Journal articles on the topic 'Drama and theater in teaching'
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Pushkar, Larysa, Olga Lobova, Nataliia Pavlushchenko, Svitlana Parfilova, Olha Vasko, and Vita Butenko. "Theatrical Activity as a Way of Developing Musical-Choreographic Competence in Future Preschool and Primary School Teachers." Revista Romaneasca pentru Educatie Multidimensionala 14, no. 3 (September 2, 2022): 18–31. http://dx.doi.org/10.18662/rrem/14.3/595.
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The article highlights the possibilities of applying elements of theatre arts in the process of preschool and primary school teachers professional training. In particular, it reveals the issue of forming musical and choreographic competence in students by means of various forms, types and methods of drama. The main forms of musical and choreographic competence formation in preschool and primary school teachers are practical and laboratory classes (disciplines “Pedagogy”, “Fundamentals of pedagogical creativity”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theater activity in preschool education institutions”, “Methods of music education”, “Musical art with methods of teaching”, etc.) and extracurricular forms of students’ theater activity (drama societies, drama studios, etc.).
Important types of drama activities in the process of training future preschool and primary school teachers are staging and dramatization, within which it is advisable to use different methods of forming students’ musical and choreographic competence: music-motor and drama games, staging of fairytales and songs, improvisation on a given theme-image, sketches, etc. Their use contributes to the development of a holistic set of musical and choreographic abilities, formation of singing skills, stage and dance movements, upbringing of future teachers’ performance culture and so on.
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Jannarone, Kimberly. "Jarry's Caesar Antichrist and the Theatre of the Book." New Theatre Quarterly 25, no. 2 (May 2009): 121–36. http://dx.doi.org/10.1017/s0266464x09000220.
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The familiarity bred by the notoriety in its own times of Alfred Jarry's Ubu Roi has been accompanied by neglect for his other work, especially that which seems of peripheral interest to the theatre practitioner. In this article, Kimberly Jannarone argues that his earlier Caesar Antichrist falls into the unusual category of ‘a piece of theatre not intended for the stage’ – apparently unstageable, yet not a closet drama since, in Jarry's scrupulous care for its published form, he created his own ‘theatre of the book’, anticipating the later modernist use of collage while also demonstrating in words and pictures his ‘pataphysical’ interest in the dialectics of opposites. Kimberly Jannarone received her MFA and DFA from the Yale School of Drama, and is currently teaching in the Department of Theater Arts at the University of California, Santa Cruz. She wrote on ‘Puppetry and Pataphysics: Populism and the Ubu Cycle’, in NTQ67 (2001).
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Matthias, Bettina. "“Show, don’t tell!”." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 52–65. http://dx.doi.org/10.33178/scenario.1.1.3.
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While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom. While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom.
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Suyadi, Suyadi. "LAKON BANGSAWAN SUMATRA UTARA, TINJAUAN SINTAKTIKA." MEDAN MAKNA: Jurnal Ilmu Kebahasaan dan Kesastraan 17, no. 2 (December 3, 2019): 180. http://dx.doi.org/10.26499/mm.v17i2.2140.
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The performance of drama bangsawan not only carries social, economic, and political missions. The role of drama bangsawan is increasingly important and strategic in organizing the life of the nation, state, and society. In addition to playing a role to explore the cultural and artistic values that we have, royal drama can also play a role in encouraging the realization of complete human development, which also means not only teaching material/physical, but also very useful to order the mental and spiritual of every human being. This paper presents the syntactic aspects of the drama bangsawan in North Sumatra. The syntactic aspect which is part of Charles Morris's semiotic theory explores the nature and pattern of stories of aristocratic plays. This review succeeded in discovering the existence of the aristocratic theater in North Sumatra and its shape patterns. This folk theater originally took place among the aristocrats in the Serdang Sultanate and eventually became the property of most people. The aristocratic form or concept of the show was maintained even though it was no longer played at the Palace, as the palaces in the former North Sumatra Residency after the Social Revolution collapsed. This theater should be inherited as a non-fine cultural form belonging to North Sumatra.
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Chuo, Mei-Hsiu. "Innovation Drama Teaching of “New Pinocchio” in Chinese Language Learning: Action Research." PAROLE: Journal of Linguistics and Education 9, no. 1 (April 30, 2019): 24. http://dx.doi.org/10.14710/parole.v9i1.24-30.
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The prevalence of learning Chinese in the United States is very popular with the learning Chinese language throughout the world. This atmosphere is very encouraging for children in Chinese schools and improves their learning motivation. This research is action research and the purpose of this study is (1) to explore the current situation of teaching Chinese in the United States and to answer the research questions based on the reaction and self-reflection of young children, (2) to revise teaching materials and teaching methods during the research, (3) to utilize the innovation story theater model into the Chinese curriculum of the bilingual school in USA, and (4) to find out the suggestions and feasible solutions to the various problems. The research found that if learning activities are intrinsically attractive there is no need to arrange any games to motivate children's learning. Moreover, the findings show that the innovative story theater is very practical and can effectively enhance children's interest in learning Chinese
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Wulandari, Dwi, and Bagus Shandy Narmaditya. "Readers Theater as a Tool to Understand Difficult Concept in Economics." International Education Studies 10, no. 5 (April 29, 2017): 144. http://dx.doi.org/10.5539/ies.v10n5p144.
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Readers Theater is one of the innovative learning in an effort to increase the understanding and value students’ learning processes that involve the activity of reading, writing, listening and speaking. In this type of learning, students read a manuscript of a certain literature and other students grasp the meaning of what was read and is shown by the reader. Readers Theaters are different from playing drama. In the drama needed costumes, setting room etc., but in this learning not required. Is the key to effective learning is clearly read the script readers, and listeners can clearly visualize from what is shown. This paper used readers theater to teach a topic of macroeconomics which is unemployment that often considered as a hard topic. We found that students are very happy with this method. Their reading, writing, listening and speaking activities are improving and the most important thing is their understanding of unemployment topic is so much better compared to teaching them with the only direct instruction method. One of the parts that should not be forgotten by teachers is debriefing to check the understanding of the students and many students want this method to be continued especially for another difficult topic so it will be easy to understand.
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Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.
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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign language teaching and learning by offering examples where drama is used with other taught languages, such as French, German, Spanish, Italian, Portuguese, but also Romanian, Russian and Japanese. The book stems from the recent fertile pedagogical research carried out by Appiah, De Lauretis, Pavis, Pireddu and De Marinis – just to mention a few – which considers theatre both as a cultural product and as a constituent of a teaching philosophy on intercultural learning. For the editors, “Theatre is the literary genre which most actively engages the cultural learner and maximises his/her ability to appropriate what is other” (2). The contributors to this volume are educators who have been working ...
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Shen, Liang. "Drama Etudes." TDR: The Drama Review 65, no. 2 (June 2021): 131–49. http://dx.doi.org/10.1017/s1054204321000125.
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Teaching theatre and drama in primary and secondary schools is a very difficult task worldwide. In China, there is a huge demand for drama teachers who also know practical theatre. Taking on this mission, the Shanghai Theatre Academy started a program of “drama etudes.” This pedagogical experiment stimulated debate about opposing concepts in theatre education: imitation vs. improvisation.
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Chemyakina, Nina V. "Possibilities of using drama-hermeneutics in the context of intensification of foreign language teaching. I. Pedagogical component." Yaroslavl Pedagogical Bulletin 3, no. 120 (2021): 62–71. http://dx.doi.org/10.20323/1813-145x-2021-3-120-62-71.
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he method of activating the capabilities of the individual and the team, the method of suggestopedia using technical means, the emotional-semantic method, the immersion method, the course of speech behavior, the method of rhythmopedia and hypnopedia. The possibilities of their application in teaching a foreign language in a non-linguistic university are considered, the main methodological principles of intensive training are revealed. The article analyzes the possibilities of using drama-hermeneutics in the context of the intensification of foreign language teaching in a nonlinguistic university, where the dramatic and hermeneutical concepts have already collected the necessary principles of intensification, united by the pedagogical process into a single whole. The concept of «drama-hermeneutics» is presented as a combination of three principles: pedagogy, hermeneutics and theater skills, where each component provides new opportunities for the implementation of the intensification of the educational process. The intersubject and meta-subject orientation of drama-hermeneutics is noted, which makes it possible to adapt theater tasks and the hermeneutical chain to the conditions of teaching a foreign language in a non-linguistic university. The article highlights the main aspects of the pedagogical component, which are a resource for solving the problem of intensifying the learning process. The importance of using the drama-hermeneutical approach is emphasized, thanks to which students ' cognitive interests are activated, communication skills, emotional sphere, thinking and speech as well as the ability to perform creative and research work in a foreign language in a group are developed. The article describes the positive nature of the use of the drama-hermeneutical approach in foreign language classes at a non-linguistic university, whichis expressed in the integrity of the students ' formed idea of the work to which the lesson is dedicated, thanks to which its image is created and permanently imprinted in the minds of students.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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C. Kingsbury, Kelly. "Nicoletta Marini-Maio and Colleen Ryan-Scheutz (eds) (2008). Set the Stage! Teaching Italian through Theater." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (July 1, 2009): 74–76. http://dx.doi.org/10.33178/scenario.3.2.7.
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Set the Stage! Teaching Italian through Theater: Theories, Methods, and Practices (Yale, 2008), edited by Nicoletta Marini-Maio and Colleen Ryan-Scheutz, is a tremendously valuable contribution to the growing body of literature on drama and theatre in foreign/second language (L2) education. This volume contains eleven chapters addressing a diverse array of topics, a comprehensive director’s handbook, and reflective contributions by Dario Fo, Franca Rame and Dacia Maraini, three of Italy’s most prominent theatre practitioners engaged with pedagogical questions related to the learning of L2 Italian through theatre. The chapters of Set the Stage! encompass both theoretical and practical orientations toward questions of culture, theatre history, curriculum, and assessment in language learning, and they offer an array of perspectives that illuminate a variety of possible models for incorporating diverse forms of theatre within the L2 curriculum. The first section of Set the Stage! includes an overview of theatre’s place within Italian literature and culture. Following Pietro Frassica’s overview of the Italian theatrical canon, William Van Watson offers an insightful commentary on the inherent theatricality of Italian cultural interactions, the possibilities this raises for cultural misunderstandings, and the concomitant potential it holds for theatrically teachable moments. Section II focuses on the place of ...
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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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Supriyadi, Moh. "تدريس مهارة الكلام بوسائل مسرح العرائس للمرحلة الإبتدائية بمعهد دار اللغة والدراسات الإسلامية سنينان أكور بالنجاءان باميكاسان." Al-Irfan : Journal of Arabic Literature and Islamic Studies 3, no. 2 (September 30, 2020): 143–60. http://dx.doi.org/10.36835/al-irfan.v3i2.4015.
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In Darul Lughah wad dirasatil islamiyah, it is one of the concentrated institutes that teach Arabic to non-native speakers. All students speak Arabic and it is forbidden to speak anything else. There is no exaggeration in it that teaches the Arabic language, communication on the four language skills, and it also teaches vocabulary, conversation, reading, writing, listening, speaking, grammar, and so on. Teachers used several methods of teaching language skills, including using puppet theater, which is achieved in teaching the skill of speech.
The objectives of the research are: (1) Teaching the skill of speech by means of puppet theater for the elementary stage at the Darul Lughah wad dirasatil islamiyah (2) The influencing factors in teaching the skill of speech by means of puppet theater for the primary stage at the Darul Lughah wad dirasatil islamiyah
The researcher uses the curriculum with qualitative and genre input in the field, and data sources in this research study this teaching, and students who participate in this teaching, then the director of the Darul Lughah wad dirasatil islamiyah. The method used to collect the data is the standardized interview, observation, history and documents. The method used in data analysis is the descriptive analytical study method.
The result of this research is the use of puppet theater in teaching the skill of speech for the elementary stage at the Darul Lughah wad dirasatil islamiyah that includes objectives, steps, methods, evaluation, and material. The factors affecting this teaching consist of two parts, including: linguistic and non-linguistic.
KEYWORDS: Learning, Speaking, Drama
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Saivetz, Deborah. "‘What Counts is the Landscape’: the Making of Pino DiBuduo's ‘Invisible Cities’." New Theatre Quarterly 16, no. 1 (February 2000): 50–64. http://dx.doi.org/10.1017/s0266464x00013452.
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In October 1998 the Italian director Pino DiBuduo visited the Newark, New Jersey, campus of Rutgers University on the occasion of the major international conference, ‘Arts Transforming the Urban Environment’ For the occasion, he transformed a bleakly concrete teaching block on the Newark campus into a site for the latest of his Invisible Cities projects. These had originated in his Teatro Potlach company's residency in the Italian village of Fara Sabina in 1991, where DiBudo's intention – as in a number of site-specific variations on Invisible Cities since – was to render ‘visible’ aspects of the everyday urban environment which we no longer have the imagination or the patience to ‘see’. While Deborah Saivetz looks also at this original Italian project, and at a later version in Klagenfurt, Austria, she concentrates here on the Newark production, whose development she recorded – in this opening article in her own and DiBuduo's words, and in the following piece through the experiences and recollections of the participants. Deborah Saivetz holds a doctorate in Performance Studies from Northwestern University, and is currently Assistant Professor of Theater in the Department of Visual and Performing Arts at the Newark campus of Rutgers University. Her directorial work includes productions for the New Jersey Shakespeare Festival, the Drama League of New York's Directors’ Project, New York's Alchemy Courthouse Theater, and the Parallax Theater Company in Chicago. She has also worked with JoAnne Akalaitis as assistant director on John Ford's ‘Tis Pity She's a Whore at Chicago's Goodman Theatre, and created original theatre pieces with Chicago's Industrial Theater and Oxygen Jukebox.
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Marini-Maio, Nicoletta. "Theatrical Plots in a Spectacular Setting." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 3–6. http://dx.doi.org/10.33178/scenario.6.2.2.
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Palazzo del Bo is an impressive historical building that hosts part of the University of Padua. At the Bo, you may walk through the huge Sala dei Quaranta [Room of the Forty], so called because of the portraits of forty famous foreign students, such as Copernicus, who attended courses at this prestigious university. Then, you can stop before the podium from which Galileo Galilei used to teach math and physics between 1592 and 1610. Finally, you may enter the Teatro anatomico [Anatomic theater], the first place in the world where students of medicine could carry out research on dissected bodies: the anatomic table is still there, surrounded by six circular wooden tiers of three hundred seats. This was the spectacular scenario of the international seminar Plot me no plots: theatre in university language teaching (Padua, October 14-15, 2011),1 an inspiring opportunity to compare research findings, methods, and pedagogical perspectives with a very special group of colleagues teaching foreign languages through drama and theater in a number of countries across the world. 2 The materials presented were varied as the audience had the opportunity to listen to lectures, watch clips in several languages from actual play productions, and discuss or practice ...
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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy." European Journal of Social Science Education and Research 5, no. 3 (December 1, 2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.
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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.
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Kovács, Gabriella. "Applied Drama and Theatre – Drama Techniques in Teaching English for Specific Purposes." Acta Universitatis Sapientiae, Philologica 6, no. 3 (December 1, 2014): 391–409. http://dx.doi.org/10.1515/ausp-2015-0026.
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AbstractTheatre is a source to which teachers often turn for fresh ideas and methods. This study tries to unfold and follow the path which leads from theatre and drama to institutional education, and reveal the complex interdisciplinary connections and relations which have made it possible to use some of the experiences and methods accumulated in the field of actor training and applied drama and theatre in teaching English for specific purposes.
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Ma, Liwen, Wen-Lung Chang, Clive Holmwood, and Joseph L. Subbiondo. "Playback Theater as Pedagogy: A Qualitative Research Study on the Use of PT in Education toward the Self-development of Future Teachers." Creative Arts in Education and Therapy 8, no. 2 (January 13, 2023): 225–36. http://dx.doi.org/10.15212/caet/2022/8/25.
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Self-development is an important basis for the professional development of teachers and future teachers. In this study, future teachers are graduate students whose majors are school counseling and mental health education. The performance of playback theater (PT) in the classroom has become an integral part of teaching, especially for teaching integral drama-based pedagogy (IDBP). Using qualitative research methods, researchers found that PT enables future teachers to deeply develop and experience “respect” and “empathy.” PT actively promotes self-development by using empathy as the main factor for promoting change in self-cognition, behavior, and emotional release. The improvisational action presents storytellers with accessible forms of empathic reaction. Researchers have discovered that the use of theater ritual and artistry are the external conditions for inspiring empathy by creating an atmosphere of equality, respect, and inclusion. Moreover, this atmosphere also promotes dialogue. Having learned empathy, individuals connect better with each and become more open to self-development through reflection.
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Piriyaphokanont, Piarnpilas, and Silawat Sriswasdi. "Using Technology and Drama in Education to Enhance the Learning Process: A Conceptual Overview." International Journal of Information and Education Technology 12, no. 7 (2022): 678–84. http://dx.doi.org/10.18178/ijiet.2022.12.7.1670.
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This research aimed to study procedures and methods of integrating the learning process through images that can be experienced with dramatic science (DS). This study used qualitative research to analyze research methods, papers, and theories related to the concepts and learning theories of drama in education (DIE). After that, qualitative data analysis was used to analyze the content. The results showed that using DIE to teach and as a tool for learning management is an excellent vehicle in human development and creating change. Moreover, drama reflects the artistry and imagination of the creators, and when used as DIE, it can be carried out in a sequence of steps: 1) the preparation stage for the DIE learning process; 2) the drama production stage using theater or drama performances, YouTube enactments, or streaming videos; 3) the learning evaluation stage; and 4) the continuing development and improvement stage. In addition, it was found that the main factor affecting the integration of the learning process with DE is teaching managers (teachers), who must most importantly have good communication skills and creative skills.
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Veledinsky, Oleg Valerievich. "Chinese Studios in the Russian Theater University. Ethnopsychological Approach in Teaching Stage Speech." Человек и культура, no. 5 (May 2022): 18–34. http://dx.doi.org/10.25136/2409-8744.2022.5.38935.
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The relevant topic of teaching foreign-speaking students in the field of modern Russian theater education is discussed. The subject of the research is the speech training of Chinese students-actors within the framework of an experimental Russian–Chinese theater and educational project of the Russian State Institute of Performing Arts (St. Petersburg) and the Central Academy of Drama (Beijing). The experience of voice and speech training in homogeneous Chinese groups is summarized, the real manifestations of significant ethnopsychological phenomena and the possibility of their use for educational purposes are generalized. The author, a direct participant in the project, analyzes the course and results of the experiment from the position of optimal compliance of the educational process with the identified psychological, mental and national-cultural characteristics of Chinese students-actors. The novelty of the research lies in the experimental substantiation of the variant of the ethnooriented model of voice and speech training of Chinese students in the Russian theater school, carried out using two languages (Russian and Chinese) in Russia, and then in China. This ensures the consistency and meaning of voice and speech education, the possibility of transferring acquired speech skills into national artistic practice. The result of the study ethnopsychological, mental and national-cultural features were found in practice and affecting the process of voice and speech training. Taking into account and using a combination of these factors implements an ethnopsychological approach to voice and speech training of Chinese students-actors.
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Sorokina, Nataliya V. "L.M. Leonov’s plays on the stage of Tambov theatre." Neophilology, no. 23 (2020): 573–84. http://dx.doi.org/10.20310/2587-6953-2020-6-23-573-584.
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The review of productions of Tambov state academic order “Badge of Honour” of Lunacharsky drama theatre of L.M. Leonov plays “Invasion” (premiere of 3 October 1943), “An Ordinary Man” (22 September 1945), “Golden Carriage” (9 October 1971) is given. Theater reviews of 1940s–1970s written by Tambov authors, among which are teachers of Tambov State Pedagog-ical Institute (now Derzhavin Tambov State University), are collected and analyzed. The theatrical embodiment features of L.M. Leonov’s dramaturgical works on the stage of the provincial theater are considered. The multi-sided connection of the classic of Russian literature of the 20th century with Tambov land is marked. The dynamics of theatrical and literary regional interest in L.M. Leonov’s dramaturgy is traced. The stylistic features of theatrical reviews by R. Chernyak and L. Yakovlev are revealed. Special attention is paid to the responses of Tambov philology teachers, which allowed us to clarify the range of scientific and educational activities of the uni-versity’s teaching staff in different years, to determine the forms of interaction between educational and cultural organizations in the region. The features of the plays and their reflection in the productions are indicated. The stage embodiment’s distinctive features of L. Leonov’s plays’ characters by Tambov actors are determined.
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Karim, Ahmad Abdul, Muhamad Yuda Firdaus, Rizky Kurnia Dewi, Yuliani Yuliani, and Dian Hartati. "PEMANFAATAN METODE IMPRESIF TERHADAP PROSES PENGEMBANGAN KARAKTER SISWA." SeBaSa 4, no. 2 (November 28, 2021): 152–66. http://dx.doi.org/10.29408/sbs.v4i2.3947.
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Teaching literature during a pandemic can be an alternative in developing character in students. This research is important to do to see the convergence of performances that are usually watched once, but due to digitalization, it is now easier for viewers to enjoy the performance. This study reveals the role and function of virtual drama staging in character building in children during the pandemic. The research data source is the recording of the virtual performance of Theater Comma entitled "Pandemi" by N. Riantiarno. The approach used is descriptive qualitative. And the method used is descriptive qualitative method. This study uses an objective (approachstructural).The findings found several values of character strengthening, namely religious, honest, responsible, and social care. These four values can be seen from the dialogue between actors to the attitude of the actors in responding to the pandemic. Based on the values of character education found, it shows that virtual performances are able to become a relevant literary medium for planting character education in the distance learning period. Keywords: Teaching Literature, Virtual Performances, Character Education, Structural, Theater Comma
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Cowburn, Ben. "Standing in Dorothy’s Shoes: What Can Language Teachers Learn from Dorothy Heathcote? Part One: Where Dorothy Came From, What She Did, and How It Can Support Language Development." JALT PIE SIG: Mask and Gavel 2, no. 1 (June 2013): 4–12. http://dx.doi.org/10.37546/jaltsig.pie2.1-1.
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From the 1960s onwards, Dorothy Heathcote became a highly influential figure in UK drama education. Her practice, based around unscripted, participatory dramas in which students were often guided by a teacher working ‘in role’, helped to shape the way drama is taught in schools today, particularly within the process drama approach. Influenced by a range of educational theorists and practitioners, Heathcote developed a style of educational drama that she saw as being distinct from ‘theatre’, and more concerned with experiencing drama than performing it. To this end, she developed a number of dramatic techniques, such as ‘Teacher in Role’ and ‘Mantle of the Expert’, to help students inhabit dramatic contexts and learn through the direct imagined experience of a particular place, time or problem to be solved. These techniques have much to offer language teaching, particularly when communication is the main goal. Placing students in dramatic contexts is claimed to enhance motivation and engagement and lead to more truly authentic communication than is often found in language classrooms. Using a framework based on Heathcote’s techniques, and those developed by other process drama educators, language teachers can begin to explore the many benefits drama can offer language learners.
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Wang, Yiou, Xiuqing Qiao, and Shusheng Ma. "The opportunities and challenges of drama in education in Chinese kindergartens." Applied Theatre Research 10, no. 2 (December 1, 2022): 187–204. http://dx.doi.org/10.1386/atr_00070_1.
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With the introduction of drama in education and creative drama in China in the late twentieth century, drama in education has become a new practice and research hotspot in the field of education. However, children’s theatre performance and dramatic acting training have for a long time been the main form of Chinese preschool drama education and still have a noticeable impact. In this article, we explore how drama in education can improve and expand Chinese kindergarten teachers’ teaching repertoire and how it can contribute to children’s interpersonal development. This design-based study uses interventions in the form of drama in education workshops in a Chinese kindergarten. By undertaking these workshops, observing workshop participants and interviewing teachers and children, we have found that drama in education supports children’s language learning and helps develop their individual self-awareness. In addition, it also provides multiple new methods of teaching and thus promotes teachers’ individual growth as professionals in the kindergarten classroom. In terms of kindergarten curriculum reform, this study aims to contribute to the current developments and debates about teaching, learning and overall education.
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Yono, Robert Rizki, Atikah Mumpuni, Agyztia Permana, and Ubaedillah Ubaedillah. "Pelatihan Drama Bagi Siswa SMP Negeri 1 Songgom." To Maega : Jurnal Pengabdian Masyarakat 4, no. 3 (October 7, 2021): 304. http://dx.doi.org/10.35914/tomaega.v4i3.846.
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AbstrakSiswa SMP Negeri 1 Songgom tergolong aktif. Tetapi, keaktifan siswa belum terakomodir dengan baik. Meskipun terdapat beberapa ekstrakulikuler, belum sepenuhnya menampung minat siswa. Khususya ekstrakulikuler drama tidak ada. Faktor tidak adanya teater/drama karena minimnya tenaga pengajar bahasa Indonesia. Lanjut, terkait dengan keaktifan anak, khususnya di kelas VII perlu didalami terlebih dahulu. Didalami dalam arti diselidiki, keaktifan tersebut mengarah pada bakat kemampuan berakting untuk mendukung kegiatan drama, atau mengarah pada kegiatan lain. Selain itu, belum pernah dilaksanakan pelatihan drama. Oleh karena itu, perlu dilakukannyakegiatan sosialisasi dan pelatihan drama bagi siswa SMP N 1 Songgom. Sasaran dan luarannya adalah tersalurnya minat dan bakat siswa serta memiliki kemampuan dasar berdrama. Tahapan kegiatan meliputi sosialisasi, pelatihan, dan evaluasi. Metodenya berupa ceramah, diskusi, dan demonstrasi. Tahap implementasi meliputi pemberian materi terkaitkonsep dasar,unsur-unsur dan latihan dasar berdrama serta praktik.Secara umum, peserta menunjukan hasil yang cukup baik. Hal inimembantu siswa meningkatkan pemahaman tentang drama dan mengetahuipotensi/bakatnya. Hasil Kesimpulan dari kegiatan ini kongkrit bermanfaat bagi para siswa dalam memahami konsep dasar dramadan dapat mempengaruhi minat siswa dalam melaksanakan kegiatan drama. Disarankan kegiatan ini dilanjutkan untuk berlatih menulis naskah.Kata Kunci: Pelatihan, Drama, Siswa SMPAbstractState Junior High School Student 1 Songgom is classified as active. However, the activeness of students has not been well accommodated. Although there are some extracurriculars, it has not fully accommodated the interests of students. Especially extracurricular dramas do not exist. The factor of the absence of theater / drama due to the lack of Indonesian language teaching staff. Furthermore, related to the activeness of children, especially in class VII need to be explored first. In the sense of being investigated, such liveliness leads to the talent of acting ability to support drama activities, or leads to other activities. In addition, there has never been drama training. Therefore, it is necessary to conduct socialization and drama training for junior high school students N 1 Songgom. The target and externality is the channeling of students' interests and talents and having basic ability to preach. The stages of activities include socialization, training, and evaluation. The methods are lectures, discussions, and demonstrations. The implementation phase includes the provision of material on basic concepts, elements and basic practice of rhythm and practice. In general, participants showed quite good results. This helps students improve their understanding of drama and know their potential/ talents. The conclusion of this activity is concretely beneficial for the students in understanding the basic concepts of drama and can affect the interest of students in carrying out drama activities. It is recommended that this activity be continued to practice writing the script.Key Word:Training, Drama, Junior High School Student
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Váradi, Ágnes. "Színházról tanároknak : D. Magyari Imre: Miért jó nekünk, ha színházban megnézzük, hogy másoknak rossz? Külföldi drámák előadásairól. Budapest: Corvina Kiadó, 2020." Theatron 16, no. 1 (2022): 145–50. http://dx.doi.org/10.55502/the.2022.1.145.
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In Why is it good for us to go to the theatre to see that it is wrong for others? About the performance of foreign dramas, the author Imre D. Magyari presents forty-four foreign dramas, with the unique authorial gesture of choosing from plays performed between 2016 and 2020, mostly in Budapest theatres, not as a theatre critic but as a Hungarian language teacher and theatre enthusiast spectator. The writings in this volume are sometimes expanded, sometimes slightly edited versions of his analyses published in Criticai Lapok since 2015. In the volume, the drama and performance analyses are presented in chronological order according to the plays’ date of creation: forming a kind of subjective drama history. The nearly fifty dramatic analyses are a unique combination of several text types, thus, at the same time they offer a description of a performance (lacking the technicality of analysis), a synopsis, a dramatic analysis, a dramatic interpretation, and sometimes essays on theatre or cultural history. If the author’s intentions are well understood, the dramatic interpretations would really be put into practice in teaching, so the volume would be intended as a reference book/source of ideas for teachers.
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Irugalbandara, Ayomi, Rebecca English, and Marilyn Campbell. "Classroom Space and Creative Student Engagement: A Focus on the Sri Lankan Drama Classroom." World Studies in Education 21, no. 2 (September 1, 2021): 45–57. http://dx.doi.org/10.7459/wse/21.2.04.
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Effective drama teaching and learning needs physical space: space for performance, expression, interaction and exploration. However, the Sri Lankan classroom environment remains largely unexplored in terms of investigating the relationship between the physical classroom environment and the teaching and learning of drama when process drama is the method of instruction. This article is based on the findings of a non-randomised control group intervention study, which involved forty classroom observations in secondary schools in Sri Lanka. The observations showed that students who were able to use the school’s open-air theatre for the entire intervention period engaged in far more collaborative, energetic, performative and creative behaviours than other classes who were in a confined classroom space with desks and chairs crammed closely together. Implications for the teaching of drama by different methods are discussed in the Sri Lankan context.
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Piazzoli, Erika. "Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 28–46. http://dx.doi.org/10.33178/scenario.6.2.5.
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This paper was presented at the conference ‘Plot me no plots: Theatre for University Language teaching’ held at the University of Padua in October 2011. The presentation included a practical demonstration of the teacher-in-role strategy and a discussion. Process drama is an experiential approach that has been gaining momentum in the field of language teaching; it is a genre of applied theatre in which the participants, together with the facilitator, engage in the co-construction of a story. As an improvised dramatic form, it encourages negotiation of meaning through the process of experience and reflection. In this article, I reflect on the nature of the collaborative process between teacher and participants in process drama, drawing on my doctoral research on the aesthetics of process drama for teaching additional languages. In this research, I worked with three cohorts of adult language learners, studying Italian as a Second Language (L2), and three cohorts of teachers of Italian (L2) new to drama. I draw on classroom data to illustrate two of the main dramatic strategies of the form: ‘teacher-in-role’ and ‘mantle of the expert’. I introduce these strategies, situate them in a theoretical context and discuss issues and implications when teaching to engage, rather than to entertain.
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Tawadros, Tammy. "Developing the Theater of Leadership." Advances in Developing Human Resources 17, no. 3 (May 26, 2015): 337–47. http://dx.doi.org/10.1177/1523422315587898.
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The Problem Recent models of leadership emphasize the importance of adaptive, strategic, and socio-emotional capabilities for success. The development of leadership has transformed from teaching about the concept to an experiential learning of leadership, an approach that focuses on identity and problem solving. Over the past decade, improvisational theater and interactive drama based leadership development has received increasing attention; moreover, many advocate its use as a powerful and innovative experiential learning tool, to foster self-awareness and increase ability to deal with the unexpected and unpredictable. Through simulated, unscripted scenarios with actors, improvisation allows experimentation, discovery, and rehearsal of leadership behavior in a group context. It generates individual, relational learning that is immediate, emergent, and relevant to the emotional and cognitive complexities of real-world leadership. There is a paucity of literature on theater-based leadership. This makes it difficult for HRD professionals to justify giving theater-based leadership development (TBLD) techniques preference over other, less resource-intensive techniques. The Solution This article proposes a practical model for the systematic evaluation of TBLD techniques . A pathway mapping approach will be used. The model draws on recent social psychology research on social interaction and identity. Based on this, “micro” analytic techniques of discursive psychology and conversation analysis are proposed to examine patterns of leadership interaction behavior. The findings are to be used as a basis for building a “high fidelity,” evidence-based methodology for role-play and improvisation as development training for leaders. The approach offers a clear framework for HRD professionals. It will be used to analyze and inform the effective use of TBLD. This article is purely theoretical; it does not include empirical research. The Stakeholders Many can potentially benefit by using TBLD techniques, including human resource (HR) professionals and HRD practitioners, leadership development specialists and training providers, organization development practitioners, and professional actor trainers.
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Loney, Glenn. "The American Actor Prepares: Scene-Study for Oblivion?" New Theatre Quarterly 5, no. 20 (November 1989): 315–20. http://dx.doi.org/10.1017/s0266464x00003638.
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Never mind the theory, face the facts: is there room in the American theatre for all the performers graduating as drama majors from American universities? Glenn Loney, who has himself been teaching drama since 1960 as well as writing widely on theatrical subjects, sketches in the background to the American system, looks at the limited horizons for the newly qualified actor, and suggests a shift in the aims and orientation of academic drama – and the expectations of those who pursue it.
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Giebert, Stefanie. "Drama and theatre in teaching foreign languages for professional purposes." Recherche et pratiques pédagogiques en langues de spécialité - Cahiers de l APLIUT, Vol. XXXIII N° 1 (February 15, 2014): 138–50. http://dx.doi.org/10.4000/apliut.4215.
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Hattori, Kenji. "Utilizing Applied Drama in Clinical Ethics Education." Studia Universitatis Babeş-Bolyai Bioethica 66, Special Issue (September 9, 2021): 88. http://dx.doi.org/10.24193/subbbioethica.2021.spiss.53.
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"We examine the significance and necessity of introducing applied drama into clinical ethics education to build ethics competency. Case-based clinical ethics, distant from abstract theory-based discursive ethics, pays close attention to emotions of persons involved in a given case, and of participants in deliberation. Some authors have sensibly emphasized this point. For example, CURA, a reflective method puts forward the crucial step to become aware of own emotions and physical reactions to each difficult situation. These suggest that we should not stay just in rational reasoning to resolve moral problems in clinical settings. Such a stream seems to lead us to the next stage of clinical ethics education. Applied drama is an umbrella term for the various ways to use theatrical elements, outside of theaters, in educational settings. The basic conception is playing. It includes two meanings: gaming and acting. Generally, we stop playing when we grow up. Applied drama encourages us to play again. Playing promotes communications in verbal and physical. In acting like an acting person, we are to put ourselves in another person’s standpoint. Through acting a role, we may live her life and feel vividly his emotion but by imagination. Thus, applied drama has great potentiality to change the mode of discussion – or deliberation-based clinical ethics. As applied drama comprises various ways such as improvisation, forum theatre, and so on. We will explore their features and application in actual teaching settings. "
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Eriksson, Stig A., and Tor-Helge Allern. "Educational drama in Norway: From cultural expression to curriculum element." Applied Theatre Research 10, no. 2 (December 1, 2022): 155–68. http://dx.doi.org/10.1386/atr_00068_1.
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The article is conceived as a survey exploration of significant historic developmental stages of the Norwegian educational drama field. The article first engages in an historical consideration of educational dramatics from traces of performed education in old Norse culture, via school drama organized by the church in the Middle Ages, to a decline of drama and theatre after Pietism in the eighteenth century, with a succeeding narrower view of knowledge and teaching in the following century and scarce information about drama as education. The focus then turns to deliberation of educational reforms in the twentieth and twenty-first centuries, offering new possibilities for drama pedagogy through the Progressive Education movement, followed by identifying the position of drama in the six national curriculum reforms from 1939 to 2020 and the changing role of the subject area resulting from policy accentuations underlying curriculum revisions.
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Hunt, Ava, and Roger Wooster. "Social distancing without emotional distancing?1." Journal of Applied Arts & Health 12, no. 3 (December 1, 2021): 393–401. http://dx.doi.org/10.1386/jaah_00080_1.
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The COVID-19 pandemic has impacted every aspect of society and no more so than in educational applications of theatre for children in schools. This article explores the complexities of what applied theatre/drama offer the young to think critically and develop empathetic human relationships crucial to sound mental health. The article’s authors reaffirm ways in which applied theatre/drama and TIE have contributed to healthy social development through contributions to the Personal, Social and Health Education curriculum. Cited are recent projects with compromised praxis in the face of the pandemic. Identified is a shift in educational priorities that are returning to traditional approaches in place of wider heuristic social education. Consequent moves to online teaching and imposition of social distancing has led to concerning levels of social distancing potentially impacting negatively on mental health of the young. However, applied theatre/drama disciplines play a particular role in facilitating emotional maturity through critical thinking.
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Alam, Sohaib, and Basem Okleh Salameh Al-Hawamdeh. "Dynamics of integration of process drama in EFL classrooms: A holistic approach of activity based pedagogy." e-mentor 96, no. 4 (October 2022): 70–81. http://dx.doi.org/10.15219/em96.1580.
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Theatre/drama is an art form that conveys feelings and emotions, as well as thoughts and concerns from the history of human civilisations. Theatre and drama have been used and defined for educational purposes in many different ways. They can be effectively assimilated in language classes to achieve a communicative goal through the integration of four basic language skills (LSRW), and are a powerful tool for engaging students with content. Drama engages students in social contexts where they can think, imagine, talk, manipulate concrete materials and share their views on various social issues. This study uses a quantitative method to collect data from respondents and explores students' perspectives on the use of drama techniques for educational purposes. This paper aims to explore the main problems and challenges faced by teachers in real classroom situations. It also describes how educational drama activities can be assimilated into second-language classrooms, and highlights the strategies of role-play, visualisation and classification, as well as how they can be used in the classroom. It also aims to discuss how drama techniques can be effectively improvised and implemented in English language teaching in an EFL/ESL context.
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Purnama, Yogi, Kartono Kartono, and Sohibul Anwar. "THE MAIN CHARACTER INNER CONFLICT ELEMENT IN DRAMA MANUSCRIPT NYANYIAN ANGSA CREATION BY ANTON CHEKOV AND THE IMPLICATIONS TOWARD LITERATURE TEACHING." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 4, no. 1 (July 16, 2020): 73–85. http://dx.doi.org/10.30998/jh.v4i1.320.
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Abstract: The inner conflict element which happen to main character in the drama script nyanyian angsa creation by Anton Chekov. The research method which using for analysis the script is qualitative method that description analysis. Research focus internal conflict element in drama script nyanyian angsa creation by Anton Chekov with subject focus element Id >< Ego, Id >< Eros and Superego >< Thanatos. The research instruments analyze scene that have an element of inner conflict in the script nyanyian angsa creation by Anton Chekov. To get the results the writer using presentation table from the element of inner conflict that accumulated. The impact of implications for students, the students must be directly involved actively in literary learning activities that is drama script in the school. The student also required to understand the contents of the drama script very well. To improve literature learning that is drama script, students must improve own learning method outside of school hours, for example be part of theatre extracurricular activities. This is intended so that the ability of students can be channel properly. Key words: inner conflict, drama script, literature teaching.
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John A., Hawkins. "Alternative Pedagogies, Cultural Studies, And The Teaching Of Drama And Theatre." Theatre Research in Canada 19, no. 2 (September 1998): 158–76. http://dx.doi.org/10.3138/tric.19.2.158.
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Donnery, Eucharia. "Testing the Waters: Drama in the Japanese University EFL Classroom." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 1 (January 1, 2009): 17–33. http://dx.doi.org/10.33178/scenario.3.1.3.
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This paper explores the rationale for including drama-based pedagogy into the curriculum of the Department of English at Ritsumeikan Asia Pacific University (APU) in Japan. Traditional Japanese teaching practices are explained, followed by an outline of the parallels between drama-based pedagogy and teaching practices of the Japanese elementary school. Contrary to popular expectation, drama-based pedagogy is compatible with existing traditional and cultural systems of education in Japan. Therefore, drama-based pedagogy was included in the Fundamental English language course at APU to provide the students a bridge to move from teacher-led styles of junior high and senior high schools to return to the more learner-centered styles of education of the elementary educational system. This would seem a reasonable way in which to facilitate more cooperative, rather than competitive, styles of learning. Secondly, within the course subject matter of “Intercultural Communication”, drama-based pedagogy could be employed through role plays and self-reflection inside the classroom to allow the students to experience awareness of differing communicative styles when engaged in social interaction with the international students outside of the classroom. Likewise, the process of self-reflection in drama and theatre practices is a complex mix of introspective interrogation and affective engagement, which forms the catalyst for dramatic communication. The purpose of this paper is to present one specific case where drama-based pedagogy was incorporated into the English language curriculum of a rather unique Japanese university.
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Küppers, Almut. "The DICE Consortium (2010), The DICE has been cast." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 1 (January 1, 2011): 107–12. http://dx.doi.org/10.33178/scenario.5.1.12.
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“Alea iacta est” is attributed to Julius Caesar and his decision to lead his army across the river Rubicon and by so doing engage in a long civil war against Pompey. “The dice is cast” the old-fashioned English version of the famous Latin saying means that a point of no return has been passed and something inevitable might happen soon. This is the figurative allusion the DICE Consortium has chosen for the presentation of their research results on educational drama and theatre and the question is whether or not the metaphor is really holding water. Is that the empirical breakthrough we have been waiting for to justify the work with creative drama and theatre in (foreign language) teaching in times of high-speed education in the wake of PISA and Co.? Before having a look at what and who is behind the acronym DICE, let`s open the floor to the big news first! Students who regularly participate in educational theatre and drama activities (as opposed to peers who had not been participating in any educational theatre and drama programmes) “This is too good to be true” was the comment of one of the European officials in the opening keynote in Brussels ...
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Brown, John Russell. "Performance, Theatre Training, and Research." New Theatre Quarterly 12, no. 47 (August 1996): 207–15. http://dx.doi.org/10.1017/s0266464x00010204.
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John Russell Brown, who was a founder member and first Head of the University of Birmingham's Department of Drama and Theatre Arts, and subsequently an Associate Director of the National Theatre in London, here responds to the article by NTQ co-editor Clive Barker in our May 1995 issue, ‘What Training – for What Theatre’, taking as further text an editorial by Richard Schechner in the Summer 1995 issue of TDR. Currently, as a Professor of Theatre at the University of Michigan, John Russell Brown is teaching a production-based undergraduate acting course, and is also an advisor for Theatre Studies at the University of Singapore and a consultant to the School of Drama at Middlesex University. He draws upon this wide range of past and present experience to explore the issues raised by Barker and Schechner – and to suggest some possible ways forward.
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Székely, Éva. "The value of theatre as a teaching method in tertiary education: the activities of the Students’ Drama Club at the University of Oradea." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 11, no. 2 (July 7, 2019): 91–99. http://dx.doi.org/10.24917/20837275.11.2.7.
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The Author describes the main goals of the of the Students' Drama Club of the University of Oradea. The Club was founded in 2012 in Department of English Language and Literature of the Faculty of Letters. It is an amateur theatre group that performs plays in the English language. Students are involved in all the stages of the production of the play. Drama Club attention is paid to the acquiring of correct pronunciation and enunciation, to the under- standing of new vocabulary and text comprehension. Besides the honing of the students skills with the English language, the aims of the Students' Drama Club is also to teach literature, oratory and teamwork, and to teach assertive communication and self-confidence. The activity of Drama Club is also a useful way to establish a relationship between the university and the surrounding community.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Shtefyuk, Valeria. "Actress training by Michael Saint-Denis: improvisation in a mask." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 267–74. http://dx.doi.org/10.32461/2226-2180.39.2021.238738.
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The purpose of the article is to analyze the features of the theatrical and pedagogical activity of M. Saint-Denis and to reveal the specifics of the acting training "Improvisation in a mask" in the context of students' work with a neutral and characteristic mask. Methodology. The biographical method was applied (to cover the director's and pedagogical activity of M. Saint-Denis); the typological method (for identifying and determining the main features of the theatrical pedagogy of M. Saint-Denis in general and the methods of teaching the actor developed by him in particular); the method of comparative analysis (for the study of the training "Improvisation in a mask" with neutral and characteristic masks), etc. Scientific novelty. Studied the actor's training "Improvisation in the mask" of the leading theater director and teacher of the twentieth century. M. Saint-Denis and revealed the features of the work of student actors with a neutral and characteristic mask; analyzed the theatrical and pedagogical activities of M. Saint-Denis as a standardizer of theatrical practice in the context of the developed and implemented curricula for acting in drama schools founded with his assistance (London Theater Studio, Old Vic School, Strasbourg Higher School of Dramatic Art, Canadian National Theater School and the Juilliard Drama Department). Conclusions. M. Saint-Denis's holistic model of acting training is formed on the basis of an organic combination of a physical approach, in which the body learns to turn into an absolute expressive instrument, an internal approach, the so-called realistic characterization, and a comprehensive understanding of the style in the context of mastering physical, vocal, intellectual, creative and emotional skills, allows student actors to master all kinds of drama. The study revealed that the mask was considered by M. Saint-Denis as a temporary working tool that helps to reduce feelings of insecurity and awkwardness, enhance the ability of internal self-awareness, enhance expression and experimental activity, develop concentration of attention, self-control of a student-actor and a harmonious path from the inception of physical qualities. character to their external dramatic expression. The student's task is to fill the mask, to give it life and feelings. If the actor who animates the mask is convincing and sincere, it feels like he has his own facial expression. The aim of the training is: to eradicate cliché-manners; teach students to develop and release creative impulses; to teach students to work on classical roles or roles of the "big style" (according to M. Saint-Denis).
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
Full textAbstract:
Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Heywood, Jennifer, and Gabrielle Houle. "Navigating the Rapids: Teaching Bilingual Theatre Courses in Canada." Theatre Research in Canada 38, no. 2 (November 2017): 250–59. http://dx.doi.org/10.3138/tric.38.2.250.
Full textAbstract:
In April 2016, we attended the final presentations of our students in a first-year acting course at Glendon College, which is the bilingual faculty of York University.1As a part of the course evaluation, the instructor, Jennifer Heywood, asked the students a variety of informal questions about what they had and had not found helpful during the semester. Amongst these was whether or not the bilingual format (English / French) was a good idea. Of the nineteen students, seventeen answered “yes” and two voted “no.” This experience renewed our interest in examining the joys and complexities of a bilingual education in drama and theatre.
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Capra, Umberto. "Motion and emotion on the language learning stage." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 2 (July 1, 2015): 90–100. http://dx.doi.org/10.33178/scenario.9.2.6.
Full textAbstract:
Growing numbers of teachers and students practicing theatre and drama techniques to boost language learning are convinced of the usefulness for the language learning process of improvising or enacting a script, of reinterpreting or faithfully performing a piece of literary drama. The latest findings in the field of neurosciences give a new and robust scaffolding to teachers’ general belief that drama activities boost language learning.It is argued that such expectations are well-rooted in language teaching methodology and that drama, theatre and the performing arts in general do offer a peculiar combination of benefits to foreign and second language learning, as exemplified by: 1) a paradigmatic case of cooperative learning, with naturally inbuilt roles; 2) an authentic reason for repetition and memorization, enriching rote with meaning and expression.Evidence resulting from neuroimaging research and developments of the discovery of mirror neurons and consequent hypotheses about the evolutionary path to the development of verbal language are reviewed to show ’hard science’ support to the beliefs gathered through praxis by teachers and students and to direct a specific focus on (the need for) the connection of body, voice, motion and emotion in (language) learning.
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Freeman, Sandra, Michael Jamieson, Christopher Murray, Ulf Danatus, Göran Kjellmer, Anne Moskow, Ronald Paul, et al. "Reviews and notices." Moderna Språk 88, no. 1 (June 1, 1994): 96–120. http://dx.doi.org/10.58221/mosp.v88i1.10120.
Full textAbstract:
Includes the following reviews:pp. 96-97. Sandra Freeman. Griffiths, T.R. & Llewellyn, M. (eds.), British and Irish Women Dramatists Since 1958.
pp. 97-98. Michael Jamieson. Esslin, M., Pinter the Playwright.
pp. 98-100. Christopher Murray. Hodgson, T., Modern Drama: From Ibsen to Fugard. + Innes, C., Modern British Drama 1890-1990.
pp. 100-103. Ulf Danatus. Russell, J.R., The Penguin Dictionary of the Theatre. + Wandor, M., Drama Today; A Critical Guide to British Drama. + Acheson, J. (ed.), British and Irish Drama since 1960. + Hilton, J. (ed.), New Directions in Theatre.
pp. 103-105. Göran Kjellmer. Cowie, A.P. & Mackin, R. (eds.), Oxford Dictionary of Phrasal Verbs.
p. 105. Anne Moskow. Virago Press - Feminist Publisher.
pp. 105-106. Ronald Paul. Burgess, A., A Mouthful of Air.
pp. 106-109. Frank-Michael Kirsch. Byram, M. (ed.), Germany. Its Representation in Text, Books for Teaching German in Great Britain.
pp. 110-111. Bo Andersson. Günter, S. & Kotthoff, H. (Hrsg.), Die Geschlechter im Gespräch. Kommunikation in Institutionen.
pp. 112-113. Gustav Korlén. Leiser, E., Gott hat kein Kleingeld.
pp. 114-117. Elisabeth Tegelberg. L'année scandinave 1989-1991, Nouvelles du Nord 1992.
pp. 117-118. Börje Schylter. Hedberg, J., Nostalgia.
pp. 118-119. Lars-Göran Sundell. Boysen, G., Fransk grammatik.
p. 120. Redaktionsmeddelande/A Message from the Editors
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Kempe, Andrew J. "Widening Participation in Theatre through ‘Relaxed Performances’." New Theatre Quarterly 31, no. 1 (January 30, 2015): 59–69. http://dx.doi.org/10.1017/s0266464x15000068.
Full textAbstract:
In this article Andy Kempe discusses how a nationwide project has marked a significant step forward in improving access to the theatre for UK audiences who have hitherto felt largely excluded from theatre by mounting a number of ‘relaxed performances’. He makes particular reference to autistic spectrum disorders to illustrate how, in order to widen participation, theatres need to cater for a diverse range of individual needs. The article explores the challenges of catering for children and young people who may be, variously, under- or over-sensitive to sensory stimuli, in both the way performances are adapted and how the front-of-house is organized. A case study is offered of how one small regional theatre sought to address these challenges by giving a ‘relaxed performance’ of its annual pantomime. The impact of the production is considered as well as insights that have emerged from the enterprise. Andy Kempe is Professor of Drama Education and a Teaching Fellow of the University of Reading. His work with students of all ages and abilities has informed his numerous publications on a variety of issues in drama and arts education, including Drama, Disability, and Education (Routledge, 2012).
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Ali, Muhammad Azri. "Students’ Learning Experience in Introduction to Drama Theatre Classes During COVID-19." Journal of Cognitive Sciences and Human Development 7, no. 1 (March 25, 2021): 123–33. http://dx.doi.org/10.33736/jcshd.3040.2021.
Full textAbstract:
The pandemic has caused the closure of educational institutions, which halted face-to-face teaching and learning. The unprecedented situation has left the institutions with no other choice other than implementing online learning to ensure the educational process's continuity. This study examines students' perceptions in Introduction to Drama and Theatre online classes. Three components of perceptions were investigated: the experience in learning the subject online, students' participation in the class, and the materials used in online classes. The quantitative data were collected from 38 first-year students enrolling in the Drama and Theatre programme at UNIMAS. The questionnaire was distributed online using Google Form. The findings showed a positive perception of learning Introduction to Drama and Theatre online, while moderate perception was identified in students' participation in the class. A positive perception was also seen in the materials and platforms used in online classes. Most of the students enjoyed the learning process due to the support from the lecturer. Moving forward, better infrastructure is needed in order to ensure the ability to conduct online learning without any obstacles. All stakeholders are responsible for playing their role to contribute to the online learning environment.
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Parham, Chris. "Description of a Theatre Review Writing Task in an Online University Classroom Setting." JALT PIE SIG: Mask and Gavel 9, no. 1 (January 2021): 15–27. http://dx.doi.org/10.37546/jaltsig.pie9.1-2.
Full textAbstract:
The Internet provides us with a plethora of material to read and view and is the tool that people use today to communicate and acquire information. YouTube is a globally-used platform for individuals and organizations to share audio and visual material. Due to the COVID-19 situation, many teachers in schools and universities have looked to this website to supplement their teaching as it provides a scope and depth of material that is easily and readily accessible to the public. Theatres having been forced to close because of the pandemic have used this platform to share their work, and many teachers, especially those teaching theatre or performance-related studies have accessed recordings of performances to use in the online classroom as it is, as far as I know, the only way to access the arts for free during the pandemic. As a teacher of English language with an interest in drama and theatre arts, I had been viewing many free performances as I hope to share and foster an appreciation of drama and theatre in my students. With that in mind, I attempted to design a theatre reviewing task for use in the EFL classroom. The report shows my findings and my reflections of the task, and reveals that viewing and writing about the theatre arts can have a positive influence on students.