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Journal articles on the topic 'Drama teaching'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Burlinson, Kath. "Teaching ‘drama workshop’." Women: A Cultural Review 5, no. 2 (September 1994): 162–70. http://dx.doi.org/10.1080/09574049408578195.

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2

Marco, Josep. "Teaching drama translation." Perspectives 10, no. 1 (January 2002): 55–68. http://dx.doi.org/10.1080/0907676x.2002.9961433.

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3

Seniarika, Seniarika. "Investigating Drama in Teaching Practice." Edukasi Lingua Sastra 15, no. 2 (January 11, 2018): 92–100. http://dx.doi.org/10.47637/elsa.v15i2.71.

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Drama is widely used in English class inasmuch as drama is considered as a way to learn English effectively. A lot of researcher conducted studies on drama either aimed to find out the benefits obtained through drama or aimed to find out the difficulties that might be found by the learners in drama. This article reviews five articles in relation with drama. The researcher in those studies investigated drama from different perspective. The result found in this study is expected to be consideration in implementing drama in teaching practice.
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4

Donegan, Robert. "Process Drama and Teacher in Role in ELT." JALT PIE SIG: Mask and Gavel 8, no. 1 (January 2020): 5–12. http://dx.doi.org/10.37546/jaltsig.pie8.1-1.

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This paper is a discussion of the potential of using specific drama techniques during English lessons at a Japanese private senior high school. The techniques in focus are process drama and specifically teacher in role (TiR). TiR is a specific technique that is often used in the broader area of process drama. Process drama concerns itself more with the experiential rather than the performance aspect of drama. In it, a teacher, or facilitator, goes into role with the participants in the co-construction of extended role-plays and dramas. Such methods have been used in English language teaching by many practitioners. The methods are discussed in this paper, with the focus on their suitability for teaching in a Japanese senior high school.
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5

Owens. "Talking Drama, Teaching Writing." Harold Pinter Review 2, no. 1 (2018): 10. http://dx.doi.org/10.5325/haropintrevi.2.1.0010.

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6

Eggers, W. "Teaching Drama: A Manifesto." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 7, no. 2 (April 1, 2007): 271–74. http://dx.doi.org/10.1215/15314200-2006-036.

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7

Knapp, Richard. "Teaching drama 11-18." Journal of In-service Education 28, no. 2 (June 1, 2002): 375–400. http://dx.doi.org/10.1080/14759390500200421.

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8

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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9

Kaličanin, Milena M., and Kristina M. Petrović. "TEACHING DRAMA: CHALLENGES AND BENEFITS." Методички видици 12, no. 12 (December 3, 2021): 133. http://dx.doi.org/10.19090/mv.2021.12.133-148.

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It has frequently been stated that the dramatic method of teaching is rather efficient in students’ personal development. The basic practical aspect of this teaching method involves the acquisition of various social and language skills which point to its immense interdisciplinary potential. Apart from the benefits, teaching drama represents a highly challenging task for educators since they are supposed to mediate between the world of artists and the recipients of their art. In order to highlight the challenges and benefits of teaching drama, the theoretical framework of the paper relies on the pioneering lecturing work of Heathcote (1976, 1998), as well as the critical insights of Freire (2005) and Nussbaum (1997). Their methodical perspectives on drama as a learning medium have been combined with the results of the internal survey the authors of the paper conducted in the period 2016-2018 by teaching Renaissance drama courses at the university level.
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10

Connors, Christina. "Teaching ESL Through Creative Drama." TESL Canada Journal 3, no. 2 (June 26, 1986): 73. http://dx.doi.org/10.18806/tesl.v3i2.487.

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11

RADFORD, C. B. "VIDEOTAPED DRAMA AND TEACHING MATERIALS." French Studies Bulletin 5, no. 17 (January 1, 1985): 11–14. http://dx.doi.org/10.1093/frebul/5.17.11.

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12

Lehtonen, Anna, Miia Kaasinen, Mirja Karjalainen-Väkevä, and Tapio Toivanen. "Promoting Creativity in Teaching Drama." Procedia - Social and Behavioral Sciences 217 (February 2016): 558–66. http://dx.doi.org/10.1016/j.sbspro.2016.02.046.

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13

ERSOY, Esen. "Polygons Teaching Through Creative Drama in Mathematics Teaching." American Journal of Educational Research 2, no. 6 (June 1, 2014): 372–77. http://dx.doi.org/10.12691/education-2-6-7.

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14

Diana, Novi. "PEMENTASAN DRAMA MELALUI PENDEKATANCONTEXTUAL TEACHING AND LEARNING." ITQAN : Jurnal Ilmu-Ilmu Kependidikan 11, no. 2 (December 30, 2020): 99–109. http://dx.doi.org/10.47766/itqan.v11i2.1010.

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ABSTRAK Belajar bermain drama memerlukan pengalaman yang banyak. Pengalaman yang diperoleh merupakan hasil belajar yang perlu dikembangkan oleh siswa. Itulah sebabnya penulisan tentang pementasan drama melalui pendekatan contextual teaching and learning bertujuan untuk mendeskripsikan penerapan pendekatan CTL ini dalam materi pementasan drama. Penelitian dilakukan melalui kajian pustaka yaitu peneliti mengumpulkan informasi-informasi melalui teori-teori yang sesuai sebagai landasan dan membaca buku-buku yang berhubungan dengan penelitian lalu dianalisis. Dapat disimpulkan bahwa penerapan pendekatan kontekstual dalam materi drama sangat sesuai. Hal ini jika guru dapat memanfaatkan langkah-langkah atau tujuh komponen yang ada dalam CTL ke dalam rencana pelaksanaan pembelajaran. Komponen-komponen itu sangat kompleks dan cocok diterapkan dalam materi drama. Drama memerlukan latihan-latihan, pemodelan dalam karakter tokoh, mengonstruks pengetahuan dalam lafal dialog, banyak bertanya, belajar berkelompok dan penilaian. Hasil tersebut menunjukkan jika siswa merasa bersemangat jika belajar di luar kelas, menemukan sendiri jawaban dari kelompok atau lingkungan belajar. Sehingga proses pembelajaran menjadi baik sesuai apa yang ingin dicapai oleh seorang pengajar.
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15

Hambandima, Erny Selfina Nggala. "PENGEMBANGAN SEBUAH PENGAJARAN RESPONSIF BUDAYA (CRT) PADA KELAS DRAMA (SEBUAH KOLABORASI MAHASIWA DALAM PEMENTASAN DRAMA CERITA LOKAL)." Perspektif Ilmu Pendidikan 35, no. 2 (November 4, 2021): 160–66. http://dx.doi.org/10.21009/pip.352.8.

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DEVELOPING A CULTURALLY RESPONSIVE TEACHING (CRT) ON TEACHING DRAMA ( A COLLABORATION ON STUDENTS’ LOCAL STORY DRAMA PERFORM) ESNHAbstract: This study is meant to investigate how lecturer develop a culturally responsive teaching on drama class especially students’ collaborative of local story drama perform. The problem of this research is formulated as how does the lecturer develop CRT on teaching drama? The study was stimulated by the writer’s interest to examine the CRT on a collaboration of 5th semester students’ local story drama performance by understanding the local story through drama teaching whereas nowadays teaching also touch about the local content. The research subjects are 5th semester students from 3 different classes that the writer collaborate them in a collaboration team. The writer randomly collaborate the students by means of getting them to adapt, cooperate and create their own acting to be more fearless, creative in front of the stage. A qualitative research was conducted by observing the students’ activity and watching the video documenting students’ performance. From the data result the writer found that the drama class based CRT are the students learn within the context of different culture, students being the center in teaching and learning process, students adjusted the learning with the group members and the teacher being the mediator to succeed the students’ project. The conclusion is the students enrich their knowledge of historical story from different ethnics as well as they authentically know the differences local story among them. The suggestions are the educators should convey the local content in teaching and learning process in class based culturally responsive teaching. Keywords: Developing, Culturally Responsive Teaching (CRT), Teaching Drama, Collaboration
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16

Namundjebo, Elizabeth, Jairos Kangira, and Elizabeth Morgan. "The role of drama in teaching English." JULACE: Journal of the University of Namibia Language Centre 3, no. 1 (December 31, 2018): 1–8. http://dx.doi.org/10.32642/julace.v3i1.1371.

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The purpose of this study was to explore the role of drama in teaching English to enhance students’ communicative skills at the University of Namibia. The discussions of the research focused on assessing the benefits of using drama in the teaching of English to increase students’ motivation and self-confidence, as well as to enhance their communicative skills. Research findings revealed the effectiveness of drama oriented English lessons to the benefits of students’ speaking skills, motivation, self-esteem and confidence in their abilities to communicate in English. In addition, the findings revealed that drama activities aided students develop a community and foster group cohesiveness, which helped in building students’ confidence when speaking English in front of their classmates. Moreover, the study results revealed that motivation is linked to self-confidence as the drama activities accorded students the opportunity to use the target language in real life situations.
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17

Yavuz, Fatih. "The effect of drama in the teaching of listening skills." Global Journal of Foreign Language Teaching 7, no. 4 (January 7, 2018): 132–36. http://dx.doi.org/10.18844/gjflt.v7i4.3001.

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Phonetics is the study of sounds to read letters correctly. It can also be defined as the ease of communication, if theory and practice both agree about the communicative function when learning a foreign language. Drama has been used in language teaching as a creative tool that motivates and lowers the anxiety level of the learners. This paper seeks the effectiveness of using drama in the teaching of phonetics in an EFL setting. After using drama in education in the teaching of pronunciation, the results show that students are more successful in acquiring the sound system compared with traditional teaching. Keywords: Phonetics, EFL, ELT, drama, learning through drama.
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18

Göksel, Eva, and Nicola Abraham. "Conquering the Zoombies. Why we need drama in online settings." Scenario: A Journal for Performative Teaching, Learning, Research XVI, no. 2 (December 31, 2022): 93–113. http://dx.doi.org/10.33178/scenario.16.2.6.

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In this piece we offer a reflexive account of our recent experiences of teaching with drama in two different online settings. Eva will recount her practice teaching trainee teachers in Switzerland and Nicky will recall her practice working with postgraduate applied theatre students in a drama school in the UK. Over and over again, we have encountered the mind-set that teaching drama online is “not possible”, or at the very least, that it is but a pale reflection of face-to-face teaching. Although we were out of our comfort zone at first, we now feel that teaching with drama online has its place in our fast-paced and increasingly technological world. Teaching and learning in digital contexts will likely remain a reality from now on, thus it is the purpose of this article to make the case for the creative potential of and indeed urgent need for online teaching that includes drama.
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19

Hietz, Kristina. "(No) drama with grammar." Scenario: A Journal for Performative Teaching, Learning, Research XV, no. 1 (August 15, 2021): 128–35. http://dx.doi.org/10.33178/scenario.15.1.9.

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This Window-of-Practice contribution is based on my Master’s thesis written in the Department of Foreign Language Education in Innsbruck, Austria. It discusses a performative approach to teaching grammar in EfL contexts. “Performative” is used as an umbrella term to describe different forms of language teaching that derive from the performing arts (Schewe, 2013). The motivation behind this topic lies in my enthusiasm for drama and the conviction that a drama-based approach applied to language learning is efficient, motivating and sustainable. The contribution provides insights into the methodology and procedure of a case study that investigates effects of drama-based teaching. The case study was performed in 2017 at an upper secondary school in Austria, where English learners were taught English conditional clauses via a drama-based approach. The study, including a control group, a mixed-method, pre-and post-test design, yields quantitative and qualitative data on effects of drama-based teaching. Despite the lack of significant differences in test results between treatment and control groups, the study provides evidence that a performative approach applied to grammar teaching is successful and related to fun, increased motivation and positive group dynamics.
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20

Najami, Naim, Muhamad Hugerat, Khuloud Khalil, and Avi Hofstein. "Effectiveness of Teaching Science by Drama." Creative Education 10, no. 01 (2019): 97–110. http://dx.doi.org/10.4236/ce.2019.101007.

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21

Mujica, Barbara. "Approaches to Teaching Early Modern Drama." Comedia Performance 4, no. 1 (April 1, 2007): 290–91. http://dx.doi.org/10.5325/comeperf.4.1.0290.

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22

Davis, D. F. "Book Review: Drama in English Teaching." Australian Journal of Education 30, no. 3 (November 1986): 300–301. http://dx.doi.org/10.1177/000494418603000307.

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23

Fleming, Michael. "Wittgenstein and the Teaching of Drama." Research in Drama Education: The Journal of Applied Theatre and Performance 5, no. 1 (February 2000): 33–44. http://dx.doi.org/10.1080/135697800114186.

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24

Whiteman, Victor L., and Margaret Nielsen. "Drama in Teaching Survey Research Methods." Journal of Teaching in Social Work 4, no. 2 (February 4, 1991): 67–81. http://dx.doi.org/10.1300/j067v04n02_06.

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25

Cahill, Helen. "Teaching for Community: Empowerment through Drama." Melbourne Studies in Education 43, no. 2 (November 2002): 12–25. http://dx.doi.org/10.1080/17508480209556399.

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26

Thompson, Launt. "The impertinence of drama teaching. 1." Educational Philosophy and Theory 19, no. 1 (January 1987): 50–56. http://dx.doi.org/10.1111/j.1469-5812.1987.tb00399.x.

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27

Schnapp, Linda, and Christopher Olsen. "Teaching Self-Advocating Strategies Through Drama." Intervention in School and Clinic 38, no. 4 (March 2003): 211–19. http://dx.doi.org/10.1177/105345120303800403.

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28

Karakas, Mehmet. "Teaching Density with a Little Drama." Science Activities: Classroom Projects and Curriculum Ideas 49, no. 3 (June 2012): 94–97. http://dx.doi.org/10.1080/00368121.2012.671200.

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29

Garcia, Lorenzo. "Images of Teaching and Classroom Drama." Youth Theatre Journal 10, no. 1 (May 1996): 1–15. http://dx.doi.org/10.1080/08929092.1996.10012473.

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30

Mulatsih, Maria Vincentia Eka. "TEACHING DRAMA IN A HYBRID CLASS." IJIET (International Journal of Indonesian Education and Teaching) 7, no. 1 (February 3, 2023): 61–71. http://dx.doi.org/10.24071/ijiet.v7i1.5352.

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Although drama is meant to be performed, due to the pandemic situation, it cannot be done. Beside a government regulation about the maximum number of people who gather in a class or a room, the variants of Covid-19 virus are not easily handled. But still, educators should conduct their learning process well. Some universities in Indonesia have also shifted the online learning into a hybrid one. However, conducting a hybrid class especially in relation to drama was quite challenging. Some real problems appeared and educators should be able to solve them. This article discussed those issues including some good practices to create a meaningful drama class. Data were collected through a questionnaire which included cognitive, behavioural, emotional engagement, motivation and time management. The problems covered the audibility, bad internet connection, less attention and lack of technological tool. Two of the good practices done were a dramatic reading project and gamification to facilitate students who attended the class physically or virtually.
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31

Rahman, Ahmad Syaeful. "PENINGKATAN KEMAMPUAN MENULIS NASKAH DRAMA DENGAN PENDEKATAN CONTEXTUAL TEACHING LEARNING (CTL)." LITERASI : Jurnal Ilmiah Pendidikan Bahasa, Sastra Indonesia dan Daerah 7, no. 1 (March 31, 2017): 32. http://dx.doi.org/10.23969/literasi.v7i1.276.

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The study is title “The Increased to Write Drama Manuscript With Contextual teaching Learning (CTL) Approach” which alms to develop students ability to write drama manuscript for MTs. eight grade with approach of contextual teaching learning (CTL). This research was carried out on eight grade student one of MTs. Mathla’ul Anwar 2 Bogor, as many as 47 students. The method research used is action research method. The instrument used in this study include: 1) observation sheet, 2) interview guide, 3) free essays for test writing drama manuscript, 4) documentation. The result showed that there increased ability to write drama manuscript with approach of contextual teaching learning (CTL) in eight grade student MTs. it is characterized by an increase in the average value of the test’s ability to write a drama manuscript. The increase in the average value of the pretest to cycle 1 was 15% and from cycle 1 to cycle 2 increased 4%. The mayor influence of the contextual teaching learning application the use of video impressions drama performances and discussion of video impressions drama performances and the use of media drama.
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32

Barahmeh, Mosaddaq, and Tahani Bsharat. "The Influence of Applying the Principles of Experiential Coyote Drama (ECD) Methods in Teaching English Language from the English language supervisor’s perspectives in Jenin city (case study)." Advances in Social Sciences Research Journal 8, no. 4 (May 6, 2021): 662–84. http://dx.doi.org/10.14738/assrj.84.10026.

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This paper sheds light on the importance of applying the Principles of Experiential Coyote Drama (ECD) Methods in Teaching English Language from the English language supervisor’s perspectives in Jenin city (case study). First of all, this paper discloses the Coyote teaching method. Later, this paper also explains the importance of Experiential learning in teaching English as a Foreign Language. It also explains the educational drama and its techniques in teaching-learning the English language. Finally, this paper suggests a new teaching-learning method which is Experiential Coyote Drama (ECD). All in all, from the previous studies and researches the researchers found that mixing educational drama with Experiential learning and Coyote method will bring a full package of new methods and activities for the teachers, learners and future researchers in teaching English as a Foreign Language.
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33

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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Gibson, Robyn. "The school drama program: delivering process drama via a teaching artist." NJ 39, no. 1 (January 2, 2015): 76–95. http://dx.doi.org/10.1080/14452294.2015.1083152.

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35

Humaira, Hera Wahdah, Syihabuddin Syihabuddin, Vismaia S. Damaianti, and Sumiyadi Sumiyadi. "Peran Pengajaran Bahasa Berbasis Drama dalam Meningkatkan Kemampuan Presentasi Peserta Didik." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, no. 4 (November 1, 2022): 873–82. http://dx.doi.org/10.30872/diglosia.v5i4.537.

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This study aimed to study the effect of drama-based language teaching on students' presentation skills in college. This study used a quasi-experimental method by dividing two groups of participants, namely experimental and control. The samples involved in this study were 100 students from semester 5, divided into 2 groups with the composition of each group of 50 students. The experimental group received a drama-based teaching intervention and was assigned to perform live drama at the end of the semester, while the control group did not. The research results show that drama-based language teaching contributes significantly to students' presentation skills. The improvement in presentation skills is seen in the presentation aspect, namely organization, adaptability, and presentation content. It can be concluded that the intervention of language teaching through drama can improve students' oral language skills or presentation skills. This study implies that in supporting academic activities, students' speaking skills can use drama as an alternative, especially for students who take language studies programs.
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J. Sosulski, Michael. "Workshop in German Drama." Scenario: A Journal of Performative Teaching, Learning, Research II, no. 1 (January 1, 2008): 7–16. http://dx.doi.org/10.33178/scenario.2.1.2.

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This article presents a model for teaching a true four-skills second language course in German using student drama performance as the primary vehicle of instruction. Students in this workshop-style course learn to closely read literary German drama while enacting key scenes using authentic period acting techniques. Both the study of literary drama and the historical acting techniques with which they were performed offer students special access to important elements of German culture during notable eras while sharpening their mastery of advanced vocabulary and linguistic structure in German. The value of teaching drama through active learning, as well as the use of reflection in assessment are among the topics explored in this article. This article presents a model for teaching a true four-skills second language course in German using student drama performance as the primary vehicle of instruction. Students in this workshop-style course learn to closely read literary German drama while enacting key scenes using authentic period acting techniques. Both the study of literary drama and the historical acting techniques with which they were performed offer students special access to important elements of German culture during notable eras while sharpening their mastery of advanced vocabulary and linguistic structure in German. The value of teaching drama through active learning, as well as the use of reflection in assessment are among the topics explored in this article.
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37

Davies, Paul. "The Use of Drama in English Language Teaching." TESL Canada Journal 8, no. 1 (October 26, 1990): 87. http://dx.doi.org/10.18806/tesl.v8i1.581.

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This essay aims to examine the use of drama and dramatic activities in English Language Teaching CELT). Its opening part looks at some of the theories behind the use of drama with learners of English, and tries to answer questions such as what is drama, who needs it, and when should it be used. The essay then takes a look at some practical procedural strategies such as lesson preparation, students' language needs, how to present and integrate drama into the lesson, and overall classroom organization. The next section tackles the question of how dramatic activities can be employed in the language classroom. The possibilities considered include mime, simulation, role-play, scripted plays, improvisation, and coursebook dialogue. Some concluding remarks finish off the main body of the essay.
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38

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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39

Michałowska, Danuta A. "Edukacja demokratyczna a kreatywność." Filozofia Publiczna i Edukacja Demokratyczna 2, no. 1 (July 14, 2018): 58–72. http://dx.doi.org/10.14746/fped.2013.2.1.2.

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In democratic education should be used special forms and methods of teaching and learning. One of such method is drama, which stimulates creativity and self-expression. The results of the research showed, that drama is an effective teaching and learning method by experience, because it stimulates both the cognitive and affective development. Moreover, teaching through drama helps young people to become receptive to values and to shape their own system of values. Drama with elements of the psychodrama can be simultaneously applied as the method of the democratic education and as the method of upbringing in ethical and philosophical development.
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Rojabi, Ahmad Ridho, and Ali Mustofa. "Exploiting Drama for Children in EFL Teaching to Promote Creativity, Confidence, and Motivation." Journal of English Education and Teaching 5, no. 4 (November 19, 2021): 544–55. http://dx.doi.org/10.33369/jeet.5.4.544-555.

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Drama is a powerful tool for actively engaging children in the English learning process. By creating meaningful contexts, drama techniques help them develop their integrated linguistic competence. This research aims to explore how drama impacts the students’ confidence, creativity, and motivation to learn. This research used a literature review by selecting appropriate journal articles regarding drama in EFL teaching. The findings revealed that drama is beneficial in increasing students' confidence, creativity, and motivation to learn. Further research is recommended to exploit drama for children as it boosts the learners’ enthusiasm to learn English effectively.
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41

Karimova, G. "THE CONNECTION BETWEEN TEACHING THE DRAMA AND BRANCHES OF SCIENCE." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 358–64. http://dx.doi.org/10.51889/2020-3.1728-7804.56.

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Nowadays it is very important to determine cross curriculum methodology of teaching Modern Kazakh Drama with other subjects. If the Literature is the Art of the word, the Drama is one of the means of the Literature for human cognition. Being one of approaches of displaying the vital fact, Drama has got close ties with such sciences as Linguistics, History, Psychology, Aesthetics, Culture and Literature. Modern Kazakh Drama, which has creatively absorbed traditions of the World Classic Drama, has defined independent branch of the National Drama and its innovative development. The pace of Information Technologies development, lack of motivation in mastering the art of speech, loss of interest in reading the classic literature force scientists, methodologists, parents and society to think. The article discusses possibilities of Literature heritage analysis in accordance with the nature of art as well as the author's understanding of ideological and aesthetic reality, formation of sensory sensation skills, perception, synthesis and understanding of the content, basic idea of a work in a conjunction of Literature with other branches of science.
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42

Ding, Li. "The form and meaning. When English language teachers learn to teach through drama." Scenario: A Journal for Performative Teaching, Learning, Research XVI, no. 2 (December 31, 2022): 121–36. http://dx.doi.org/10.33178/scenario.16.2.8.

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This article investigates the challenges teachers experience while learning to teach English through drama in an action research project. Through closely examining the fundamental causes, it discerns the knowledge constituents crucial for successful learning and implementation of drama for English teaching. Difficulties are identified from three aspects: text selection and interpretation, translation into drama activities, and classroom implementation. Referring to Shulman’s teacher knowledge construct (1986, 1987), the author argues that drama pedagogy for English teaching demands a changed perspective on language regarding its form and meaning and also on drama as both subject and pedagogy. Only then can teachers effectively link language and drama and create a meaningful learning experience.
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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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Nurhasanah, Een. "Multiliteracy Pedagogy in Teaching Indonesian Drama Study Course." AL-ISHLAH: Jurnal Pendidikan 14, no. 4 (September 13, 2022): 5273–82. http://dx.doi.org/10.35445/alishlah.v14i4.1375.

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The findings of this study describe the learning process of Indonesian Drama Studies courses that were taught using multiliteracy pedagogy. Specifically, the theory used in the study, developed by Kalantzis and Cope (2008), is comprised of the following components: (1) Situated Practice/ Experiencing, (2) Overt Instruction/Conceptualizing, (3) Critical Framing/ Analysing, and (4) Transformed Practice/ Applying. The descriptive qualitative method was employed in this investigation. Participants are selected randomly taken from five different classes and placed into a single class. The research data were collected from students’ attendance, teaching materials, paper studies of drama scripts, and YouTube videos amounted to 12 videos. The play was presented in the form of a short performance. The findings show that drama learning can be achieved through the use of multiliteracy pedagogy. In drama learning, students develop a variety of multiliteracy skills, including reading scripts, rehearsing for performances, and editing videotapes of their performances.
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Marie Kutch, Lynn. "Teaching Psychologically Challenging Texts with Drama Pedagogy." Scenario: A Journal of Performative Teaching, Learning, Research IV, no. 2 (July 1, 2010): 7–21. http://dx.doi.org/10.33178/scenario.4.2.2.

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Many instructors who treat the subject of the Holocaust have effectively used the vivid imagery of literature and emphasized the personal connection that memoir offers to promote a multifaceted understanding of the intellectually and psychologically challenging material. Applying the kinesthetic techniques of drama in education, as I propose in this article, can greatly enhance the teaching and learning process, and contribute to a more profound awareness of connections between individual experience and national collective histories. When students use drama techniques to become part of a story through, for example, subtext and substitution, they may view themselves not only as more active participants in memory and history, but also as more capable social critics. In this essay, I outline a drama pedagogical model for unlocking Holocaust literature in the foreign language classroom using examples from Ruth Klüger’s weiter leben. Although I focus on this one text, instructors can use the series of techniques I discuss here as a prototype for analyzing other psychologically challenging texts in their language classrooms. Many instructors who treat the subject of the Holocaust have effectively used the vivid imagery of literature and emphasized the personal connection that memoir offers to promote a multifaceted understanding of the intellectually and psychologically challenging material. Applying the kinesthetic techniques of drama in education, as I propose in this article, can greatly enhance the teaching and learning process, and contribute to a more profound awareness of connections between individual experience and national collective histories. When students use drama techniques to become part of a story through, for example, subtext and substitution, they may view themselves not only as more active participants in memory and history, but also as more capable social critics. In this essay, I outline a drama pedagogical model for unlocking Holocaust literature in the foreign language classroom using examples from Ruth Klüger’s weiter leben. Although I focus on this one text, instructors can use the series of techniques I discuss here as a prototype for analyzing other psychologically challenging texts in their language classrooms.
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46

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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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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Göksel, Eva, and Stefanie Giebert. "Incorporating drama techniques in the language classroom: Report on the „Drama in Education Days 2016“ conference in Reutlingen." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (July 1, 2016): 124–31. http://dx.doi.org/10.33178/scenario.10.2.13.

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In order to make the conference accessible to newcomers to the field of DiE, an introductory workshop explored simple ways to incorporate drama in the language classroom. Starting with awareness and teambuilding warm-ups, Eva Göksel led the group through a sample lesson, using a series of drama conventions to delve into the plot and discover the characters of a Grimm fairy tale. The workshop aimed to make a series of drama conventions accessible to language teachers and to show them easy ways of incorporating drama work in their own practice. Using tableaux work, participants explored different emotions, imitation, and simple speaking and listening exercises for language learners. Participants examined their own teaching practice through the lens of drama: questioning if and how DiE could enhance the teaching and learning in their classroom. The question of how easily teachers can integrate drama in their classroom practice without formal drama training was also a hot topic, which continued to be discussed throughout the conference. The conference began with an introduction to process drama and an exploration of how it could be applied to language teaching. Dr. Nicola Abraham from the Royal Central School of Speech and Drama at the University of London ...
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Astiandani, Fitri Rahmawati, and Ali Mustofa. "Drama in Fostering Students’ Speaking Skills: A Systematic Review on Benefits and Problems." Vivid: Journal of Language and Literature 10, no. 1 (July 27, 2021): 18. http://dx.doi.org/10.25077/vj.10.1.18-22.2021.

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Drama is pedagogy with a fairly complete component that involves the body, mind, emotions, and senses in order to build individual relationships with true-life situations so that being active in language learning is needed by students. This paper will closely explore the benefits and problems of implementing drama during the process of teaching and learning a language. In language teaching, drama has been proposed as an effective way to encourage the students’ speaking skills. Essentially, drama provides more benefits, not only in students’ speaking skills but also in other aspects. However, some problems may arise in the process of drama-based language teaching. By cross-checking and reviewing eclectically from different sources, this paper presents a critical analysis of several empirical works on drama techniques used in the context of language learning. To generalize the notion, drama is indeed precious in language learning. Nevertheless, several problems in its implementation need to be considered to achieve learning objectives properly. The review results showed that some problems that may appear during the implementation of drama were undisciplined in time management, chaotic atmosphere, the usage of the first language (L1), and status at school. Hence, several suggestions are provided as solutions to the drama problems confronted by teachers.
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Wajdi, Fathullah. "IMPLEMENTASI PROJECT BASED LEARNING (PBL) DAN PENILAIAN AUTENTIK DALAM PEMBELAJARAN DRAMA INDONESIA." Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (June 8, 2017): 86. http://dx.doi.org/10.17509/bs_jpbsp.v17i1.6960.

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This study aims to explain the implementation of project learning model (PBL) and authentic assessment that can serve as a model for teachers in teaching drama and literature in general. The is a qualitative research study with the following stages: determine assumptions, determine the design, determine the rules of research, collect data, perform data recording, analyze data, verify the research stage, and describe the research results. This research generates several findings: (1) project based learning (PBL) and authentic assessment fit well with the teaching of drama; (2) the model in question is easy to implement in teaching drama; (3) the learning steps involved are simple yet stimulate the students to actively participate; and (4) this model leads to satisfactory student competence, with an average of 3.55 and 3.63 on a 1-4 scale with excellent qualifications. Competitiveness is measured through the authentic judgment with the rubric of the drama performance parameter. Based on the discussion, it can be concluded that (1) project based learning (PBL) and authentic assessment can be implemented well and easily; and (2) the result of model implementation in teaching drama indicates very satisfactory results.Keywords: PBL, authentic assessment, Indonesian drama
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