artistic-aesthetic capabilities. These teachers share power with students through acts of negotiation, creating dialogic learning opportunities in order to develop student agency as artists and citizens. Attempts to navigate tensions that arise due to increased performativity pressures on teachers and to avoid prescriptive and technocratic delivery of drama curriculum are also explored. In-depth interviews were conducted with participants to discover the complexities of their teaching practice, the philosophy of drama education they hold, and the decisions they make in curriculum content and pedagogy. Observations of classroom practice were also undertaken, along with an analysis of planning documents and an interview with their students. The study provides six rich case studies of drama practice in New Zealand schools, contributing to local and international understandings of enacted drama education within school settings. Implications for educational policy, curriculum design, classroom practice and teacher education arise from this investigation.

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Sessoms, Todd Kristian. „Drama in education experiencing for social transformation /“. Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Sessoms_T%20MITthesis%202007.pdf.

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Widdows, Joy. „Supportive and oppositional behaviours in drama education“. Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322265.

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Jones, Gaybrielle Irene. „Using Drama Therapy Techniques in Secondary Education“. University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1334167898.

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Bücher zum Thema "Drama in education"

Department of Education and Science. Arts education: Drama. Dublin: Stationery Office, 2000.

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Anderson, Margaret. Drama in multicultural education. Edinburgh: Moray House College of Education, Multicultural Resource and Development Unit, 1985.

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Curriculum Committee for Arts Education., Ireland. Department of Education and Science. und National Council for Curriculum and Assessment., Hrsg. Drama: Arts education : curriculum. Dublin: Stationery Office, 1999.

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Curriculum Committee for Arts Education., Ireland. Department of Education and Science. und National Council for Curriculum and Assessment., Hrsg. Drama: Arts education : teacher guidelines. Dublin: Stationery Office, 1999.

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1969-, Anderson Michael, Carroll John Dr und Cameron David, Hrsg. Drama education with digital technology. New York, NY: Continuum International Pub. Group, 2009.

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Judith, Ackroyd, Hrsg. Research methodologies for drama education. Stoke on Trent, UK: Trentham Books, 2006.

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Arts Council of Great Britain. Drama in schools: Arts Council guidance on drama education. London: Arts Council of Great Britain, 1992.

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Education, Alberta Alberta. Elementary drama: Drama resource. [Edmonton]: Curriculum Branch of Alberta Education, 1985.

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Scanlan, David. Reading drama. Mountain View, Calif: Mayfield Pub. Co., 1988.

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Schonmann, Shifra, Hrsg. Key Concepts in Theatre/Drama Education. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7.

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Buchteile zum Thema "Drama in education"

Anderson, Michael. „Drama Education,education drama Ethnomethodology,ethnomethodology and ‘Industrious Chatter’“. In Methodological Choice and Design, 93–100. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-8933-5_8.

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Odegaard, Marianne. „Science Theater/Drama“. In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_336-3.

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Odegaard, Marianne. „Science Theater/Drama“. In Encyclopedia of Science Education, 928–30. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_336.

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Zatzman, Belarie. „Drama Education and Memory“. In Key Concepts in Theatre/Drama Education, 105–9. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_17.

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Bailin, Sharon. „Creativity and Drama Education“. In Key Concepts in Theatre/Drama Education, 209–13. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_34.

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Gregorzewski, Moema. „Reimagining drama in education“. In The Routledge Companion to Drama in Education, 80–93. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-9.

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Jacobs, Rachael. „Assessment in drama education“. In The Routledge Companion to Drama in Education, 137–50. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-14.

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O’Toole, J. „Strange Bedfellows: Drama and Education“. In Drama and Curriculum, 11–27. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-9370-8_2.

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Miller, Carole, und Juliana Saxton. „Story Drama Structures“. In Key Concepts in Theatre/Drama Education, 147–51. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_24.

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O’Toole, John, und Madonna Stinson. „Doorway Politics: Cracking an Education System“. In Drama and Curriculum, 147–67. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-9370-8_9.

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Konferenzberichte zum Thema "Drama in education"

Klimova, T. A. „DIRECTOR OF EDUCATIONAL EVENT: DRAMA EDUCATION TOOLS“. In ПСИХОЛОГИЯ ТВОРЧЕСТВА И ОДАРЕННОСТИ. Москва: Ассоциация технических университетов, 2021. http://dx.doi.org/10.53677/9785919160472_172_176.

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Moļņika, Baiba. „Drama Education for Violence Prevention: Approaches and Challenges“. In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.60.

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Violence in schools is a socially and culturally complex phenomenon that affects not only the victim and the abuser but everyone, including eyewitnesses, parents, and educators. Drama education provides a unique experience in reducing violence because it involves both the mind and the emotions The adolescent is the age stage that is influenced by many external and individual factors, such as those related to the change in the training system, age development, change of interests and change of class dynamics, etc. All of these factors can lead to an increase in the risk of stress background and violence situations. The study explores violence prevention through the lens of drama. The review reveals several approaches for drama education with connection to personal development and violence prevention, including, “Forum Theatre” and “Process drama”. The study provides recommendations to emphasize the role of drama education in reducing violence in schools.

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Marrucci, Luca, und Erika Piazzoli. „Evaluating Learner Engagement in Arts Education: Perspectives from Music and Drama in Education“. In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5516.

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In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.

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Radics, Rudolf, und Kristian Benyovszky. „DRAMA PEDAGOGY FOR PUBLIC EDUCATION AND HIGHER EDUCATION“. In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.1400.

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Gałązka, Alicja. „DRAMA IN EDUCATION FOR SUSTAINABLE DEVELOPMENT“. In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.1643.

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YANG, LING, und SHENG-DONG YUE. „AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE“. In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.

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Hornáčková, Vladimíra. „Drama Play A Creative Method In Preschool Education“. In 8th International Conference on Education and Educational Psychology. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.10.53.

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Díez-Ajenjo, M. Amparo, Mariola Penadés Fons, M. Carmen García Domene, M. Josefa Luque Cobija und Cristina Peris Martínez. „LEARNING ABOUT VISION THROUGH DRAMA“. In 13th International Technology, Education and Development Conference. IATED, 2019. http://dx.doi.org/10.21125/inted.2019.0810.

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Birch, Peter, und Thomas Lennerfors. „Teaching Engineering Ethics With Drama“. In 2020 IEEE Frontiers in Education Conference (FIE). IEEE, 2020. http://dx.doi.org/10.1109/fie44824.2020.9274160.

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Khalil-Butucioc, Dorina. „Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals“. In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.

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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatorium, near Calarasi, (1997), in Vadul lui Vodă (2001),and Râbniţa (2020); some national and international festivals were held in the country: the Festival of Contemporary Dramaturgy in the Republic of Moldova, (May 2-8, 1998), the International Theater Festival „Satiricus I.L. Caragiale” (2008, 2011, 2018, 2020), the „Verbarium” International Festival of Contemporary Dramaturgy(2013, 2014). The results of these actiivities were reflected in specialzed collections, many pieces were written, necessary translations were made depending on the specifics of the linguistic event etc.

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Berichte der Organisationen zum Thema "Drama in education"

Graves, Darlene. Creative Drama as an Instructional Strategy in Adult Christian Education. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.1349.

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