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Journal articles on the topic 'Drama education'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Turčilo, Lamija, and Mersiha Kolčaković. "Informalno obrazovanje i pozorišna drama." Obrazovanje odraslih/Adult Education 9, no. 2 2009 (2009): 105–14. http://dx.doi.org/10.53617/issn2744-2047.2009.9.2.105.

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

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2

Brunner, Diane. "Drama in Education." Teaching Education 9, no. 1 (June 1997): 73–74. http://dx.doi.org/10.1080/1047621970090112.

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3

Ta Park, Van My, R. Henry Olaisen, Quyen Vuong, Lisa G. Rosas, and Mildred K. Cho. "Using Korean Dramas as a Precision Mental Health Education Tool for Asian Americans: A Pilot Study." International Journal of Environmental Research and Public Health 16, no. 12 (June 18, 2019): 2151. http://dx.doi.org/10.3390/ijerph16122151.

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

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

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

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5

Edmiston, Brian. "Drama as Ethical Education." Research in Drama Education: The Journal of Applied Theatre and Performance 5, no. 1 (February 2000): 63–84. http://dx.doi.org/10.1080/135697800114203.

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6

Calvert, Dave. "Drama, disability and education." Research in Drama Education: The Journal of Applied Theatre and Performance 18, no. 4 (November 2013): 417–18. http://dx.doi.org/10.1080/13569783.2013.838344.

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Sang Soo Lee. "Japanese Education through Drama." Journal of North-east Asian Cultures 1, no. 39 (June 2014): 361–75. http://dx.doi.org/10.17949/jneac.1.39.201406.021.

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

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9

Zheng, Sisi. "Process drama in Chinese education: Possibilities and challenges in governmental policy papers and the curriculum of moral education." Applied Theatre Research 9, no. 2 (November 1, 2021): 155–72. http://dx.doi.org/10.1386/atr_00055_1.

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

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10

Ward, Julie, Helen Frances Mills, and Alan Anderson. "Drama in the Dale: Transformation Through Community Drama." Harvard Educational Review 83, no. 1 (March 26, 2013): 54–61. http://dx.doi.org/10.17763/haer.83.1.k746345q366v0023.

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During the winter of 2011-2012, Weardale, England, was the setting for an ambitious informal adult education project. In this rural area in the northeast part of the country, the local arts collective, Jack Drum Arts, established a community play project entitled The Bonny Moorhen. This dramatic undertaking aimed to retell the story of the infamous Battle of Stanhope, a local lead miners’ uprising. The project took place in a converted barn and involved a group of sixty learners of all ages and from all walks of life. The troupe formed the choir, band, backstage crew, and company of actors who, with the support of professional artists, built a temporary theater space. Each member of this collective made a personal journey. Here Helen Mills and Alan Anderson, in association with Julie Ward, cofounder and project producer at Jack Drum Arts, offer their personal testimonies from the project.

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11

Avcı, Ayça. "Music Education With Educational Drama." International Journal of Progressive Education 16, no. 5 (October 9, 2020): 242–55. http://dx.doi.org/10.29329/ijpe.2020.277.15.

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12

Karim, Enas Ibrahim. "Using Drama in Museum Education." مجلة المعهد العالي للدراسات النوعية 1, no. 1 (July 1, 2021): 385–408. http://dx.doi.org/10.21608/hiss.2021.184626.

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Burn, Andrew. "Drama education with digital technology." English in Education 45, no. 1 (March 2011): 104–6. http://dx.doi.org/10.1111/j.1754-8845.2010.01086.x.

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Robinson, Daniel B., and Matthew Meyer. "Health education and interactive drama." Health Education Journal 71, no. 2 (June 10, 2011): 219–28. http://dx.doi.org/10.1177/0017896911398811.

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15

Bailin, Sharon. "Critical Thinking and Drama Education." Research in Drama Education: The Journal of Applied Theatre and Performance 3, no. 2 (September 1998): 145–53. http://dx.doi.org/10.1080/1356978980030202.

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Reyes, Marita VT, and Ma Victoria R. De Santos. "Molecular drama in biochemical education." Biochemical Education 13, no. 1 (January 1985): 11–13. http://dx.doi.org/10.1016/0307-4412(85)90115-3.

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McCullough, Melissa. "Bringing drama into medical education." Lancet 379, no. 9815 (February 2012): 512–13. http://dx.doi.org/10.1016/s0140-6736(12)60221-9.

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18

Winston, Joe. "Theorising Drama as Moral Education." Journal of Moral Education 28, no. 4 (December 1999): 459–71. http://dx.doi.org/10.1080/030572499103016.

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19

Thornton, L. "Use of drama in education." BMJ 312, no. 7030 (March 2, 1996): 581. http://dx.doi.org/10.1136/bmj.312.7030.581a.

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Nyberg, Crister. "Fiction in Drama Education Offers Learning Opportunities for All - Philosophical Perspectives in Drama Education." European Journal of Social and Behavioural Sciences 14, no. 3 (August 30, 2015): 1929–37. http://dx.doi.org/10.15405/ejsbs.174.

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21

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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22

Baldwin, Patrice. "Drama: a post-National Curriculum overview of drama in education." FORUM 44, no. 3 (2002): 103. http://dx.doi.org/10.2304/forum.2002.44.3.1.

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Freebody, Kelly. "Discourse in drama: Talk, role, and learning in drama education." NJ 37, no. 1 (January 2013): 65–75. http://dx.doi.org/10.1080/14452294.2013.11649564.

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Ma, Shelin, and Jie Liu. "A Field Study on the Script Structure of English Drama in Education in Chinese Primary and Secondary School." English Language and Literature Studies 12, no. 4 (October 8, 2022): 16. http://dx.doi.org/10.5539/ells.v12n4p16.

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Drama in Education (DIE) is believed to play a specially positive role in helping students in primary and secondary schools to form language awareness and develop language abilities. It has gradually formed its own script structure characteristics in the practice of local English teaching. By analyzing the scripts of 31 dramas staged by three local schools in the English culture and drama festivals, this paper summarizes the implementation characteristics of DIE from the aspects of story source, script source, students’ involvement, and theme distribution. In addition, this paper also analyzes the script structure favored by local teachers and students from four stages: the beginning, the development, the climax and the ending, which will greatly help solve the problem of drama creation for primary and secondary school teachers and students, and improve their enthusiasm to implement DIE in English classroom.

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Csík, Zsófia, and Júlia Eck. "Drama Games in Folk Dance Education." Tánc és Nevelés 3, no. 1 (April 10, 2022): 125–46. http://dx.doi.org/10.46819/tn.3.1.125-146.

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This paper examines the effects of drama games on successful competency development in teaching and education, specifically within folk dance education. We also present the results of data drawn from two non-representative pieces of research done among educators (n=30) and students (depending on game n=19–39) regarding the effective use of structured drama activities in the folk dance classroom to strengthen group cohesion or trust between students. Finally, as a methodological recommendation, we introduce a collection of drama games and possibilities for their integration into folk dance education, with suggested variations presented according to the six age groups defined for the 12 grades of public education in Hungary. This paper aims to raise awareness of the possibilities and usefulness of integrating drama activities into folk dance education.

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Zhang, Jinmei. "Growing Drama: A New Integral Paradigm through Children’s Drama Experience Construction in Early Childhood." Beijing International Review of Education 3, no. 4 (January 31, 2022): 579–90. http://dx.doi.org/10.1163/25902539-03040006.

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Abstract Traditional drama education in early childhood has been concentrated on the interdisciplinary level, barely integrating children’s mind, body, and spirit. Language, science, society, health and art are integrated through drama to establish connections among the various disciplines. However, it is very important for children to walk between the worlds of reality and fiction through drama, interact with body and mind, and construct a complete experience. To achieve maximum integration of body and mind that is based on “education as growth” as in Dewey’s Experience and Education (1938), Growing Drama, a new integrated paradigm, maintains that the drama education of young children drama follow their drama experience construction.

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Quinones, Gloria, Avis Ridgway, and Liang Li. "Developing a drama pedagogy for toddler education." Journal of Early Childhood Research 17, no. 2 (January 14, 2019): 140–56. http://dx.doi.org/10.1177/1476718x18823235.

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This article examines how an educator develops a drama pedagogy through the course of her dramatic interactions with three toddlers. A cultural-historical approach was used to explore the concepts of dramatic interactions and dimensions of drama pedagogy. Visual research methodology involved video observations and a reflective interview with the educator. A case example uses an everyday moment that took place in an Australian childcare centre. This is discussed to show how drama pedagogy unfolds to support toddlers’ learning and development. The case example occurs in a special space known as the neighbourhood space. A drama pedagogy has been conceptualised through three dimensions: a space that has dramatic qualities, interactions and narratives. These foster an inquiry stance in toddlers. It is argued that drama pedagogy is an intentional pedagogical approach to engage toddlers in the neighbourhood space. This article gives focus to an educator who embraces a dramatic conversation style we call dialogue commentary.

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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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Cowburn, Ben. "Standing in Dorothy’s Shoes: What Can Language Teachers Learn from Dorothy Heathcote? Part One: Where Dorothy Came From, What She Did, and How It Can Support Language Development." JALT PIE SIG: Mask and Gavel 2, no. 1 (June 2013): 4–12. http://dx.doi.org/10.37546/jaltsig.pie2.1-1.

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From the 1960s onwards, Dorothy Heathcote became a highly influential figure in UK drama education. Her practice, based around unscripted, participatory dramas in which students were often guided by a teacher working ‘in role’, helped to shape the way drama is taught in schools today, particularly within the process drama approach. Influenced by a range of educational theorists and practitioners, Heathcote developed a style of educational drama that she saw as being distinct from ‘theatre’, and more concerned with experiencing drama than performing it. To this end, she developed a number of dramatic techniques, such as ‘Teacher in Role’ and ‘Mantle of the Expert’, to help students inhabit dramatic contexts and learn through the direct imagined experience of a particular place, time or problem to be solved. These techniques have much to offer language teaching, particularly when communication is the main goal. Placing students in dramatic contexts is claimed to enhance motivation and engagement and lead to more truly authentic communication than is often found in language classrooms. Using a framework based on Heathcote’s techniques, and those developed by other process drama educators, language teachers can begin to explore the many benefits drama can offer language learners.

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Zheng, Sisi, and Adam Cziboly. "What can the translation of key terms reveal about understandings of drama education in China?" Applied Theatre Research 10, no. 2 (December 1, 2022): 119–40. http://dx.doi.org/10.1386/atr_00066_1.

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Based on the authors’ previous academic exchange and observations, translation of terms related to drama and theatre from English to Chinese and vice versa is likely to cause misunderstandings. This research investigated what the translation of key terms may reveal about the understandings of drama education in China. Through a desk research, we collected key terms primarily related to drama and theatre from 26 seminal English and Norwegian books in the field of drama education and their Chinese translations, sorting out and comparing the English/Norwegian originals and the Chinese translations of each term. Findings confirmed that the same Chinese expressions had been used for completely different drama-related terms, while applied theatre-related terms may be misleading as the translation may refer to theatre architectures. Elaborating on the understanding of drama and theatre in China and the new drama praxis, the Drama Etudes, this study discusses what the term ‘drama education’ may refer to in the Chinese context. The overall aim of this study is to contribute to an extended understanding of drama education and its relevant praxis in a global context.

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Kim, Hyun-Sook, and Doo-Hyun Park. "A Study on the Teaching Method of Primary English Using Process Drama Based on Primary English Textbook." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 19 (October 15, 2022): 1–16. http://dx.doi.org/10.22251/jlcci.2022.22.19.1.

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Objectives The purpose of this study is to introduce an educational method for primary school students to develop context-oriented real English communication skills through process drama based on primary English textbook. Methods A fairy tale(Peter pan) for process drama activities was extracted by analyzing English textbook for primary school 3rd grade of publishing D. In addition, a model for process drama education was developed by referring to the models of Kao & O’Neill(1998) and Ellis(1988). Results Based on the process drama model developed in this study, two lesson plans were constructed using the fairy tale ‘Peter pan’ from the 3rd grade English textbook of publishing D. Additionally, various process drama activities(Pre-text, Mime, Improvisation, Teacher in role, Writing in role, Still image & Thought tracking, Hot seating) were introduced based on the context through the fairy tale(Peter pan) by composing three stages of Preparation Phase, Drama Scenes, and Reflective Phase for each lesson. Conclusions To develop primary school students' real English communication skills, it is necessary to move away from mechanical and formal memorization practice, and to provide context-based and real communication-oriented education through process drama education. In order for process drama education to be successful, teachers must break free from authoritarian attitudes and open education that can negotiate meaning with students must be supported.

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Haddad, Fadi G., and Alexander Dhoest. "Cosmopolitanism in Dubai’s Pan-Arab Drama." Middle East Journal of Culture and Communication 13, no. 2 (October 22, 2020): 190–209. http://dx.doi.org/10.1163/18739865-01302002.

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Abstract Pan-Arab dramas (Ar. al-drama al-ʿarabiyya al-mushtaraka) are a recent trend in Arabic drama series (Ar. musalsalat); they portray an ensemble of characters of various Arab nationalities in a transnational narrative setting. By considering transnational television a factor that contributes to the cosmopolitan imagination, and given the argument that Gulf cities are replacing historical Arab capitals and becoming ‘new centers’ for Arab culture, education and business, we explore the manner in which cosmopolitanism is represented in transnational Arab drama content. We do this through a case study of ‘04’ (Zero Four), a pan-Arab drama series that tells the story of four young expatriates of four Arab nationalities, experiencing their personal, professional and private lives in modern-day Dubai. We find that the boundaries of the cosmopolitan imagined community encompass the Arab world, resulting in a cosmopolitan imaginary that seems to favor Arabs over non-Arabs.

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Wang, Bing. "Ruminating the innovative significance of educational linguistics to education." BCP Education & Psychology 6 (August 25, 2022): 139–43. http://dx.doi.org/10.54691/bcpep.v6i.1781.

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A review of the relationship between the international city and urban drama culture can help us understand the necessities of construction of urban drama culture and its promotion on the development of international city. Urban culture is the core quality necessary for the international development of modern cities. Urban culture needs to be disseminated ad integrated into the lives of the citizens, and drama is an important vehicle for this. Throughout the development process of international metropolises at home and abroad, drama culture can improve the comprehensive strength, enhance the taste and become a business card of the city. Therefore, we will sort out the relevant materials of international urban development and theatrical culture construction, analyze the successful cases of the construction of international advanced urban drama culture, and thus put forward countermeasures and suggestions.

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Putro, Agung Prayitno, Herman J. Waluyo, and Nugraheni Eko Wardhani. "Values of character education in the Opera Kecoa drama script by N. Riantiarno." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, no. 2 (July 25, 2019): 146–53. http://dx.doi.org/10.30998/jh.v1i2.49.

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This study aims to describe the values of character education contained in a drama script. This research uses descriptive qualitative method with the subject of research is drama Opera Kecoa by N. Riantiarno. Data sources are obtained from places and events, informants, drama script, and documents. Data collection using document analysis techniques. As one form of literary work, Opera Kecoa drama script contains character education values. The values of character education in this drama script are shown through characterizations and the flow of events in each round. Based on the results of the analysis found ten character education values contained in the Oera Kecoa drama script, these values include: religious, social care, tolerance, hard work, discipline, democracy, patriotic, love peace, friendly, independent, creative, and responsibility . By reason of the values of these characters, the Opera Kecoa drama script, can be used as a medium of learning in the college literature.

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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy." European Journal of Social Science Education and Research 5, no. 3 (December 1, 2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.

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Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.

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Danckwardt-Lillieström, Kerstin, Maria Andrée, and Margareta Enghag. "Creative drama in chemistry education: a social semiotic approach." Nordic Studies in Science Education 14, no. 3 (August 27, 2018): 250–66. http://dx.doi.org/10.5617/nordina.5869.

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Drama is a way of teaching that has been suggested to support learning, but studies in science education are limited and the potential of using drama needs further scrutiny and design development. In this study, we investigate how creative drama may afford students’ meaning-making of abstract non-spontaneous chemical concepts related to chemical bonding, by exploring what kind of semiotic work students are engaged in when given the opportunity to use their own bodies as semiotic resources.We combine sociocultural theory of learning with multimodal social semiotic analysis. Our results show how creative drama opens up for different types of transductions and transformations that have consequences for students’ meaning-making. A conclusion is that the creative drama activities may afford student exploration of intermolecular forces in new ways in particular when students use bodily mode in combination with other semiotic resources.

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Jacobsen, Ushma Chauhan. "Does subtitled television drama brand the nation? Danish television drama and its language(s) in Japan." European Journal of Cultural Studies 21, no. 5 (January 29, 2018): 614–30. http://dx.doi.org/10.1177/1367549417751150.

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This article explores the relationships between nation branding, authenticity, language and their ideologies by considering two themes. First, how language ideologies and language practices texture the transnational production, distribution and viewing of subtitled television drama. Second, the extent and ways by which subtitled television dramas, in languages other than English, brand the nation to which they are associated. Using the context of increasing exports of Danish television drama to other nations, the article draws its empirical material from fieldwork interactions with industry professionals and viewers in Japan to consider both themes. The article proposes that there are different intensities by which Danish television dramas brand Denmark and the Nordic region; it discusses the implications of the use of English, and how branding the nation involves processes that are intrinsically fragile and require symbiotic relations with other languages and other nations to be successful. This article forms part of the Theorizing Media in Nation Branding Special Issue.

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Millward, Peter, Dorothy Heathcote, Liz Johnson, and Cecily O'Neill. "Collected Writings on Education and Drama." British Journal of Educational Studies 40, no. 2 (May 1992): 190. http://dx.doi.org/10.2307/3121406.

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Matharu, Kabir S., Jessica Howell, and Faith Fitzgerald. "Drama and Empathy in Medical Education." Literature Compass 8, no. 7 (July 2011): 443–54. http://dx.doi.org/10.1111/j.1741-4113.2011.00778.x.

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Çetingöz, Duygu, and Berna Cantürk Günhan. "Sample drama plans for preschool education." Procedia - Social and Behavioral Sciences 2, no. 2 (2010): 1338–44. http://dx.doi.org/10.1016/j.sbspro.2010.03.197.

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Hunter, Mary Ann. "Drama education and its necessary disruptions." NJ 40, no. 2 (July 2, 2016): 141–45. http://dx.doi.org/10.1080/14452294.2016.1276675.

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Mreiwed, Hala, Mindy R. Carter, and Abigail Shabtay. "Building classroom community through drama education." NJ 41, no. 1 (January 2, 2017): 44–57. http://dx.doi.org/10.1080/14452294.2017.1329680.

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Souza, Marilei De Melo Tavares e., Claudia Mara de Melo Tavares, Linda Nice Gama, and Joanir Pereira Passos. "Primer Drama - A Technical Education Product." Revista de Pesquisa: Cuidado é Fundamental Online 7, no. 4 (October 1, 2015): 3543. http://dx.doi.org/10.9789/2175-5361.2015.v7i4.3543-3553.

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Sicherman, Carol. "DRAMA AND HEALTH EDUCATION IN UGANDA." South African Theatre Journal 8, no. 1 (January 1994): 63–67. http://dx.doi.org/10.1080/10137548.1994.9688110.

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Hussain, Syed Ali. "Mothers-in-law as Key Influencers: Study on a Radio Drama Intervention to improve Maternal and Child Health in Pakistan." Forman Journal of Social Sciences 01, no. 01 (December 17, 2021): 1–31. http://dx.doi.org/10.32368/fjss.20210101.

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Mothers-in-law play an integral role in promoting maternal and child health practices in rural Pakistan. This study discusses the design, implementation, and evaluation of a 25-episode radio drama featuring the mother-in-law as the primary influencer for maternal and child health practices. The radio drama was designed after an extensive pre-drama audience research comprising of 10 focus groups, and 14 in-depth interviews in Bagh and Mansehra. Post-drama evaluation comprised two focus groups in the target areas. The endline evaluation found that viewership of the drama improved communication between people of all age groups and social roles without offending their dignity, intelligence, and sense of tradition. Additionally, the findings showed that the audience demonstrated improvement in knowledge about danger signs for mother and child, as well as positive attitudes to seeking timely service from a trained healthcare provider. The study makes a contribution to existing health communication campaigns by introducing a culture-centric approach, through radio dramas, to influence mothers-in-law and consequently impact maternal and child health practices. Keywords: mother-in-law, radio drama, entertainment education, maternal health, child health, Pakistan

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Kļava, Oskars, and Irēna Katane. "YOUTH THEATRE ART NON-FORMAL EDUCATION IN THE CONTEXT OF DRAMA PEDAGOGY HISTORICAL DEVELOPMENT." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 412. http://dx.doi.org/10.17770/sie2018vol1.3403.

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Nowadays not only formal but also non-formal education plays a significant role in the context of lifelong learning. By getting involved in various non-formal education activities, with overall and personality development, children and young people socialise, gain new experiences, and acquire new social roles. The wider the spectrum of non-formal education activities, the more possibilities there are for each child and young person to find the most suitable to get involved in according to their interests, needs, abilities, future intentions and goals. One of the forms of non-formal education for children and youth is theatre art non-formal education, which finds its theoretical methodological base in drama pedagogy. School drama clubs, optional course of public speech, drama studio etc. have a significant role and contribute to the promotion of students’ personality development and socialisation. The aim of this article is to give a theoretical justification of the youth theatre art non-formal education in the context of drama pedagogy historical development. The approaches, principles, new methods of drama pedagogy were and are currently used by teachers-practitioners in many countries not only in the drama non-formal education but also throughout formal education – by including drama elements as learning techniques and methods across different subjects, thus making the drama pedagogy universal, constantly present everywhere and at all times.

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Shen, Liang. "Drama Etudes." TDR: The Drama Review 65, no. 2 (June 2021): 131–49. http://dx.doi.org/10.1017/s1054204321000125.

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Teaching theatre and drama in primary and secondary schools is a very difficult task worldwide. In China, there is a huge demand for drama teachers who also know practical theatre. Taking on this mission, the Shanghai Theatre Academy started a program of “drama etudes.” This pedagogical experiment stimulated debate about opposing concepts in theatre education: imitation vs. improvisation.

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Yuanyuan, Chen. "Enhancing EFL Students’ English Competency Through Drama: A Case Study in a Primary School in China." English Language Teaching 12, no. 7 (June 8, 2019): 68. http://dx.doi.org/10.5539/elt.v12n7p68.

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Drama courses are widely set up in K-12 education in Western countries, and drama in education promotes both language acquisition and drama acting in the West. Therefore, in the current K-12 education curriculum in China, the practice of offering English drama courses is in line with the needs of students’ core competencies development. Drawing on the participants’ interview narratives, classroom observations and journals, based upon the case in a foreign language primary school in Guangzhou, China, this study examines how the drama course is carried out and how the students’ English competency is enhanced through the drama course. The enquiry revealed that the drama course had helped promote both students’ language competency and drama acting capacity. These findings will be discussed with suggestions for making setting up drama courses in other schools and cities in China possible.

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Pilgrim, Kristen, Nicole Ventura, Amy Bingen, Emily Faith, Juliana Fort, Olivia Reyes, Mimi Richmond, Susannah Rosenthal-Schutt, S. Aaron Schwinn, and Jason D. Butler. "From a distance: Technology and the first low-residency drama therapy education program." Drama Therapy Review 6, no. 1 (April 1, 2020): 27–48. http://dx.doi.org/10.1386/dtr_00014_1.

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This article examines the first-year experiences of Lesley University’s first low-residency master’s drama therapy training cohort and their advisor. Course work in this program combines predominantly online learning with several weeks of in-person learning each year, marking a departure from traditional drama therapy education. This article explores ways in which distance learning impacted this cohort in their first year of drama therapy education. Within the cohort’s reflections, specific themes related to technology, cohort experience, course instruction and work‐life balance are examined as well as drama therapy‐specific aspects of their experience. Recommendations are made for future hybrid drama therapy education, including increased use of video and video conferencing, increased training of online instructors, standard use of in-person residencies and further research into technology in drama therapy.

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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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