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1
Blewitt, David. "Drama in Tudor education : education in Tudor drama." Thesis, University of Bristol, 1986. http://hdl.handle.net/1983/9c1050cb-a734-4151-b3f4-63ff22554368.
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The present work argues for the invaluable contribution of boy actors to the evolution of Tudor drama. Since most young scholars later went up to university or the'Inns of Court, I have also considered the course of drama in those institutions. This drama in education was given its prime impetus by visiting professional troupes, whose itineraries included schools, universities and the Inns. The education in drama they set before their audiences helped shape the schools drama, which was able to develop and expand in a way denied the professionals by the consequences of the Reformation. Not till Leicester's men established themselves at the Theater were the professionals enabled once again to strive towards their eventual pre-eminence. The argument in those'sections dealing with the colleges of Winchester, Eton and Westminster is supported by original archival material hitherto unavailable in print. The Introduction states the situation at the moment of the foundation of the Theater and of the first Blackfriars. That significant moment marked the beginnings of the decline in the fortunes of the forces of drama in education. The prehistory is rooted in the broad educational changes of the late fifteenth and early sixteenth centuries (Chapter I) and in the seminal effect upon the drama of the sermons of the mendicant preachers of the later Middle Ages (Chapter I). These twin influences forged the drama of pre-Reformation England, defined the roles of professionals and boys alike (Chapter II).
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Harpe, Sabina Dorothea. "Children's conceptions of drama in education." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30644.
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This study has been an investigation of children's views of drama in education. It
invited children to reflect on the dramatic process as used by a classroom teacher in the
context of integrated units of study. The specific research question addressed was:
What are children's conceptions of drama when used by a non-specialist classroom teacher as an integral part of learning?
Children, ages 10-12 years, were observed and then interviewed in a semi-structured manner. The data were analyzed according to the phenomenographical research methodology. This suited the intent of the study in that the aim of phenomenography is to discover and describe the world as seen by participants. The results were presented in the form of conceptions which are descriptions representing the various ways people view, experience or conceptualize their experiences. Seven such conceptions, falling into three different groups, were discovered. The first group identified three ways in which children viewed drama as a purposeful strategy used by a teacher: (a) drama is a tool, (b) drama is a way of linking, and (c) drama is a novel way of teaching. The second group identified three ways in which children viewed themselves participating in the dramatic process: (a) drama is something one must take part in, (b) drama is play, and (c) drama takes on a life of its own. The third group dealt with one specific area of drama and identified role taking as being like the donning of a cloak.
Insights from the study centered around three major observations: (a) the importance of understanding the meaning making of learners, (b) the importance of reflection, and (c) the power of drama in education as an educational strategy. Implications for educators and recommendations for further research were derived from these themes.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
3
Okoli, Emmanuel Chinyeaka. "Reconciling cultural values through drama education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20798.pdf.
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Finneran, Michael J. "Critical myths in drama as education." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1987/.
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Drama as education is a relatively young concern, which has been primarily occupied with developing a strong tradition of practice. As a result it has suffered from a dearth of theoretical and critical engagement. This situation has led to the existence of a range of unquestioned beliefs and practices that underpin much of the governance, traditions, knowledge and operation of drama in educational settings. The thesis examines the existence and location of the community of drama as education, reviews the discourse of the community, and seeks to understand previous attempts at demythologising. This thesis proposes a critical understanding of the idea of myth in order that it can be used in a positive and beneficial manner. Utilising a post-modern critical research methodology, it constructs a bricolage of theoretical perspectives that collectively are used to locate, identify and interrogate areas of myth. A new typography of myth reveals four dominant areas of operation, and examines the manner in which myths impact upon the educational and cultural institutions in which they occur. The forces that conceive of, operate and perpetuate myth are understood to be language, power and ideology. These elements operate in conjunction with each other, with human agency at the helm. The thesis is in nine chapters. Chapter 1 sets the scene and introduces the range of the research. It is followed by Chapter 2 which seeks to put in place a range of theoretical perspectives upon which the methodology is constructed. Chapter 3 provides further theoretical insight into the location of the research, and Chapter 4 constructs a critical mythic bricolage, defines its usage, and proposes a contemporary typology of myth. Chapter 5 identifies the ‘Point of Entry Text’ – the primary school drama curriculum in the Republic of Ireland, and deals with the category of governing myths. Chapter 6 is concerned with traditional myths, Chapter 7 examines epistemological myths, and Chapter 8 teases out operational myths. Finally, Chapter 9 looks to the future of myth after demythologising, and seeks to begin engaging with the inevitable process of remythologising.
5
Wissmann, Cheryl. "Linking creative drama with Christian education." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Graham, Shelley T. "Dramaturging education and educating dramaturgs : developing and establishing an undergraduate dramaturgy emphasis at Brigham Young University /." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd511.pdf.
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Cody, Tracey-Lynne. "Drama education in New Zealand schools: the practice of six experienced drama teachers." Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.
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This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lenses of Artist and Co-artist, the study identifies the socio-cultural nature of the practice of these teachers. Teachers’ artistry is revealed through creative use of drama tools and processes to create aesthetically-rich learning experiences. The significance of relational pedagogy to teaching and learning in these drama classrooms is also examined within the study. Teachers’ accounts reveal the ways they seek to develop interpersonal relationships with and between students, and establish ensemble-based approaches to learning in drama. As co-artists, participants employ pedagogies that empower students to actively participate in a community of drama practice, intentionally developing students’ capacities for collaboration, creativity and critical thinking, while discovering and developing their artistic-aesthetic capabilities. These teachers share power with students through acts of negotiation, creating dialogic learning opportunities in order to develop student agency as artists and citizens. Attempts to navigate tensions that arise due to increased performativity pressures on teachers and to avoid prescriptive and technocratic delivery of drama curriculum are also explored. In-depth interviews were conducted with participants to discover the complexities of their teaching practice, the philosophy of drama education they hold, and the decisions they make in curriculum content and pedagogy. Observations of classroom practice were also undertaken, along with an analysis of planning documents and an interview with their students. The study provides six rich case studies of drama practice in New Zealand schools, contributing to local and international understandings of enacted drama education within school settings. Implications for educational policy, curriculum design, classroom practice and teacher education arise from this investigation.
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Sessoms, Todd Kristian. "Drama in education experiencing for social transformation /." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Sessoms_T%20MITthesis%202007.pdf.
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Widdows, Joy. "Supportive and oppositional behaviours in drama education." Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322265.
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Jones, Gaybrielle Irene. "Using Drama Therapy Techniques in Secondary Education." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1334167898.
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Pheasant, Patrick Iain. "Engagement in Process Drama for Language Education." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21005.
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This thesis reports on the findings of a phenomenographic study exploring the role of different types of engagement in process drama for language education. This study provides a framework for describing in detail the participants’ subjective experiences of the phenomena of dramatic engagement and subsequent aesthetic engagement. The framework emerged from the findings and is useful for understanding dramatic engagement in all process dramas and its application in language education in Australia and internationally. The research was at an Australian University English Language Centre where a facilitator with experience in using process drama in language education was video recorded conducting three workshops over three weeks with ten adult international students. Linking two decades of research in dramatic engagement in process drama for language learning (Piazzoli 2018; Kao and O'Neill 1998), this study addressed the interaction of role, narrative and tension during process drama and its impact on language education. Sociocultural learning theory from the works of Vygotsky (1980, 1997, 2004) and transformative learning theory from the works of Mezirow (Mezirow 1991, 1997, 2000, 2003) were used to explore the transformative capacity of dramatic engagement in process drama from a sociocultural perspective. Phenomenography was used to crystallise the dramatic engagement occurring in the dramas. Using the key phenomenographic techniques of bracketing and reduction (Åkerlind 2008), this research investigated the phenomena of dramatic engagement for four specific cases and provides a multifaceted and systemic description of how an adult student of English learns through process drama when they are engaged with the art form. Three key moments of dramatic engagement were investigated through observation and video recall. Quality and quantity of multimodal linguistic devices were demonstrated when students were dramatically engaged and analysed from language education, process drama and dramatic engagement perspectives. The research revealed that during dramatic engagement, participants managed the dramatic elements narrative, role and tension through playbuilding, roleplaying and sensemaking processes. Metaxis, metacognition and meta-emotion acted as catalysts for dramatic engagement with the participants and contributed positively to the process drama and language learning experience. The thesis concludes that language education can be improved for international students studying English in Australia to provide a transformative learning experience through dramatic engagement. A framework for exploring aesthetic engagement through dramatic engagement is proposed. This research is significant for Australia’s third largest export industry, international education, and for aestheticians, process drama practitioners and language educators who are synergizing teaching and learning practice between these three growing pedagogies.
12
Anderson, Colin. "Teaching Social Studies Through Drama." DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.
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Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices,
cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely &
Savage, 2011; Lement & Dunakin, 2005}.
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Karlsson, Evelina, and Sofia Larsson. ""Drama har tappat lite status. Men jag tycker drama är viktigt." : Pedagogers perspektiv på förutsättningar för arbete med drama." Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48521.
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Förskolan har en läroplan att utgå ifrån vad gäller innehåll och målsättning i det pedagogiska arbetet. Läroplanen har omarbetats och reviderats och detta har lett till konsekvenser i förskolan som verksamhet. Ett ämne som påverkats är drama som är ett av de estetiska uttrycksformerna där även t.ex. musik, bild och rörelse ingår. Den här studiens syfte är att undersöka vilka möjligheter pedagogerna i förskolan har att arbeta med drama utifrån läroplanen och andra kringliggande ramfaktorer. Genom att analysera både avverkade och aktuella styrdokument för förskolan, samt intervjua yrkesaktiva pedagoger på olika verksamheter framkom det tydligt att handling påverkar konsekvens. Resultatet visar att pedagoger upplever sig styrda av läroplanen, trots läroplanens utveckling från vad som skulle kunna kallas en handbok till ett dokument öppet för egna tolkningar. Drama som ämne kan anses ha låg status där det bortprioriteras, inte av ointresse men på grund av att andra ämnen prioriteras högre. Ramar som tid, kompetens och den politiska styrningen påverkar också det konkreta pedagogiska arbetet. Vilka ramar som pedagogerna själva upplever påverkar dem är ramarna i verskamhetens direkta närhet. Faktorer utifrån var för pedagogerna inte lika synliga.Swedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.
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Yoda, Manami. "Henry Caldwell Cook and Drama Education in England." Thesis, Kyoto University (Japan), 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3579948.
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This study aims to clarify the nature of the theatrical way of Henry Caldwell Cook who was the first to introduce theatre into education for English as a first language. This study critically examines the content of his original teaching method, Play Way, and attempts to appropriately place its context in the history of drama education in England in order to explore how effectively drama can be used in language education. The use of theatre for education has a long history. Commencing in ancient Greece and Rome, it has continued until the present time. However, modern drama education has no more than about a hundred years of history. It was Cook and Harriet Finlay-Johnson who opened the history of this theatrical education. Finlay-Johnson had persistently used theatre to teach all subjects, mainly because of her educational stance as an elementary school teacher. She is closely associated with the leaders of DIE (Drama-in-Education) who adhere to the same educational policy. While Cook also used theatre as a means for language education and did his best to maintain a theatrical framework, there is a fundamental difference between Cook's educational method and that of DIE. His Play Way seems to closely resemble TIE (Theatre-in-Education) in that both bring in theatre for school education. However, this similarity is superficial. In the TIE method, while the autonomy of theatre has always been maintained, theatre in Cook's method was used as a means for education to the end, although concurrently he had been able to properly grasp the nature of theatre. Behind such a view of theatre as an educational end in itself is Cook's recognition of the theatricality of human beings. His theatrical teaching tells us that when using theatre as a tool for language education, we must first correctly understand its intrinsic qualities.
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Yoda, Manami. "Henry Caldwell Cook and Drama Education in England." Kyoto University, 2013. http://hdl.handle.net/2433/175025.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第17676号
人博第643号
新制||人||155(附属図書館)
24||人博||643(吉田南総合図書館)
30442
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 山梨 正明, 教授 田地野 彰, 教授 丸橋 良雄
学位規則第4条第1項該当
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Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made:
1. Questions were used extensively to promote the drama process.
2. The teacher employed a wide range and diversity of questions.
3. Definite patterns emerged in teacher questioning techniques.
4. Specific kinds of learning were emphasized by teachers within the drama.
Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research:
1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described.
2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically.
The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Ormiston, Patricia. "Drama in education : how successful has the classroom implementation of drama been in elementary schools?" Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31252.
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Education in the Arts is a necessary part of every child's development and drama is included in the Fine Arts strand of the curriculum of the Ministry of Education of British Columbia. The purpose for conducting this study was to examine the success of the implementation of drama in elementary classrooms and to examine teachers' conceptions of drama in the curriculum.
This study attempted to discover to what extent elementary classroom teachers were knowledgeable in the methodology of dramatic playing; its structure, purpose, goals, and rationale for its use, and what types of drama elementary classroom teachers were using to meet the goals of drama as mandated the Fine Arts Curriculum Guide (1985).
Data collection included both written questionnaires and oral interviews. The responses to each question were tabulated and an analysis of variance was conducted. Results from the questionnaires and interviews were compared.
The study revealed that a majority of teachers lacked training in the methodology of drama in education. Teachers interviewed claimed little drama was taking place in their schools, whereas the results of the questionnaires found respondents slightly more positive. In both cases the scarcity in which drama appears in elementary classrooms was blamed on "an already overloaded timetable" and "no training”. Those teachers using drama attributed their success to courses or workshops they had attended.
Most teachers saw the merit of drama in the curriculum but many didn't know how to use it as a learning tool in other subject disciplines. Those integrating drama in their programs used it primarily as an extension of whole language. The results of this study indicated that the implementation of drama could not successfully occur unless teachers were exposed to both the theory and methodology of its use in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Henry, Nicole Eiler. "The Importance of Drama as Inquiry." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392106870.
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Ahrling, Carl. "Drama inom den obligatoriska skolan." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31978.
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In this paper, I have conducted a study of what perspectives educational drama has in theory and practice. The study aims to show an example of how and out of what perspectives educational drama is a part of the school’s activity at a geographically distinct school, from kindergarten on to primary and secondary school years. The general attitude of the faculty and their arguments for and against drama constitute the major aspects of this study, which has been carried out through qualitative interviews at a school in Skåne. The results were that pre-school focuses on teaching drama to develop communicative abilities amongst the students (art educational perspective) while secondary school seemingly abandoned this approach and focuses more on using it for personal development, increasing empathy and understanding of other people by taking it to a more emotional level in order to affect for example moral values of the students. Though I find that the faculty in general has a positive attitude towards drama, they expressed they do not wish to increase it either as it would steal focus from the traditional “core” subjects. It is a fact that the national school plans for kindergarten, primary and secondary schools (LPFÖ98, LPO94) do not give any specific guidance on to what extent drama should be used in practice or any directions on how to bring in drama as an integrated part in any particular subject. This, in conclusion, leads to that the responsibility to use drama as an integrated part lies solely on the teachers and drama is used in the education at their discretion, which in turn tend to weaken drama as a prioritized subject. In a highly competitive global environment it is of great importance that the Swedish school system adapts and focuses on progressive and dynamic tools such as drama to inspire pupils and student to higher ambitions.
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Baughan, Lynn. "Drama in further education : a study in cultural marginality." Thesis, University of Warwick, 1990. http://wrap.warwick.ac.uk/106900/.
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This study is an attempt to explore and explain tensions and anomalies associated with the role of Drama in Further Education. An initial intuitive framework suggests that there may be a natural antithesis between the expressive ideology of Drama and the instrumental ideology of Further Education. The frameworks proposed for the exploration include cultural reproduction theory, whilst Drama is perceived as carrying the dilemmas and contradictions of its marginal status. A two-by-two dichotomy is proposed which combines an analysis of Further Education milieu as potentially 'transparent' or 'opaque', and the role of Drama as potentially 'instrumental' or 'expressive'. The study moves accumulatively through three case studies. The first is an historical case assessing the extent, through two representative contrasting periods, to which the problems of Drama in Further Education can be said to reflect wider tensions and ambiguities pertaining to the role of Drama in culture at large. The second case study examines whether the legacy of Further Education is one of historical uncertainty and confusion, and whether Drama has responded in a consistent way to the cross-fire of ideas, interests and rhetorics of justification that it has found itself caught in. The third case study is an in-depth ethnography portrayal of the vicissitudes of Drama in a single institution, Sutton Coldfield College of Further Education, placed against a preliminary city-wide perspective concerning Further Education provision in Birmingham. As a contribution to theory, the thesis seeks tentative generalizations from multi-site and cross-time case studies in several areas, including cultural reproduction theory, modified to take account of sub-cultural tensions, and the moral behaviour and practical gambles associated with marginal subject areas in hostile milieu. It also takes an interactionist perspective on the ploys and strategies by which participants in the contested areas manage the problems of their potentially deviant identities, an account in which the collaborators and fifth columnists have their places. A final consideration is the extent to which the forces of social control in the colleges operate by hegemonic consent or by coercion in seeking to curb and contain Dramatic activity.
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Sammut, Elvira. "Notions of justice through drama." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1239.
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This paper explores and describes the lived-experience of a group of 16-year-old girls in a drama class designed to heighten awareness of values of social justice. The students involved are experienced drama students, with a good knowledge of the theory of role-play and play-making, as well as, sound dramatic skills and techniques. The lived-experience provided the source for the research study that used film as a medium to inculcate notions of justice and equity in the classroom through self-devised drama. Phenomenological research was conducted with a group of seventeen Year II drama students. The students took part in a series of' drama lessons that used a documentary film as stimulus for self-devised drama presentations. Participant observation, as well as the students' own personal reflective journals, were used to collect data that was then coded, collated and categorised into significant statements. The results suggested that a significant number of students understood more about values, recognised alternative actions to resolve conflict, and were generally more empathetic to others after completing the study module. This verified my thesis, that the drama classroom is a good environment to inculcate notions of justice, and that drama students are most receptive to this mode of learning. The results revealed sufficient positive evidence to indicate that concrete recommendations be considered by The Western Australian Curriculum Council for inclusion in Drama syllabi to further strengthen the Council's thrust for a values-based curriculum in Western Australian schools.
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Bryson, Lucy Lynn. "Drama + math = dramath." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.
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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
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Graves, Darlene Richards. "Creative Drama as an Instructional Strategy in Adult Christian Education." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/1350.
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This study reviews the tenents of adult learning. Christian education and creative drama and presents the observation that there are parallel objectives in each of these three major areas. Noting that creative drama is rarely used in adult Christian education, which is primarily cognitive-based and lecture-discussion oriented, the study proposes the application of creative drama strategies to provide an alternative experiential learning process and therefore create a drama strategies to provide an alternative experiential learning process and therefore create a balance of focus between cognitive, affective, reflective and active learning styles in adult Christian education. It also suggests that through the application of creative drama strategies teachers may more effectively realize the intentions of Christian education: to nurture sensitively aware individuals who are continually growing in faith and empathic love for others. Extant theoretical writings about the practice of creative drama and also literature dealing with the principles and intentions of adult Christian education are reviewed for this study. In the process of surveying current theory and practice in adult evangelical Christian education, the study elaborates on its two basic concerns: adult learning and Christian education. The study discloses a discernible gap between theory and practice through which creative strategies in adult evangelical Christian education have fallen. The study advances the conclusion that this gap may be addressed by application of the creative drama process. Creative drama is presented as one viable means of refreshing individual adult creativity and adult group creativity in Christian education and as an additional way through which to nurture empathic awareness and personal spiritual growth. The underlying assumption is that creative drama is a powerful, often neglected, tool by which adult evangelical Christian education groups may be stimulated to more effective learning and growth. Creative drama, adult learning, and Christian education converge in this study to present an advantageous educational angle. Creative drama is an improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact and reflect upon human experiences. Built on the human impulse and ability to act out perceptions of the world in order to understand it, creative drama requires both logical and intuitive thinking, personalizes knowledge, and yields aesthetic pleasure. The strategy clearly interfaces with current findings in adult learning which represent the effective teacher as a facilitator who seeks to guide the adult learner toward more enhanced self-direction and growth rather than primarily as a disseminator of information who seeks to lead the learner into gaining more knowledge. Adult development findings reveal that adults learn best when their needs and interests are considered, their backgrounds, skills and knowledge are recognized as key resources, and they engage in active problem-solving. Likewise, creative drama draws its framework and impetus from similar concerns of the participants, using their interests and resources as the basis for enactment. In another venue, the intention of evangelical Christian education is to nurture believers toward higher levels of faith development, enhanced integrity in moral behavior, and clear exhibition of genuine love and service toward others. In a similar vein, creative drama also seeks personal growth and moral development through empathic awareness in enactment. Hence, the potential for achieving the ideal outcomes in the fields of adult education, and specifically adult Christian education, is more realizable with the application of the creative drama process to adult Christian education. In the course of literature review and the establishment of a rationale for considering the integration of the creative drama process as an instructional strategy in adult evangelical Christian education, additional ancillary, yet significant, aspects of personal and group growth and awareness are considered as part of the affective learning process and therefore discussed in terms of their applications to the proposal. These aspects include: major learning styles, the experiential learning cycle, adult development, group ctynamics, moral education, creativity development, play and the dramatizing impulse, imagination, metaphor, and empathic awareness and sensitivity. Each is considered as an important link in the connection of the creative drama process to adult evangelical Christian education. The study then lays out potential guidelines for the application of the creative drama process as an instructional strategy in adult Christian education. The potential benefits of creative drama are considered in the processes of determining educational objectives and setting up instructional guidelines for the adult student in the Christian education context. The guidelines include: considerations for effective adult motivation, establishment of positive physical and emotional atmosphere for creative experiential learning, and the sequential process for creative role-playing from warm-up, through enactment, to final evaluation. Suggested specific applications of creative drama in Christian education are presented with extensive sample lesson plans, including the rationale and implementation of guidelines for each step. The study concludes with suggested future research and training to achieve the potential of inculcating creative drama techniques in an adult evangelical Christian education context on a more systematic basis and over a broader scope of application. Recommendations are made for future publications and presentations in order to raise awareness of the need find potential effectiveness of more creative and experiential strategies in adult Christian education as well as to train for better teaching and leadership in those areas.
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Frawley-Mangan, Anne, and res cand@acu edu au. "Drama and Religious Education: a match made in heaven." Australian Catholic University. School of Religious Education, 2006. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp109.11092006.
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This thesis investigates the use of drama as a teaching tool in religious education within the context of sacramental preparation. The research is informed by educational theories which suggest that arts education and religious education both rely on aesthetic knowing to construct meaning.The theories which underpin this research claim that this form of knowing honours the students’ freedom to form their own understandings and will be achieved through critical reflection and experiential methods which engage heart, spirit and mind. Drama is one such method and therefore this thesis contends that drama and religious education are indeed ‘a match made in heaven’.
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Cabral, Beatriz Angela Vieira. "Towards a reader-oriented assessment in drama in education." Thesis, Birmingham City University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385164.
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This study has investigated the reader function in drama in education and its potential role in assessment procedures. An overview of how assessment has been approached by drama teachers and theorists in the last two decades has shown that a strong emphasis In experiencing has brought about a concomitant gap in considering the reader dimension in assessment. The claim that the focus on the reader, from the productive role of the audience to the reader stance of the actor, allows for assessing the students' actions and responses without disrupting the on-going drama, is developed alongside the investigation of the literature on production and reception and the philosophical clarification of the main concepts underlying the making and communication of meanings in drama. A reader-oriented model for assessment is developed and illustrated through a diagram of the reader functioning in drama, which represents a guide for teachers' assessment and is the basis of a field experience carried out in a primary and a secondary school. Most of the implications of assessing the reader were made clear when they were observed during the field experience which allowed for re-shaping and expanding the previous chapters. Therefore the field experience represents an illustration of the implications of a readeroriented assessment rather than an empirical trial of it
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Frawley-Mangan, Anne. "Drama and religious education: A match made in heaven." Thesis, Australian Catholic University, 2006. https://acuresearchbank.acu.edu.au/download/b21ae291564c4943f8416ba6256e4303aacfba65c14fe4c06bac79f08228526e/1589222/64871_Frawley_Mangan_2006_Drama_and_religious_education_1_.pdf.
Full textAbstract:
This thesis investigates the use of drama as a teaching tool in religious education within the context of sacramental preparation. The research is informed by educational theories which suggest that arts education and religious education both rely on aesthetic knowing to construct meaning.The theories which underpin this research claim that this form of knowing honours the students' freedom to form their own understandings and will be achieved through critical reflection and experiential methods which engage heart, spirit and mind. Drama is one such method and therefore this thesis contends that drama and religious education are indeed 'a match made in heaven'.
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Hatton, Christine. "Backyards and borderlands transforming girls' learning through drama /." The author has requested that a digital copy of the thesis not be made available on public access; please contact Sydney eScholarship - ses@library.usyd.edu.au, 2004. http://hdl.handle.net/2123/5455.
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Thesis (Ph. D.)-- University of Sydney, 2005.Title from title screen (viewed 30 October 2009). Includes tables and questionnaires. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Education and Social Work. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
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Fleming, Kristina A. "Promoting learning across the curriculum with creative dramatics." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fleming_K%20MITthesis%202007.pdf.
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Chou, Shiao-Yuh. "Primary classroom teachers' integration of drama." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1121/.
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Educators' concerns about drama as pedagogy have been expressed widely in the literature, yet research has been modest. This thesis recognises this gap. A qualitative case study was employed to carry out an in-depth inquiry into classroom teachers' employment of drama. In a belief that primary teachers have their particular needs, this study was orientated to the attempt to identify their challenges and understand their conflicts .resulting from treating drama as methodology across the curriculum. Two contextual analyses suggest that teachers who are used to practising in authoritarian and teacher-centred schooling in which drama is regarded as insignificant can be pedagogically and artistically challenged while using drama as an educational tool in view of its child-centred, dialogic, and knowledge-constructed orientation. In agreement with the theoretical framework generated from the review concerning teachers' qualifications and challenges related to drama integration, empirical evidence suggests that the occurrences of teachers' challenges are associated with their perception, practice, and identity. Results also show that teachers modified their prior concepts of drama and pedagogy . towards those required in drama integration. The teachers' development, which emerged from their dealing with challenges, indicates that there was a pedagogic shift in practice.
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Güzel, Muhammet Çağrı. "DEVELOPING ORAL PROFICIENCY AND MOTIVATION THROUGH SCRIPT-BASED AND IMPROVISATIONAL DRAMA." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/611.
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Utilizing drama has long been an innovative and dynamic concept as a part of a communicative approach in English classrooms around the world. Teaching languages through drama offers many beneficial opportunities for learners. Nevertheless, traditional methods are still the widely held teaching structures across the globe, which results in an increase in the number of demotivated learners who often hate and fear to practice one of the challenging skills when learning a foreign language- speaking- as it is a productive language skill. Not only do the traditional methods bring negative emotional and psychological outcomes, but it also causes a gradual slowdown in the language acquisition process. The aim of this study was to exclude these problems and to provide a learner–centered atmosphere. This study is intended to gain insights, analyze and better understand the use of script-based and improvisational drama to develop oral proficiency by taking student motivation and attitudes into consideration. The study addressed the following questions: 1) What are learners’ motivations and attitudes toward developing speaking skills before the intervention and after the intervention?; 2) What unique roles do the script-based versus improvisational drama play in fostering learners’ development of oral proficiency?; 3) What are the participants’ reactions to script-based and improvisational drama instructional techniques before and after the intervention?; and 4) How do they make sense of their oral proficiency gains as they reflect on the experience of participating in the creative dramatic activity? In order to investigate these questions, 2 sessions of script-based and 2 sessions of improvisational drama, total of 4 sessions of drama intervention were offered to learners, and the researcher conducted interviews, video recordings, and field observations and notes throughout the intervention. Findings indicated that script-based and improvisational drama helped learners improve their oral proficiency, decrease their negative motivations, reduce their stress, anxiety and shyness levels, and increase their positive motivations. This study contributes to our understanding of the role of script-based and improvisational drama in language learning process.
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Khorll, Angela E. "Creating Dramatic Scene Work for Literature in a Secondary Language Arts Classroom." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/KhorllAE2008.pdf.
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Moss, Lynette Kaye. "Insights into drama in the early childhood setting: A rationale for the use of drama." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1388.
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This research is an investigation into the implementation of drama in early childhood education conducted in one Perth metropolitan primary school, over a three-week period. The six drama lessons were taught by the researcher/practitioner in a Pre-primary and a Year One class. These students were chosen for their limited exposure to the Drama in Education experience. The expectation was of a less conditioned response both in their conduct and expression within the drama environment. The lessons were captured on video and transcribed, then analysed utilising an ethnomethodological methodology. The responses of these children were recorded in an attempt to disclose how a group of young children share knowledge during a drama class, and examine the social conventions, articulating the features of common rule-usage and assumed communication. The discourse also examines the complex and at times ambiguous nature of drama and the need to articulate and to analyse practices, to unravel how drama is constructed and perceived. The practice of drama in the early childhood classroom highlights the role and relationship of the practitioner and the children. The study offers insights into the foundation issues within drama in education that are a product of the historical, cultural and social domains of knowledge and affect the implementation of drama in the early childhood. This research provides information on drama in education within the pre-primary school setting. It would be of interest to any teacher or researcher who wishes to gain a deeper understanding of the issues that surround drama in early childhood years, and provides insights into the interactions of the participants.
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Anderson, Michael. "Journeys in Teacher Professional Development: Narratives of Four Drama Educators." Thesis, The University of Sydney, 2002. http://hdl.handle.net/2123/665.
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Ongoing teacher professional development is an essential part of the wellbeing of the schooling system and successful outcomes for students. In the past, teacher professional development has been used to describe an often 'top-down' method of training to meet systemic needs while taking little account of teacher's individual needs. This approach often conceptualises the teacher's life as a dichotomy with the personal and the private separated and unrelated. In contrast, teacher professional development in this study is conceptualised as a journey that includes encouraging and discouraging turns. The journey is explored through the experiences of two primary and two secondary drama educators using Hargreaves and Fullan's (1992) organisers: teacher development as knowledge and skill development; teacher development as self understanding and teacher development as ecological change. The study focussed specifically on teachers of drama. Of the four educators two were beginning teachers, one primary and one secondary and two were experienced teachers, one primary and one secondary. The teachers were interviewed over twelve months. Narrative vignettes were developed from the interviews. As the context for these teacher journeys was pivotal, the influences on the teaching of drama in New South Wales were investigated. This included an exploration of the major issues that have influenced the development of drama education both internationally and in Australia. The concluding reflections from this study suggest that there is strong interaction between teachers' personal and professional lives. Teachers' personal circumstances, family histories and schooling backgrounds all have an important influence on their work as teachers. Significantly, issues related to drama education's history and current context reflected these teachers' classroom realities. The teachers argue that they understand their professional development needs best and should have influence and ownership of their own professional development experiences. They found aspects of their tertiary training and teacher induction unsatisfactory. The two beginning teachers in this study struggled to survive the difficulties of their first year and both seriously considered leaving teaching. The teachers describe self understanding through distinct phases of development that are made unique by each teacher's personality and context. The teachers saw subject identity and pedagogy as important to their professional identity. They report that times of crisis often lead to positive changes in their professional development journeys. The ecology for these teachers was made up of several complex issues that are resistant to change and there were a number of impediments reported by the teachers that arise from their teaching ecologies. Two of the teachers have used a change of context to improve their satisfaction and confidence levels. Two teachers described beneficial experiences with supervisors in the school setting. If beneficial ecological change is to occur, education systems must attend to the needs of teachers and provide opportunities to teach unimpeded by systemic obstacles. The study calls for changes in professional development and for the recognition of the multilayered nature of the teachers' journey. The study calls for a reconceptualisation of teacher professional development that recognises each teacher's ecology and self understanding. The renewed impetus for arts education will only be successful if the complexity of the teachers' journey is recognised and systemic obstacles are removed.
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Anderson, Michael. "Journeys in Teacher Professional Development: Narratives of Four Drama Educators." University of Sydney. Policy and Practice, 2002. http://hdl.handle.net/2123/665.
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Ongoing teacher professional development is an essential part of the wellbeing of the schooling system and successful outcomes for students. In the past, teacher professional development has been used to describe an often �top-down� method of training to meet systemic needs while taking little account of teacher's individual needs. This approach often conceptualises the teacher's life as a dichotomy with the personal and the private separated and unrelated. In contrast, teacher professional development in this study is conceptualised as a journey that includes encouraging and discouraging turns. The journey is explored through the experiences of two primary and two secondary drama educators using Hargreaves and Fullan's (1992) organisers: teacher development as knowledge and skill development; teacher development as self understanding and teacher development as ecological change. The study focussed specifically on teachers of drama. Of the four educators two were beginning teachers, one primary and one secondary and two were experienced teachers, one primary and one secondary. The teachers were interviewed over twelve months. Narrative vignettes were developed from the interviews. As the context for these teacher journeys was pivotal, the influences on the teaching of drama in New South Wales were investigated. This included an exploration of the major issues that have influenced the development of drama education both internationally and in Australia. The concluding reflections from this study suggest that there is strong interaction between teachers' personal and professional lives. Teachers' personal circumstances, family histories and schooling backgrounds all have an important influence on their work as teachers. Significantly, issues related to drama education's history and current context reflected these teachers' classroom realities. The teachers argue that they understand their professional development needs best and should have influence and ownership of their own professional development experiences. They found aspects of their tertiary training and teacher induction unsatisfactory. The two beginning teachers in this study struggled to survive the difficulties of their first year and both seriously considered leaving teaching. The teachers describe self understanding through distinct phases of development that are made unique by each teacher's personality and context. The teachers saw subject identity and pedagogy as important to their professional identity. They report that times of crisis often lead to positive changes in their professional development journeys. The ecology for these teachers was made up of several complex issues that are resistant to change and there were a number of impediments reported by the teachers that arise from their teaching ecologies. Two of the teachers have used a change of context to improve their satisfaction and confidence levels. Two teachers described beneficial experiences with supervisors in the school setting. If beneficial ecological change is to occur, education systems must attend to the needs of teachers and provide opportunities to teach unimpeded by systemic obstacles. The study calls for changes in professional development and for the recognition of the multilayered nature of the teachers' journey. The study calls for a reconceptualisation of teacher professional development that recognises each teacher's ecology and self understanding. The renewed impetus for arts education will only be successful if the complexity of the teachers' journey is recognised and systemic obstacles are removed.
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Charalambous, Chryso. "Drama/theatre education for democracy : the role of aesthetic communities." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57066/.
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This research project focuses on the body and examines drama/theatre education as a site where politics and aesthetics can be brought together to promote democracy. Specifically, I explore the possibility of forming a way of doing within drama/theatre educational contexts that might influence a way of coming to understand - and potentially in its turn - a way of being. I am especially concerned with democracy as a living practice and I investigate whether students, through an aesthetic communicative nexus that they are encouraged to form within the drama class, and through their artistic actions within that nexus, can explore the possibilities of being ‘political bodies’, meaning the extent to which this allows democratic possibilities to flourish. I see democracy as conditioned by aesthetics and I focus on the power of the aesthetic to distance us from our ordinariness and everydayness and qualify us with a sensibility with which to reflect and think on our ideas and actions. I seek to promote the idea of a democratic culture and the formation of the democratic self that can create and sustain a culture of democracy. In terms of methodology, this project follows action research and an artsinfused methodology. Four groups participated in this research project. The analysis of the data collected from the fieldwork provides information to illustrate the beginnings of a pedagogy that aims to put these ideas into practice.
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Al-Bustan, Lamees Ahmed. "Social and moral education through drama : a force for change." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401817.
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From its organised origins, there has always been a view that drama has had an educational potential. For much of its history drama has been tied to the religious, moral and social aspects of the community in which it has been produced. This dissertation is a consideration of the educational potential of drama and theatre as a social and moral force. It will examine some contemporary educational debates and will provide a broad background of the relationship of drama to social and moral education. The dissertation will also examine the Drama in Education movement in Britain and its relationship with social and moral education. For the purpose of this research, the consideration of both the development of drama and the debate of where best to place drama in relation to theatre, English and other Arts in Britain is examined to draw out conclusions and recommendations for the Kuwaiti context. Given that the Kuwaiti experience is largely about theatre, the renewed relationship between school drama and theatre in Britain will be considered to help to identify not only the development of drama in schools, but also various ways in which aspects of drama have evolved and what lessons can be learnt from the British experience. This will ultimately assist in devising guidelines for drama and theatre to be implemented in the Kuwaiti context. The key focus of this dissertation is not the research on the British experience, but rather on the conclusions that can be drawn from it. The British experience has provided the essential material for identifying trends, key questions, lessons to be learnt and recommendation in the re-evaluation of drama and theatre in Kuwait. The research will conclude with a proposed theoretical and practical framework of how it would be possible to introduce drama, for the first time, into the Kuwaiti education system and as a way to revitalise its theatre movement.
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West, Tahnee. "Drama Education: Towards building peer relationships between culturally diverse adolescents." Thesis, West, Tahnee (2021) Drama Education: Towards building peer relationships between culturally diverse adolescents. Masters by Research thesis, Murdoch University, 2021. https://researchrepository.murdoch.edu.au/id/eprint/65048/.
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Drama education is increasingly understood as a useful tool to promote social change and cultural awareness. The effects of both positive and negative peer relationships have been researched within the Australian education context. Despite this, relatively little research has been conducted on the intersection of drama education and peer relationships, and even less literature exists on the topic of multicultural peer relationships in drama education—a field that is highly relational in nature.
This action research project addresses the gap in the literature by exploring the following question: In what ways may participating in a drama education program affect the development of peer relationships between culturally diverse young people?
The study explores the challenges and experiences of a group of up to 40 culturally diverse adolescents in forming and maintaining effective peer relationships following an eightweek drama education program held within an informal context. The study reveals an emerging understanding of drama education strategies that work to foster relationship development amongst a culturally diverse student population.
The research findings show a strengthening of young people’s peer relationships through participating in a drama education program. Active observation of participants and data collected in focus groups throughout the program point to developments in participants’ sense of trust, support, tolerance, empathy, familiarity with other participants and enjoyment of cooperative activities. The data also points to a relationship between drama activities and improved conflict resolution and communication skills, and an improved understanding of participants’ diverse cultures.
This study highlights the role a drama education program can play in the social development of culturally diverse young people and indicates the relevance of further research of the intersections between drama education and the development of multicultural adolescent relationships.
Keywords: multicultural, cultural diversity, drama education, peer relationships
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Kirkner, B. Joanne. "Creative drama as a source for literacy development." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1011.
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Students achieve knowledge by different means. I find that a child allowed to learn from one's personal style finds purpose in learning and develops a desire to read. With this in mind I have designed this project to be used as a resource for teachers wanting to implement creative drama, in the classroom, as an avenue for improving reading abilities of low-progress readers.
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Wellman, Jessica-Anne. "Drama, education, artistry: Australian practitioners fostering connections across cultures and disciplines in China." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2546.
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This study examines the experience of Australian drama educators working as professional development facilitators in China between 2017-2019. Limited literature exists that highlights the perspectives of professional development facilitators in this field. This thesis highlights the impact of engaging in this role on the practice of drama educators. Using an autoethnographic approach, data were collected from five individuals through semi-structured interviews. Interpretative Phenomenological Analysis (Smith, 2004) highlighted that the participants' experiences acted as critical moments that led to positive personal and professional outcomes. Three key supporting factors for positive outcomes were identified: 1) critically reflective practice; 2) knowledge and experience in theatre practices and drama pedagogies; and 3) collaborative approaches to delivering professional development.
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Cannon, Ashley N. "Incorporating drama across the curriculum into the intermediate elementary classroom." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1020.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Education
Education
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Zannetou-Papacosta, Maria. "Dorothy Heathcote's use of drama for education : in search of a system." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248498.
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The excellence of the work of Dorothy Heathcote was first made known beyond the field of drama teachers by BBC television in the 1960s. Since that time, her travels abroad and the writings and teaching of others, world wide, have acknowledged her as a forceful model of the teaching of Drama in Education. Many of those who have written about her work are former students who have enjoyed the benefit of working closely with her, sharing her thoughts and observing her working with children. They have written about many aspects of her approach, comparing it with other famous practitioners such as Brecht, analysing her concepts and techniques and describing her methods. No one, however, has attempted to examine either her practice of teaching or her writings in order to discern her work as a system. Her example has been followed by hundreds of teachers all over the world who eagerly welcomed this innovative way of working and attempted to implement it in their classrooms. While her charismatic personality has aroused admiration in many teachers it has on the other hand overawed some, as it seemed to encourage responses from children that were beyond the viewers' expectations. Nevertheless, to enable teachers to recognise the essential pedagogy that lay behind her performances and to enable them to adopt her approach requires an analysis far more searching than has existed hitherto. This research thesis aims to satisfy those who might search for a system in the teaching of Heathcote and is deeply rooted in extensive and very detailed observation of her classroom practice. Although familiar with her actual classroom practice, I used the extensive archive of three hundred and twenty hours of videotapes that exists at the University of Central England (UCE), through theresearch method of 'grounded theory', in order to produce verifiable results. From my observations I have been able to identify the Key Features of her work - the Structural Elements of the Lesson and the Internal Key Features - the teacher's Key Skills and their associated functions to finally arrive at the discovery of the Emergent Dramatic Form Teaching / Learning System that encapsulates the totality of Heathcote's methodology. The different emphases of the dynamic of the Structural Elements of the Lesson within this system are explored through four different Methods, namely the Improvised Playing Role, the Questing Role, the Mantle of the Expert and the Rolling Role. I have been able to consult Dorothy Heathcote herself to be assured that the conclusions reached about her intentions and achievements were acceptable and not contradictory. Finally, I believe that through this research Heathcote's pedagogy can be made accessible to all teachers by relating her approach to their own classroom practice
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Yasar, Mustafa. "An ethnographic case study of educational drama in teacher education settings resistance, community, and power /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149082511.
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Reyes, Rose Helena 1954. "Passagens : rito e drama na escola." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/254140.
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Orientador: Ana Angélica Medeiros AlbanoTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-27T13:17:54Z (GMT). No. of bitstreams: 1 Reyes_RoseHelena_D.pdf: 19938134 bytes, checksum: 11b97fdc7cd1bb24a5afd74a84626a53 (MD5) Previous issue date: 2014
Resumo: A presente pesquisa consiste no relato de uma práxis pedagógica construída ao longo de 23 anos no âmbito do Ensino Fundamental, na Escola Casa Via Magia. É um relato da história de uma experiência de ritual de passagem com as crianças do quinto ano, último ano delas na nossa escola. Uma montagem de teatro que foi se tornando um drama ritual que busca favorecer as mudanças na vida dessas crianças nesse momento: crescer, mudar de nível escolar e de escola. Traz a memória dessa construção, uma reflexão sobre o tecer da metodologia e da cosmovisão desse trabalho de encenação, que inclui um diálogo entre os saberes, entre as artes e delas com as ciências, entre artistas educadores e as crianças, entre as crianças elas mesmas e de cada um consigo mesmo. Retoma certas referências do teatro contemporâneo e/ou experimental (Stanilavski, Artaud, Grotowski e Brook), da arte-educação de Read e da psicanálise (especialmente de Lacan e Freud, entre outros). Faz contato com a pesquisa antropológica de Lévi-Strauss, Van Gennep, Turner, DaMatta e outros, assim como contato com reflexões filosóficas, especialmente de Heidegger e dos estudiosos de sua obra. Em última instância trata-se de dar atenção aos encontros e despedidas de nossas vidas e do desvelamento do nosso ser, sempre ser-com. Um cuidado que a arte, a educação e a rede de afetos têm podido potencializar nessa experiência a ser compartilhada
Abstract: This research consists on the report of a pedagogical praxis built over 23 years within the framework of elementary teaching at Casa Via Magia Elementary School. It is a report of the history of a rite of passage experience with children of the fifth grade that are leaving the school. A theater production that became a ritual drama which aims to encourage changes in the lives of these children in this specific phase: growing, changing of school and educational level. It brings the memory of that construction, a reflection on the weaving of this methodology and the worldview of this staging work, which includes a dialogue between knowledges, arts, arts with sciences, between art educators and children, between the children themselves and each one with themselves. Reviewing certain references of contemporary and/or experimental theater (Stanilavski, Artaud, Grotowski and Brook), Read¿s art-education and psychoanalysis (especially Lacan and Freud, among others). Getting in touch with the anthropological researches of Lévi-Strauss, Van Gennep, Turner, Da Matta and others, as well as contacts with philosophical thoughts, especially Heidegger¿s and researchers on his work. Ultimately it is about giving attention to encounters and farewells of our lives and the unveiling of our being, always being-with. A well care that art, education and the network of affections have been able to enhance in this experience to be shared
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutora em Educação
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Gröhn, Marie. "Drama i Förskoleklasser : Ur pedagogernas synvinkel." Thesis, Linnéuniversitetet, Institutionen för pedagogik, psykologi och idrottsvetenskap, PPI, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12478.
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Syftet med denna studie var att skapa en förståelse om hur drama används i förskoleklass. Detta har gjorts genom att intervjua fyra pedagoger. Tre av dessa hade en förskoleexamen och en hade en fritidspedagogsexamen. Via dessa intervjuer har problemfrågeformuleringarna Vad har begreppet drama för innebörd?, Varför används drama? och Hur används drama i förskoleklass? bearbetas. De pedagoger som blev intervjuade har antingen en specialisering, utbildninge eller flera års erfarenheter av dramaämnet i bakgrunden. I undersökningen framkom det att drama är ett ämne som kan användas i allt arbete inom förskoleklassverksamheten. Drama kommer in i verksamheten i både spontan form coh schemalagd. Drama tränar problemlösning, samarbete, språket och självbilden för att nämna några av de posetiva delarna i att arbete med drama.
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Arieli, Bracha (Bari). "The integration of creative drama into science teaching." Diss., Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/531.
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Kaaland-Wells, Christie. "Classroom teachers' perception and use of creative drama /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/7824.
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Flintoff, Kim. "Drama and technology: Teacher attitudes and perceptions." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/565.
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Educational systems are continuing to prioritise the importance of technology in learning. Curriculum guidelines and frameworks from across the globe insist that all learning areas find ways to utilise appropriate technologies in the teaching learning process. Drama Education is one area where the use of technology seems to be quite limited. The study seeks to determine some emerging understanding of the perceptions and attitudes held by Drama teachers about the introduction of Interactive and Information Technology (Digital Environments) into classroom Drama practice. Of particular interest to this researcher is the seeming reluctance to engage with such technology. Drama educators from all levels of education were invited to complete the survey via email and the Drama Education: A Global Perspective website will contribute to the study. Since the study functions in an essentially interpretive and descriptive mode it was not expected that generalisations will be forthcoming, although there do emerge some relational understandings as well as implications and considerations for future introduction of so-called digital environments in Drama, and related issues such as resourcing, professional development, and pre-service training. Additionally, this study identifies areas of need and/or deficiency within school structures in relation to technology access and requirements for Drama educators. This is especially relevant to the Western Australian context as education sectors are engaged in curriculum improvement programs that necessitate cross-curricula and integrated practices.
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Sun, Ping-Yun. "Drama in education the process of self-discovery and transformative learning /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3161794.
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Thesis (Ph.D.)--Indiana University, School of Education, 2005.Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0078. Adviser: Mary B. McMullen. Title from dissertation home page (viewed Oct. 11, 2006).
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Ball, Steven Derrick. "Drama and the theatre in education with specific reference to personal, social and health education." Thesis, University of Manchester, 1993. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664608.
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Nelson, Bethany. "Drama and multiculturalism : power, community and change." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/45734/.
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This three phase research project, conducted with low-income students of color in an urban high school, addresses the use of process drama and playmaking as primary modes for addressing components of best practice in multicultural education, and altering the reproduction of hegemonic ideologies in schools. Further, the effects of classroom community on the learning outcomes of the project are considered. This is a qualitative study using participant observation as a primary form of data collection, followed by ethnographic interviews. Data analysis followed a primarily inductive process with a focus on the development of grounded theory to explain the outcomes. Discussion of project outcomes are considered in relationship to literature on the nature of ideologies, the ways that public schooling both supports and exacerbates existing dynamics, the suitability of public schools as potential sites of change in these dynamics, and the potential of applied drama/theatre to provide a viable alternative curricular approach for facilitating change in hegemonic reproduction in schools.