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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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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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Roy, David. "Mask Usage and Drama Teacher Understanding in Australia." Athens Journal of Education 9, no. 3 (July 26, 2022): 393–412. http://dx.doi.org/10.30958/aje.9-3-3.
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This paper presents the research and findings of how some Australian teachers of Drama engage with masks in the classroom. It is part of a larger research project looking at the potential impacts for masks and education in the Australian curriculum. With masks both synonymous with Drama, and multiple resources available for teachers to engage with masks in the classroom, there was no empirical data on if and how teachers in Australia engaged with masks in the classroom. This research asked teachers to self-report on both their skill level in mask usage and to the extent that they engaged with masks in the teaching of Drama in the classroom. Findings note that whilst the majority of teachers did engage with masks; some quite extensively; many staff indicated their own limitations in training and in foundational theory. In addition, many staff used their own time and resources to upskill themselves, placing an importance of the potential for mask usage with children. This has implications for university education courses, as well opportunities for systems and professional development providers in supporting teachers of Drama in their skill base. Keywords: masks, drama, education, teachers
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Stinson, Madonna. "Speaking up about oracy: the contribution of drama pedagogy to enhanced oral communication." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 303–13. http://dx.doi.org/10.1108/etpc-07-2015-0055.
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Purpose – The purpose of this paper is to consider the growing interest in oracy and to propose the pedagogy of process drama as an ideal model for the dialogic classroom. Design/methodology/approach – This paper takes the form of an explanatory case study where the author draws on a successful drama/oracy project in a primary school in Brisbane, Australia, to illustrate the connections between Alexander’s five indicators of a dialogic classroom and the process drama in which the students participated. Findings – The application of this process drama as pedagogy for the teaching and learning of oracy has contributed positively to students’ oral communication skills and intercultural awareness. In addition, parents provide positive feedback about student engagement in school and developing self-confidence because “they have something to say”. Research limitations/implications – There was no formal pre-post test for the oral communication skills on this study, instead the researchers developed a draft “oracy” checklist which deserves further interrogation and development. Practical implications – There are implications for the use of process drama as a means of creating and sustaining the dialogic classroom. Teacher professional development would be required to assist the planning and delivery of dramas that allow for the deep and complex learning evidenced in this study. Social implications – This is an ideal vehicle for assisting in the development of empathy, collaboration, emotional intelligence and intercultural understanding. Originality/value – This is an example of an extremely high-quality curriculum plan and implementation. The importance of engaging in implicit and explicit instruction of oral communication for the twenty-first century should not be underestimated. The process drama allows oral language to be foregrounded, with additional learning opportunities from a range of other learning areas, brought together in a coherent and complex model of practice.
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Melovatskaya, Anna E. "Author’s course in acting in choreography: issues and development prospect." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 3, 2020 (2020): 216–27. http://dx.doi.org/10.31862/2218-8711-2020-3-216-227.
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The article explores the issue of teaching acting in choreography; the author analyzes the relationship between the acting in the drama and ballet theaters, as well as their fundamental differences; the specifics of teaching the discipline “Theory and Practice of Acting in Ballet” and a number of requirements for those who teach this course are considered; in the article, acting in choreography is considered, on the one hand, as a separate area of dramatic art, on the other hand, it is inextricably linked with the dance itself and with the process of training professional dancers. The paper raises the issue of the lack of teaching methodology for acting in choreography at the highest level of education, as a result of which only personal practical experience, understanding, analysis and accumulated knowledge of the teacher who wants to teach this subject can be the basis on which the material for teaching this subject is formed. The article compares the acting programs of Moscow State Academy of Choreography and the Institute of Contemporary Art, and reviews the specialized literature.
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Bulankina, Nadezhda Efimovna, Valentina Aleksandrovna Tsybaneva, and Anna Sergeevna Seredintseva. "Value Dominants of Professional Foreign Language Training: еnvironment approach." Siberian Pedagogical Journal, no. 5 (November 6, 2022): 84–96. http://dx.doi.org/10.15293/1813-4718.2205.08.
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Axiology of professional training and learning languages, both national and international, is under thorough consideration in the aspect of novel dominant values – leadership in education, culture-oriented goals of professional teaching, fruitful results, professional and communicative skills, etc. Thus, this trend needs to create optimal conditions in terms of the developing safe educational spaces for improving the effect professional language training as a whole, and to neutralize some of the negative value effects of the present day global situations of polycultural world. Methodology of this research is focused on integrative approach – cognitive, competence, communication, culture, dominant values as the basic priorities for project methods and modeling development situations of authentic communication in the aspect of language and professional skills of students. The results determined in the threefold value dominant Model reflect on the developing safe educational spaces for improving Knowledge Content and Technology (Drama) that prove the positive fruitful effects of this micro survey in the frames of professional language education, training and learning via the authors’ textbook on “Teaching pronunciation through dramatization” in accordance with the content of evaluation funds that stimulate culture self-determination of a personality and formation of polyculture picture of the world. Teaching pronunciation is positioned as an integral component of phonetic and phonological competence. While the concept of “dramatization” is described in terms of significant professional skills as additional potential for support of psychological balance and intellectual element of professional education. In conclusion the effects of dramatization in the process of teaching pronunciation/training professional skills are summarized, and the prospects of using the authors’ findings in practical classes of a foreign language training are indicated to improve professional skills in the main types of speech activity.
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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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Pitfield, Maggie. "The impact of curriculum hierarchies on the development of professional self in teaching: student-teachers of drama negotiating issues of subject status at the interface between drama and English." Pedagogy, Culture & Society 21, no. 3 (October 2013): 403–26. http://dx.doi.org/10.1080/14681366.2012.759137.
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Peleg, Ran, Malka Yayon, Dvora Katchevich, Rachel Mamlok-Naaman, David Fortus, Ingo Eilks, and Avi Hofstein. "Teachers’ views on implementing storytelling as a way to motivate inquiry learning in high-school chemistry teaching." Chemistry Education Research and Practice 18, no. 2 (2017): 304–9. http://dx.doi.org/10.1039/c6rp00215c.
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Educational research and policy suggest inquiry as one of the most prominent ways of promoting effective science education. However, traditional approaches towards inquiry learning are not always sufficiently motivating for all learners. The EU-funded project, TEMI – Teaching Enquiry with Mysteries Incorporated, suggests that mysterious scientific phenomena introduced via drama-based pedagogies and showmanship skills could have the potential to engage more students emotionally in science and to entice them to solve the mysteries through inquiry. This paper reports teachers’ views on using storytelling in connection with mysteries in the science classroom. The data stem from a case of chemistry teachers’ continuous professional development within the TEMI project in Israel. Data were collected from 14 teachers by means of a questionnaire, interviews, observations, and written reflection essays. The case discusses teachers’ views on the benefits and difficulties of using story-based science inquiry activities.
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Greenfader, Christa Mulker, and Liane Brouillette. "The Arts, the Common Core, and English Language Development in the Primary Grades." Teachers College Record: The Voice of Scholarship in Education 119, no. 8 (August 2017): 1–38. http://dx.doi.org/10.1177/016146811711900806.
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Background/Context Throughout schooling, English learners (ELs) perform well below their monolingual English-speaking peers on literacy assessments, and Hispanics make up the majority of EL students in the United States. There is a strong consensus about the importance of early English oral language skills for ELs’ literacy development, yet teachers are not adequately prepared to meet the needs of these young learners. Historically, policy has not provided incentives for educators to focus on oral language development in the classroom. However, the recently adopted Common Core State Standards (CCSS) emphasize oral language skills. Purpose/Objective This study examines a professional development program that equipped early elementary teachers in five urban schools with arts-based strategies to promote the oral English development of ELs. A second line of inquiry looked at the extent to which the creative drama and dance activities were aligned with CCSS. Participants There were 3,792 K–2 Hispanic ELs (treatment: N = 497; control: N = 3,295) from Title I schools in a large school district in California. Intervention The Teaching Artist Project (TAP) was a two-year K–2 arts and literacy professional development program consisting of 28 weekly 50-minute lessons (14 theater and 14 dance). The project provided classroom teachers with in-service training on utilizing movement, gesture, and expression to promote stimulating English verbal interactions. TAP was specifically intended to engage non-native English speakers in classroom dialogues, facilitating their oral English development. Research Design This study utilized a mixed methods design. To address the first research question, schools were randomly assigned to treatment and control groups. Multiple regressions were run on data from the California English Language Development Test (CELDT) to investigate the impact of the program on the English speaking abilities of K–2 Hispanic English learners. To address the second research question, document review was used to compare the K–2 CCSS speaking and listening standards and the TAP lesson plans. Findings The treatment group was found to significantly outperform the control group (β = 0.13; p < 0.05) on CELDT speaking scores. Additional review suggested that the performing arts activities corresponded well to the CCSS speaking and listening standards. Conclusions/Recommendations Creative drama and dance activities provide rich verbal classroom interactions, boost English oral language skills of ELs, and align with the CCSS. Yet concerns are raised about the lack of speaking assessments on tests created by the Smarter Balanced and PARCC consortiums and the potential subsequent distortion of K–2 instruction.
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Garipova, Ninel F. "Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society." ICONI, no. 1 (2019): 73–82. http://dx.doi.org/10.33779/2658-4824.2019.1.073-082.
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The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the academic genres of the art of piano performance; it played a significant role in the development of musical literacy and the musical hearing of the residents of Ufa. In virtue of a number of existing social reasons the Society was closed down, but following the request of the most educated part of the local nobility and intelligentsia the Ufa Section of the Imperial Russian Musical Society (IRMS). Having existed for only a few years, until the revolution of 1917, it was able to lead the art of music to a new, higher level. Professionals with a higher musical education were conducive to the further expansion of promotion of music with their concert performances and teaching lessons in the musical classes and enhanced the development of the art of professional music in Bashkiria.
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Kušnere, Ilga. "THE POSSIBILITIES FOR IMPROVING TEACHERS EMOTIONAL RESPONSIVENESS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 21, 2019): 198. http://dx.doi.org/10.17770/sie2019vol5.3870.
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The article “The possibilities for improving teachers' emotional responsiveness” is part of the research “Improvement of teachers' emotional responsiveness in further education”. It is devoted to a burning topic of the current times – the development of teachers' emotional responsiveness. The study is methodological in nature. The research aims to develop appropriate teaching methods and techniques, which will contribute to the development of teachers' emotional responsiveness throughout their professional education career. The purpose of the article is to describe and evaluate a set of teaching methods and techniques used in the development of teachers' emotional responsiveness. The study summarises theoretical knowledge about the role of feelings and emotions in the teaching process. It includes the author's created structured scheme of methods and techniques for the development and improvement of teachers' emotional responsiveness, which has already been successfully approved in teacher's lifelong learning. The study discusses each teaching methods' and methodological techniques' deeper meaning and effects on the development of teachers' emotional responsiveness. The author has also provided a detailed description of her methodology “What do I learn about myself?” and analyzes its influence and role in the world of educators' feelings. The results of the research are important for the requirements of the 21st century and the cultivation of healthy pedagogical thinking and habits. The results of the study show that successful continuous development of teachers' emotional responsiveness can be achieved by using such methods as “Working with symbols”, “Self-awareness” and the “Drama method”, each of which include a variety of techniques, along with the author's created ones, for example, “What do I learn about myself?”, “See! Do! Assess!” and “Practicing gratitude”.The research shows how regular work with teachers' self-study can create healthy habits, which contribute to and expand the personality growth and pedagogical thinking.
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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.
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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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Garvis, Susanne. "What is going on in early years music planning? A study of early years teachers' weekly plans." Australasian Journal of Early Childhood 37, no. 2 (June 2012): 122–26. http://dx.doi.org/10.1177/183693911203700216.
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ARTS EDUCATION IS AN Important element of the early years curriculum. Children first learn to express themselves through the arts (dance, drama, media, visual arts and music). Furthermore, numerous studies provide evidence that quality learning experiences in the arts contribute in significant ways to social success and impact positively on a child's academic achievement and long-term education. In Australia, early years teachers are expected to teach arts education. This study explored the weekly planning of 76 early years teachers across kindergartens, preparatory classes and Years 1, 2 and 3 in Queensland, Australia. Settings took a structured ‘curriculum-focused’ approach to learning in the early years, which made the exploration of planning important. Our study looked for segments of time devoted to music throughout the week. Content analysis was used to interpret the weekly plans, with three themes emerging: (1) The majority of the weekly plans were dedicated to literacy and numeracy; (2) Little time was devoted to the teaching of music apart from the scheduled 30-minute music lesson with a specialist teacher in some schools; and (3) Of the limited number of weekly plans that featured music, activities were teacher-directed. These results provide insight to the current understanding and value of music education in the early years curriculum. Key messages can be drawn about the importance of professional development, music advocacy in the early years, and curriculum and policy planning.
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Bulankina, N. E. "СOMMUNICATION COMPETENCE OF A PEDAGOGUE AS A DOMINANT VALUE: POSTMODERN CONTEXT." Educational Psychology in Polycultural Space 53, no. 1 (2021): 37–44. http://dx.doi.org/10.24888/2073-8439-2021-53-1-37-44.
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The problem of this article concerns the value of the communication skills and competence that has steadily risen on the Communicative Stock Exchange over the past ten years due to both global challenges of the modernity, and the current status of Russian public education development in terms of introducing culture of communication into everyday lessons. The purpose of this study is to substantiate the need for the required competence of teachers across all subjects at Regional Destination of cross-border characteristics, and to fill in the gap in the management of current professional education of a pedagogue. Scientific exposition and introduction to the problem will set out the theoretical background of technology, pedagogy and knowledge content of culture of communication and the rational for using it not just in language learning, but in all learning that is based on the ideas and principles of regional and axiological approaches to improving the methodology and scientific support of the tutorials intended for in-service teachers and teaching staff of regional consulting centers. The results of this research cover a) the constructs of the regional project the focus of which is on three main areas of supplementary techniques for doing, being and facing daily difficult situations of communication with others within the routine of the Regional Methodology Centers; b) the answer to the question of how to improve language education, both teaching and learning, spoken communication skills, understanding of text, etc; c) the tutorial practice support for the management of which the Institute Departments are responsible. This comprehensive model of the management of the Regional Methodology Centers presents a number of practical pieces of advice which have focused on the creation of the right atmosphere, both on the role of the pedagogue and the role of the most cooperative students/teachers, on the need of careful planning, timing and preparation during lessons using modern techniques (drama, project works, online and offline activities, business games, modern lesson and its criteria, etc ) for improving the presentation of activities in the regional development spaces, etc. In conclusion the article presents some ideas for further research of the possibilities of the Regional Consulting Centers in improving teachers’ presentation activities in terms of languages for special purposes in the communicative professional spaces.
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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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Lindstøl, Fride. "Tenk hvis – Om fiksjonserfaringer som utgangspunkt for refleksjon i lærerutdanningen." Acta Didactica Norge 10, no. 3 (October 24, 2016): 14. http://dx.doi.org/10.5617/adno.2964.
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I denne artikkelen settes søkelyset på norsk lærerutdanning og på et arbeid med å utvikle et profesjonsverksted hvor sammenheng mellom teoretiske og praktiske perspektiver i utdanningen kan utforskes og drøftes. Profesjonsverksted kan forklares som en læringsarena hvor lærerutdannere fra ulike fag samarbeider om å transformere overordnede mål for utdanning til høgskoledidaktiske aktiviteter og arbeidsformer. Studien tar utgangspunkt i feltnotater og fokusgruppeintervjuer fra en case der fire grupper med studenter har arbeidet med matematiske, norskfaglige og pedagogiske perspektiver knyttet til temaene klasseledelse og tilpasset opplæring. Et teoretisk og analytisk rammeverk fra drama- og teaterpedagogisk forskning bruker mediert fiksjon for å analysere muligheter til sammenheng mellom pedagogisk teori, fagdidaktiske valg og praktisk lærerarbeid. Resultatet fra analysen av studentgruppers intervensjon med tre ulike fiksjonsformer viser hvordan aktivitetene bidrar til sammenheng på ulikt vis: Simulering tilbyr mulighet til å øve og trene på delferdigheter og profesjonsspesifikke situasjoner. Narrative og poetiske fiksjonsformer bidrar til å involvere personlige erfaringer i læringsarbeidet og utvide studentenes didaktiske repertoar. Refleksive fiksjonsformer gir mulighet til å identifisere seg med ulike roller og perspektiver og trene på å bruke et profesjonsspråk for å analysere praktisk lærerarbeid. Studien er et bidrag til å utvikle og forske på høgskolepedagogiske læringsrom mellom skole og lærerutdanning som kan bidra til å skape sammenheng mellom skolefag, pedagogikk og praktisk lærerarbeid.Nøkkelord: lærerutdanning, høgskolepedagogikk, profesjonsverksted, lærerrolle, fiksjon, medieringAbstract In this article we look into Norwegian teacher training and the development of an educational workshop where the link between theoretical and practical perspectives in education can be explored and discussed. This workshop can best be described as an arena for teaching where teacher trainers who teach different subjects cooperate on transforming overriding educational goals into didactic activities and methods of teaching their college students. The course is based on field notes and interviews with focus groups from a case where four groups of students worked with class leadership and adapted learning in the subject areas of Mathematics, Educational Science and Norwegian. A theoretical and analytical framework from research into educational drama and theatre uses the medium of fiction as a way of analysing the possible parallels between educational theory, didactic choices and practical teaching. The groups worked with three different forms of fiction. The result of the analysis of this intervention shows how these activities are linked: Simulation opens up for the possibility of practicing different skills and profession-specific situations. Poetical and narrative forms of fiction encourage the involvement of feelings and personal experiences in teaching, while also offering a common aesthetic framework in the staging of complex concepts. Reflexive forms of fiction make it possible to decentre and acquire a professional language when analysing one’s teaching practice. The course may contribute to developing research into the relationship between educational science at the levels of the school, the college and teacher training, which may in turn link practical teaching, educational science and the different school subjects.Key words: teacher training, educational science at college level, educational workshop, role of the teacher, mediated fiction
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Vangsnes, Vigdis, and Nils Tore Gram Økland. "Lærarens roller - veksling mellom ulike lærarposisjonar i didaktisk praksis." Acta Didactica Norge 12, no. 1 (June 7, 2018): 10. http://dx.doi.org/10.5617/adno.5641.
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SamandragDenne studien er ei oppfølging av ein tidlegare studie der det vart konkludert med at lærarrolla kan ordnast i tre hovudkategoriar: den styrande, den støttande og den tilbaketrekte lærarrolla. Dette er dynamiske roller eller posisjonar som pedagogen kontinuerleg vekslar mellom for å oppnå måla for læring og sosialisering. Problemstillinga i denne studien er å utdjupa karakteristikken av desse lærarrollene og lærarens didaktiske intensjonar med val av lærarrolle. Basert på nye data frå klasserom i grunnskulen der undervisningsmetodane dramaforløp og dramatisering vert nytta i fagundervisninga, gjennomfører me ein dramaturgisk didaktisk analyse av aktørane sine handlingar og kommunikasjon i klasserommet. Funna vert kategoriserte i tre didaktiske aspekt ved lærarrollene: i) lærarens posisjonering, ii) lærarens faglege bidrag og iii) lærarens samhandling og kommunikasjon med elevane. Våre funn viser at kvar lærarrolle har sine distinkte kjenneteikn, og at kvar rolle representerer bestemte intensjonar frå læraren si side. Lærarens avveging mellom ulike undervisningsformer og det Biesta kallar undervisningas fleirdimensjonale føremål stiller såleis krav til lærarens profesjonelle dømmekraft. Kunnskap om desse kjenneteikna og intensjonane kan hjelpa lærarar og lærarstudentar med profesjonell planlegging og analyse av undervising, som korleis dei kan balansera mellom å setja seg sjølv i styrande, interaktiv eller tilbaketrekt posisjon i forhold til elevane si faglege tileigning; om dei vil leggja opp til undervising for elevane, saman med elevane eller ved elevane i samspel med kvarandre og andre læringsmedium. Gjennom ei konseptualisering av lærarrollene ønskjer me å bidra til refleksjon omkring lærarpraksis og lærarutdanning for slik å utvikla diskursen rundt lærarprofesjonen.Nøkkelord: lærarrolle, klasseleiing, didaktisk intensjon, undervisningsdramaturgi, pedagogisk dømmekraftThe teacher’s roles - alternation between different teacher positions in didactic practicesAbstractThis is a follow-up study to an earlier study that explored teacher practice in which it was suggested that the teacher’s role is best understood by considering three main categories of activities: the directing, the supportive and the distal teacher role.Based on new data from primary school classrooms, where the teaching methods process drama and dramatization are used in subject teaching, we perform a dramaturgic didactic analysis of the participants’ actions and communication in the classroom. Our findings are categorized in three didactic aspects of the teacher role: i) the teacher`s positioning, ii) the teacher`s academic contribution and iii) the teacher`s interaction and communication with the students. Our findings highlight that each teacher role has its distinct, but sometimes overlapping characteristics and that each role represents certain teacher intensions. The teacher`s balancing of, on the one hand, the forms of teaching and on the other, what Biesta calls the multidimensional purpose of education places certain demands on the teacher’s professional judgment. Knowledge about these characteristics and intensions may help teachers and PSTs in their professional planning and analysis of their teaching, for instance in finding a balance between placing themselves in a directing, interactive or distal position in the students’ qualification process, e.g. if their purpose is education for the students, together with the students or by the students in interaction with each other and different learning media. Conceptualizing the three teacher-roles might contribute to the development of the discourse on teaching professionalism.Keywords: teacher role, classroom management, didactic intention, the dramaturgy of education, pedagogical judgment
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Fesenko, S. Ya. "Features of the education of the actor-puppeteer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 192–208. http://dx.doi.org/10.34064/khnum1-51.11.
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Background, objectives of the research. The article reveals the method of improving the professional skills of the actor of the puppet theater, aimed at the organic connection of the puppet technique with the actor’s internal psycho-techniques. The peculiarity of creating a stage image in the puppet theater is that the functions of the puppeteer actor in the creating of a role “on the inside line” coincide with the functions of the drama theatre actor. However, the process of making the stage character in the puppet show is built according to other laws: “vitalizing” through the puppet – the main instrument of the puppeteer. Based on the methods of teaching professional subjects in high schools of puppeteers of Kiev and St.-Petersburg, the author develops and complements the teaching methods of the puppet theater actor’s skills, concentrating on the puppet-master’s technique and the process of gradually “reviving” a puppet by virtue of an actor training. Results of the study. Mastering professional skills and abilities takes place based on of working with puppets of various systems in training exercises and sketches, which gradually fills with elements of acting; continues and improves on the stage of the educational theater and ends with the creation of a stage image with a puppet in a diploma performance. The training provides such an external technique, with which the actor-puppeteer correctly performs all kinds of puppet’s moves. For this purpose, it is necessary to learn the possibilities of the puppet in the process of physical incarnation of a role, it is necessary to understand the laws of its convincing plastic living. This can be achieved through training, resulting in skills that will become semi-automatic. The wonder of the puppetry lies in the fact that the viewer, even in the “open manner”, does not notice the puppeteer and directs all his attention to the puppet, watching her “process of living”. However, the skills and abilities themselves will not become expressive means until they are will be connected with the internal psychology of the actor. The purpose of educating the puppet theater actor is to teach him the organic, natural playing with a puppet. The training involves visual control over the puppet, coordination of the self-own body with the puppet’s body and gradual introduction to the training process the elements of actor psychophysics. Because an actor creates an inner image, and the puppet becomes an external plastic expression, a manifestation of this image. The puppet mastering consists in the fact, that the puppet in the hands of the puppeteer reproduces meaningfully and consistently a series of sculptural finished poses, characteristic for a particular role. The construction of sculptural mise-en-scenes and plastic dialogues requires the possession of skills of “microscopic” hand plastics. “Micro-plastics” convinces viewers in presence of an internal monologue and permanent “life” a puppet on a stage. Alternation of movement and expressive postures is the component of the stage action of a puppet. Gradually, through regular training, students in practice study the technical possibilities of the “body” of the puppet – its torso, head, hands, “legs”, beginning to use them freely in stage action. It is advisable to start the development of puppeteer’ technique from the cane puppet, because its construction is closer to the “human”. The observation of the plasticity of the human body takes place in rhythmic lessons. Imaginative thinking of a student and his fantasy help to acquire the ability to analyze, control, choose moves of a puppet, and mutually co-ordinate them in space. Teaching the profession of puppet actor begins with the lessons aimed at the development of plastics of hands and fingers, their professional position. Work of hands is the first and necessary link in the creativity of the actors of the puppet theater. The degree of their training depends on accuracy of working with a puppet. Therefore, it is so important, before giving the student a puppet, to draw his attention to the constant training of dexterity, ductility and expressiveness of hands. In exactly owning gymnastics of the puppet actor’s hands, performing different imaginative and musical-plastic exercises and etudes, a student acquires the vocational specificities and develops his own internal abilities. Such a technique is necessary for the gradual transition from the technique of movement to the ability to use independently this technique for the embodiment of creative ideas in etudes. Creation of etudes is a continuation of training exercises and based on the inventing of the proposed circumstances requiring certain effective actions in these conditions. Motivation for action arises from familiar, understandable, vital for the student of the proposed circumstances. The student gradually, from the rehearsal to the rehearsal, clarifies the plot of the sketch, enriches and clears the proposed circumstances, based on which the storyline unfolds, that forces him to select and fixe the behavior of the actors. Etudes develop a student’s fantasy; they promote the assimilation of the laws of stage action. In etudes, students make their first steps in scenic communication with a partner – a puppet. In etudes, the student first encounters the need to create a scenic character and his behavior logic in the proposed circumstances. All stages of creating a stage etude a student takes on individual classes with a teacher. Conclusions. The process of forming the future actor-puppeteer has a complex character including as well as the mastering the techniques of driving puppets of different systems, from traditional to modern, and the actor’s mastership – the art of stage – reincarnation. This process continues on the stage of the training theater, where the student receives his first scenic practice – in the main and occasional roles, in mass scenes, in partner interaction. The image created in the diploma performance must carry all the signs of the actor-puppeteer profession: temperament, humor, actor mastership and the perfect possession of puppet technique, in any system of theatrical dolls. The Higher Theater Schools of Ukraine basing on the traditions and the latest achievements of stage art, forms the actors-puppeteers who professionally own all of major puppet systems and have the necessary skills to create a scenic image with a puppet. Such an actor will be able to enter in a creative team of a professional theater and continue searching for new expressive possibilities of a puppet at the theatrical stage.
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Yevsyukov, Yu S. "Characteristic features of the upbringing of modern actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 209–22. http://dx.doi.org/10.34064/khnum1-51.12.
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In the time of changing global norms and rapidly developing technologies, modern theatre constantly evolves, adopting new theatrical forms; many of these emerged at the turn of the twentieth and twenty first centuries. In this regard, it is appropriate to talk about the formation of the new creative individual, the modern actor in contemporary theatre. Higher educational institutions, for both theatrical and cinematic professionals, should be aimed to develop not only highly qualified and competitive experts, but also creative individuals. As society is constantly evolving both culturally and spiritually, a contemporary artist has to be prepared to mirror this and progress their own style in respect to these considerations. Therefore, in this article we draw attention to the key characteristics in educating the modern actor. The objective of the study is to answer some of the topical questions relating to students mastering of acting; an attempt was made, focusing on the most important components of the profession, such as the authenticity of playing, improvisation, inspiration, actor’s personality, to concretize the features of the creative image of the contemporary stage master and his theatrical teacher. The methodological basis of the study includes the works of M. Knebel, K. Stanislavsky, M. Chekhov, and a number of other outstanding practitioners and theorists in the performing arts space. It also references studies, articles and publications of modern theatre teachers: P. Bruck, A. Vasilyev, E. Grotovsky, N. Zvereva, D. Livneva, P. Pavi. The results of the research. The Ukrainian theatrical art has always been emotional, lyrical, and sincere. Such his features exist as if out of time. So it was in the era of Schepkin, Solenik, Rybakov, Kropivnitskyi and Staritskyi. These qualities also are characteristic of today’s performing style. Therefore, drama teachers primarily pass on knowledge of traditional psychological theater. However, not forgetting the values of traditional learning, they also master other teaching methods, introducing students in theory and practice to the modern theatrical process, thus adopting the global theatrical language. Compulsory and integral parts of modern theatrical education are various techniques of stage speech and vocal, psycho-technique, methods of control over mental processes. The article also examines the practical skills gained during drama and stage speech lesson and their importance emphasizes, as well as the role such fundamentals features of scenic art as trueness, persuasion of playing, improvisation and inspiration, also an actor’s individuality. It is necessary to conscious that authenticity, trueness of actor’s playing has a great power over the audience. Working on the authenticity of acting, a pedagogue should understand what a student thinks about, how he responds and what he feels while staying in a role of one or another character. The basis of live theatrical playing is also improvisation. The student must distinguish the improvisation onto a scripted line from the poorly rehearsed acting. For professional theatre, it is inappropriate to use the latter type of improvisation, because it can lead an actor away from the role and the stage director’s decisions and deteriorate the spectacle. Therefore, rehearsals should always precede improvisation. Another component typical for creative professions is inspiration. This is the emotional actor’s resource, which is characterized by a highly productive state and an intensity of emotions. Inspiration does not come on demand; it manifests through the love of one’s job, through some bright idea or sometimes it occurs spontaneously and cannot be studied and replicated at will. In addition, while studying, each of students should try to uncover his uniqueness, his individuality and learn to listen to self-own inner voice; he should look for his own interpretation of a particular role. Based on the above, we can draw some conclusions. A student studying acting today should aim to equally master the knowledge of classical acting techniques and understand all the intricacies of modern avan-garde and postmodernist theatre trends, the diversity of which places special demands on the education of a modern actor. A modern artist must skilfully apply in practice the knowledge gained in the learning process . He should freely navigate in various methods of acting, in drama as the primary basis of the performance. He should have an idea about inspiration, improvisation, acting individuality and authenticity of playing, about stage space and time. It would be an error for a contemporary artist to confine himself to the sphere of his profession exclusively, he should understand the connected nature of arts and the relationship between the theatre and other art disciplines. Various techniques of stage speech and vocal, emotive approaches and methods of controlling the inner world are compulsory and an integral part of modern theatrical education. The deeper a student learns the specificity and laws of these arts, the more interesting and professional his performance becomes. In turn, the modern theatre pedagogue while training students should upbringing such features as self-confidence of a student; a sense of responsibility and autonomy; aim for discovery of a student’s individual abilities; development of his taste and a sense of proportion; the ability to analyze and being equipped to distinguishing high art from vulgar and fake.
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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.
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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
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Anderson, Michael. "The Professional Development Journeys of Drama Educators." Youth Theatre Journal 18, no. 1 (May 2004): 1–16. http://dx.doi.org/10.1080/08929092.2004.10012560.
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Notten, Ton. "Researching, teaching and professional development." Teaching Public Administration 31, no. 1 (March 2013): 69–80. http://dx.doi.org/10.1177/0144739413475929.
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Gregory, Janet, and Gilly Salmon. "Professional development for online university teaching." Distance Education 34, no. 3 (November 2013): 256–70. http://dx.doi.org/10.1080/01587919.2013.835771.
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Fenyő, Imre. "Professional Development in Higher Education." Practice and Theory in Systems of Education 12, no. 3 (August 1, 2017): 152–60. http://dx.doi.org/10.1515/ptse-2017-0015.
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AbstractThe University of Debrecen is a participant of the PETRA project (Promoting Excellence in Teaching and Learning in Azerbaijani Universities) with the University of Jyvaskyla, Finland, University of Applied Sciences Vienna, Austria, Polytechnic University of Valencia, Spain. The aim of the project is promoting of teaching and learning excellence in Azerbaijan Universities, by supporting the professional development in higher education and, in the academic community. For this reason, the program wants to enhance the usage of technology and innovative forms of teaching, to provide support for designing courses and for choosing and using diverse approaches in assessment. The purpose of this study is to identify the possibilities of promoting the professional development in higher education and to explore the theoretical landscape: the roles and implications of the professional development. This paper explores the connections between the reflective behaviour of the teachers and their assessment methods and wants to provide new approaches to assessment in the context of the institutional strategies of the higher education. This paper argues for innovative forms of assessment such as the portfolios in teacher preparation or the group-based assessment forms - as methods of promoting higher quality learning. The study investigates the ways towards the autonomous assessment in the higher education, using self-assessment and peer assessment.
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Wilson, Hamish, Tony Egan, and Rose Friend. "Teaching professional development in undergraduate medical education." Medical Education 37, no. 5 (May 2003): 482–83. http://dx.doi.org/10.1046/j.1365-2923.2003.01502_11.x.
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Wood, Leigh N., Tori Vu, Matt Bower, Natalie Brown, Jane Skalicky, Diane Donovan, Birgit Loch, Nalini Joshi, and Walter Bloom. "Professional development for teaching in higher education." International Journal of Mathematical Education in Science and Technology 42, no. 7 (October 15, 2011): 997–1009. http://dx.doi.org/10.1080/0020739x.2011.608864.
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Österlind, Eva. "Drama in higher education for sustainability: work-based learning through fiction?" Higher Education, Skills and Work-Based Learning 8, no. 3 (August 13, 2018): 337–52. http://dx.doi.org/10.1108/heswbl-03-2018-0034.
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PurposeThe purpose of this paper is to highlight the use of drama in the context of professional learning for sustainability, and specifically, a drama workshop on sustainability for in-service teachers. The workshop was designed to explore environmental problems from several perspectives, by using drama techniques like bodily expressions, visualisations and role-play.Design/methodology/approachData are drawn from questionnaires evaluating the effects of a drama workshop delivered in Helsinki in 2017. In total, 15 in-service teachers answered open-ended questions. Responses from experienced teachers were chosen as particularly interesting in relation to work-based learning.FindingsThe findings demonstrate that drama work contributes to education for sustainability in terms of increased self-awareness, critical reflections and signs of transformation; experienced professional learners bring their workplace context into the university, which enriches teaching and learning; and sustainability is a non-traditional subject in need of non-traditional teaching approaches.Research limitations/implicationsThe results of this small-scale study are only valid for this particular group.Practical implicationsThe study gives an example of how applied drama can contribute to learning for sustainability in higher education.Originality/valueThis paper contributes to a growing literature concerning how drama allows participants to work on real problems, from a safe position in a fictive situation, providing both closeness and distance. When students become involved in anas-ifsituation, it leads to increased motivation and practice-oriented learning. As the content of sustainability can be challenging, drama work offers a meaningful context in which concepts and issues can be explored. Fictive situations may contribute to more realistic learning experiences.
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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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Lima Ferreira, Jacques de, and Gisele Rietow Bertotti. "Continuing Education for Professional Development in Higher Education Teaching." Creative Education 07, no. 10 (2016): 1425–35. http://dx.doi.org/10.4236/ce.2016.710148.
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Revshenova, Makhabbat, Esen Bidaibekov, Victor Kornilov, Guldina Kamalova, Shirinkyz Shekerbekova, Seitbekova Gulzhanff, and Kanat Sabrayev. "Professional competence development when teaching computational informatics." Cypriot Journal of Educational Sciences 16, no. 5 (October 31, 2021): 2575–85. http://dx.doi.org/10.18844/cjes.v16i5.6360.
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Bachelors and graduate students are offered in the course of teaching computational informatics, the ability to solve non-standard mathematical problems, which, as a rule, are not included in the content of teaching computational informatics. The article aimed to analyze the application effectiveness of non-standard mathematical problems in the course of teaching computational informatics, elaboration of constructive computational solution algorithms of inverse problems for differential equations, during which the bachelors and graduate students develop own professional competencies. The research conducted a review of previous literature on the topic. Formulation of the inverse problem for differential equations for the investigation of which the computational mathematics finite difference methods are applied, is presented. In the course of investigation, it was revealed that at elaborating the constructive computational algorithms of its solution, the bachelors and graduate students develop not only fundamental knowledge in the field of applied and computational mathematics, computational informatics methods, but also develop the professional competences, including computational thinking.
Key words: professional competence; computational informatics; computational mathematics methods; non-standard.
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Weeks, Patricia A. "The teaching portfolio: A professional development tool." International Journal for Academic Development 1, no. 1 (May 1996): 70–74. http://dx.doi.org/10.1080/1360144960010108.
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Spencer, Trina L. "Cooperating Teaching as a Professional Development Activity." Journal of Personnel Evaluation in Education 20, no. 3-4 (December 2007): 211–26. http://dx.doi.org/10.1007/s11092-008-9057-8.
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KIZILTEPE, ZEYNEP, and Özlem Sali. "Professional Development for Effective Teaching in Higher Education." International Journal of Higher Education Pedagogies 2, no. 4 (December 20, 2021): 28–37. http://dx.doi.org/10.33422/ijhep.v2i4.81.
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Improved instruction leads to effective student learning, which is one of the key elements for the success of the higher education institutions. Most faculty members begin teaching professionally based on their experiences as university students, without completing any formal professional development program. The aim of this study is to investigate the needs of faculty members in a newly established private university in Istanbul to improve their teaching and learning process. Findings are based on the answers of 200 faculty members aged between 25 and 75. Besides the demographic information which included if they have had any professional development program, the study entailed a checklist. Whether they needed information about distance education (teaching methods, measurement and evaluation, student relationships); face to face education; (teaching methods, active teaching techniques, critical thinking, classroom discussion, effective techniques for large and small classes, differentiation, classroom management); and general information (techniques to cope with stress, learning styles and strategies, syllabus design, to evaluate student learning, student centered learning, increase student motivation, teaching technologies) are among the items of the checklist. Results showed that the 97% of the respondents had never had a professional development program before. While measurement and evaluation were the areas that they felt they needed to be informed the most, classroom management was the least one. As a result, a professional development program for all faculty members was highly recommended to the institution.
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Harwood, Tracy, and Jane Clarke. "Grounding continuous professional development (CPD) in teaching practice." Innovations in Education and Teaching International 43, no. 1 (February 2006): 29–39. http://dx.doi.org/10.1080/14703290500467400.
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Fish, Della. "Appreciating teaching as a basis for professional development." Teacher Development 1, no. 1 (March 1997): 21–34. http://dx.doi.org/10.1080/13664539700200004.
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Xu, Jianzhong. "Promoting School-Centered Professional Development through Teaching Portfolios." Journal of Teacher Education 54, no. 4 (September 2003): 347–61. http://dx.doi.org/10.1177/0022487103255015.
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Kuijpers, J. M., A. A. M. Houtveen, and Th Wubbels. "An integrated professional development model for effective teaching." Teaching and Teacher Education 26, no. 8 (November 2010): 1687–94. http://dx.doi.org/10.1016/j.tate.2010.06.021.
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Michałowska, Danuta A. "Edukacja demokratyczna a kreatywność." Filozofia Publiczna i Edukacja Demokratyczna 2, no. 1 (July 14, 2018): 58–72. http://dx.doi.org/10.14746/fped.2013.2.1.2.
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In democratic education should be used special forms and methods of teaching and learning. One of such method is drama, which stimulates creativity and self-expression. The results of the research showed, that drama is an effective teaching and learning method by experience, because it stimulates both the cognitive and affective development. Moreover, teaching through drama helps young people to become receptive to values and to shape their own system of values. Drama with elements of the psychodrama can be simultaneously applied as the method of the democratic education and as the method of upbringing in ethical and philosophical development.
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Gong, He. "Application of Multimedia Human-Computer Interaction Technology in Preschool Children Drama Education." Advances in Multimedia 2022 (October 11, 2022): 1–11. http://dx.doi.org/10.1155/2022/6388057.
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With the continuous development of multimedia technology and children’s drama education as a very important part of preschool education, the combination of the two has attracted the attention of many scholars at home and abroad. Drama education for preschool children is the initial stage of children’s learning and the most important part of preschool education system. At the same time, preschool children drama education is the most basic stage of children’s intellectual development. The correct and reasonable preschool children drama education plays a great role in promoting their intelligence and development. The drama education for preschool children based on multimedia human-computer interaction technology not only expands new teaching methods for the traditional drama education model but also provides a good platform for teachers to choose teaching resources and injects new vitality into preschool children’s music education. This paper proposes the application of multimedia human-computer interaction technology in preschool children’s drama education. We analyze the current preschool children’s drama education curriculum reform that has limitations. The level of teachers’ drama education needs to be improved. Young children lack awareness of drama. Drama education for children lacks strong support from parents and other problems. In order to solve the above problems, we focus on voice interaction technology, image interaction technology, and somatosensory interaction technology in multimedia human-computer interaction technology, which establishes a set of teacher-multimedia-student three-dimensional crossover multidirection learning activity modes. In the multidirection learning mode, students can quickly develop their sense of rhythm. Teachers use image interaction technology to guide students to think about the relationship between content and form, so as to gradually form their own unique style of drama. At the same time, somatosensory interaction technology can cultivate teaching tasks seamlessly connected with the environment, so that students can follow the hologram through hands-on practice. Finally, this paper sets up a questionnaire on the experience of human-computer interaction mode in preschool children’s drama education, mainly to conduct a questionnaire survey on front-line drama teachers, aiming at preschool children’s drama learning activities and teachers’ teaching methods. In numerical experiments, we show teachers’ evaluation of the teaching effect of speech synthesis technology integrated into preschool children’s drama education and the classroom effect evaluation of speech synthesis technology integrated into preschool children’s drama education. The evaluation results show that the application effect of multimedia human-computer interaction technology in preschool children’s drama education is good, which can provide better services for preschool children’s drama education.
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Carlson, Mary Alice, Ruth Heaton, and Molly Williams. "Translating Professional Development for Teachers Into Professional Development for Instructional Leaders." Mathematics Teacher Educator 6, no. 1 (September 2017): 27–39. http://dx.doi.org/10.5951/mathteaceduc.6.1.0027.
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In recent years, teacher noticing of children's mathematical thinking has emerged as an important and generative construct in mathematics education (Sherin, Jacobs, & Philipp, 2011). Less is known about ways instructional leaders notice teachers' learning. Between 2011 and 2015, we facilitated professional development (PD) in which coaches, principals, and teachers studied mathematics teaching and learning together. Our initial focus on teacher decision-making was inadequate in meeting instructional leaders' learning needs. We adapted the PD to focus instructional leaders' attention on the work of learning teaching. Analysis of leaders' discourse revealed shifts from noticing teacher characteristics to noticing dilemmas and decision-making within teaching and coaching. Findings suggest new roles for teacher educators and new forms of PD for instructional leaders.
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Kryeziu, Sindorela Doli. "Language Development Through Drama in Preschoolers." European Journal of Language and Literature 5, no. 1 (April 30, 2019): 15. http://dx.doi.org/10.26417/ejls-2019.v5i1-189.
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The child develops as a whole, in all developmental areas. The overestimation or underestimation of any field is a mistake because the child does not develop once in the physical aspect, then emotional, intellectual, and so on. Therefore, the division between the fields is also largely formal. Just as the child's development is thorough, specific areas of development must also be seen as part of a whole, the effectiveness of which depends largely on the level of integration between them. One of the most important infrastructures of today's society of information is education, the main purpose of which is the preparation of creative and innovative people. Education has developed an integrated approach to early childhood education, which naturally combines the process of education, health care, education, child play, artistic education and professional care to their development. In this context, important steps were taken regarding preschool education such as in designing methods for pre-school education, drafting general standards of pre-school education and pre-school curricula / preparatory classes. In order to have a genuine linguistic development an important step is artistic education, which includes a wide range of activities. In this field are summarized all the activities that enable the child to communicate through visual presentation, musical sound, dramatic expression, audiovisual means, etc. Artistic education introduces children with elements of art, entertains and offers them opportunities to develop artistic "gift". Fields of art, which traditionally take place in the activities of preparatory classes, are music, applied art, graphics and drawing. An important place in artistic education has won the theater activity and mass media. Therefore, we will deal in our paper with their language development through drama.
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Dos Santos, Luis Miguel. "Pre-service teachers’ pedagogical development through the peer observation professional development programme." South African Journal of Education, no. 40(3) (August 31, 2020): 1–12. http://dx.doi.org/10.15700/saje.v40n3a1794.
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Student-teaching internships in a teacher-preparation programme are a significant way for teachers to gain practical skills and transfer their textbook knowledge into classroom practice. One of the outcomes of student-teaching internships is that pre-service teachers can observe experienced teachers’ teaching pedagogy and strategies for implementing their skills. The purpose of the research study reported on here was to explore how pre-service teachers acquire and improve their teaching pedagogy through the peer observation training model at the secondary school at which they intern, with a focus on pre-service teachers with an interest in science, technology, engineering and mathematics (STEM) teaching. The results indicate that most of the participants could learn and improve their teaching pedagogy through the peer observation professional development programme – particularly young teachers without significant work experience. More importantly, the research proved how a peer observation cycle programme may apply to different educational systems with similar structures internationally, particularly in former European colonised countries with similar backgrounds.
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Kempe, Andy. "Research into the Continuing Professional Development of Drama Teachers." Research in Drama Education: The Journal of Applied Theatre and Performance 3, no. 2 (September 1998): 254–57. http://dx.doi.org/10.1080/1356978980030213.
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Davis, Beth P., Carolyn K. Clevenger, Samuel Posnock, Bethany D. Robertson, and Douglas S. Ander. "Teaching the teachers: Faculty development in inter-professional education." Applied Nursing Research 28, no. 1 (February 2015): 31–35. http://dx.doi.org/10.1016/j.apnr.2014.03.003.
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Alzahrani, Maha. "Saudi EFL Teachers’ Attitudes towards Professional Development." International Journal of Learning, Teaching and Educational Research 19, no. 11 (November 30, 2020): 242–58. http://dx.doi.org/10.26803/ijlter.19.11.14.
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The study reported in this paper aimed to investigate the Professional Development (PD, henceforth) needs of English language teachers in Saudi Arabia. Its primary objectives were to assess the needs of PD and training of Saudi English language teachers and to explore the teachers’ attitudes towards the amount and quality of English teaching preparation received prior to their teaching career. The study adopted a mixed-method approach in order to gain a deep understanding of the phenomenon under investigation. The participants of the study included 109 Saudi teachers of English language who teach in public schools. The study involved quantitative and qualitative data collection methods. Whilst the quantitative data of the study was gathered via a survey questionnaire, the qualitative data was obtained via interviews with 10 of EFL teachers. The findings indicated the teachers’ dissatisfaction with the amount and quality of pre-service training they received. This was due to poor information, a lack of qualified trainers and limited selection of topics which does not serve their teaching needs.
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McCaslin, Greg, and Madeline Cohen. "Professional Development for Teaching Artists: A Sampling." Teaching Artist Journal 2, no. 1 (January 2004): 4–11. http://dx.doi.org/10.1207/s1541180xtaj0201_2.
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McCaslin, Greg, Harlan Brownlee, Michele Kotler, and Sarah Johnson. "Professional Development for Teaching Artists: A Sampling." Teaching Artist Journal 2, no. 2 (June 2004): 76–86. http://dx.doi.org/10.1207/s1541180xtaj0202_2.
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McCaslin, Greg, Anne Rhodes, and Ted Lind. "Professional Development for Teaching Artists: A Sampling." Teaching Artist Journal 2, no. 3 (September 2004): 140–52. http://dx.doi.org/10.1207/s1541180xtaj0203_2.
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Mikelsone, Ilze, Jana Grava, and Vineta Pole. "Pre-school Teachers' professional development needs concerning competency-based teaching." Cypriot Journal of Educational Sciences 17, no. 1 (January 31, 2022): 306–19. http://dx.doi.org/10.18844/cjes.v17i1.6716.
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The competency-based approach is currently introduced throughout the whole pre-school education system, and this process reveals the uncertainty, doubts, confusion, and unpreparedness of teachers for the implementation of this task. It also highlights the need to provide new guidance for the professional development of in-service teachers. The article presents the results of a survey on the professional needs of pre-school teachers for implementing a competency-based approach. The research data is obtained from focus group discussions, teacher surveys, and self-assessments from teachers’ professional development courses. The research data shows that the most topical professional development needs of pre-school teachers are linked to the need for an in-depth understanding of such components of competency-based approach as equity, meaningful assessment, personalized learning, transversal skills, and learning environments, allowing to identify the tasks for the professional development of teachers to promote a common understanding for implementing a competency-based approach in pre-school education.
Keywords: competence; competency-based approach; professional development; professional needs; pre-school teachers