Relevant bibliographies by topics / Process drama

Academic literature on the topic 'Process drama'

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Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Process drama"

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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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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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Agustini, Fajar, and Khoirun Nisa. "Penerapan Model AHP Pada Pemilihan Aplikasi Streaming Drama Korea." INFORMATICS FOR EDUCATORS AND PROFESSIONAL : Journal of Informatics 5, no. 2 (July 6, 2021): 127. http://dx.doi.org/10.51211/itbi.v5i2.1540.

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Technology is developing very fast and is increasingly global, various kinds of the latest technological discoveries and various kinds of applications offered by each company will continue to compete, one of which is the Korean drama streaming application program. However, it is not just one Korean drama streaming application, but many other streaming applications that have sprung up and can make users hesitate to choose a streaming application to watch quality Korean dramas. Selection of useful criteria for selecting Korean drama streaming applications using the Analytical Hierarchy Process approach and processing using Expert Choice software allows streaming application users to know how to choose a streaming application to watch Korean dramas as desired. The population of this study were several Bekasi city people with approximately 30 questionnaires. From the research results, it was found that VIU was a strategic alternative for selecting Korean drama streaming applications using the Analytical Hierarchy Process which received top priority with a weight of 0.499 or comparable to 49.9% of another alternative. Keywords: Streaming application, Korean Drama, Analytical Hierarchy Process
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Yang, Saerom. "Promoting Sustainability Literacy through Process Drama." Journal of Korea Association for Drama/Theatre and Education 11, no. 1 (March 31, 2019): 19–39. http://dx.doi.org/10.31342/jkadte.2019.11.1.02.

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Coleman, Claire. "Dancing into a critical process drama." Applied Theatre Research 10, no. 1 (July 1, 2022): 21–37. http://dx.doi.org/10.1386/atr_00060_1.

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This article describes the critical process drama framework and highlights its potential to disrupt the status quo through an agenda of exploration and wonder. Generated through arts-based research exploring process drama as an enactment of critical pedagogy, the cumulative case study drew upon a document analysis of Cecily O’Neill’s Seal Wife workshop and exploration of the ‘mantle of the expert’ dramatic inquiry form. Developed to enact critical process drama, six key concepts ‐ hope, aesthetic, agency, agitation, action and ambiguity ‐ operate as an interwoven and reflexive framework to inform drama practice. Dynamic, relational and essential, these six concepts enact the theories of critical pedagogy and process drama as dialectical, improvisational approaches committed to transformation and social justice. As educators and artists, we cannot dance forever in the imagination or plod along hopelessly in reality. Through critical process drama participants, can operate critically in new worlds and significantly between worlds. We need to travel between and transform through transitions. In the crack between the light and dark we can dance and dance and dance.
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McDonnell, Dearbhla, and Aisling O'Boyle. "Process drama in the classroom." Scenario: A Journal for Performative Teaching, Learning, Research XV, no. 1 (August 15, 2021): 56–75. http://dx.doi.org/10.33178/scenario.15.1.3.

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This paper reports on a study of the use of process drama in an international primary school in the Netherlands. The research investigated the extent to which using process drama could develop participation for advanced EAL learners. In addition, we sought to understand pupils’ perspectives. Using a qualitative methodology, we undertook a case study approach focusing on six advanced EAL learner pupils (9-10-year-olds). We implemented the process drama approach during a series of nine science lessons. We collated and analysed Video recording of lessons, the class teacher’s written observations, a research journal, two interviews and a focus group with the case study participants using an arts-based framework of participation, previously employed by Pérez-Moreno (2018). We deployed embodied research methods. The findings suggest that using process drama as a teaching methodology increased participation, but not immediately. In addition, pupils who had not previously spoken out in lessons began to volunteer their ideas. All case study pupils reported that they considered that their participation increased.
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Barros, Ariane Guerra, and Vanessa Lopes Ribeiro. "Process drama no ensino superior." ouvirOUver 16, no. 2 (December 31, 2020): 482–99. http://dx.doi.org/10.14393/ouv-v16n2a2020-55248.

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Este artigo pretende relatar e analisar como se deu a execução do process drama “Caso Sônia” (baseado na obra “Valsa n. 6”, de Nelson Rodrigues) em duas turmas de graduação dentro da Universidade Federal da Grande Dourados (UFGD). Utilizando como base a dramaturgia rodrigueana, as autoras abordaram o tema do feminicídio em sala de aula, executando o process drama em uma turma da graduação em Artes Cênicas da Faculdade de Comunicação, Artes e Letras (FACALE); e na turma da Faculdade Indígena da mesma universidade (FAIND). Identificar a diversidade de conhecimento e entendimento que pode advir de um mesmo processo – empregado em turmas distintas – pode lançar novos olhares sobre as possibilidades e potencialidades de implicações do process drama, como foi o caso de ambas as experiências.
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Pratt Cooney, Mary, and Shlomo Sawilowsky. "Process Drama and Actor Training." Youth Theatre Journal 19, no. 1 (May 2005): 55–70. http://dx.doi.org/10.1080/08929092.2005.10012576.

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Rosler, Brenda. "Process Drama and Professional Development." Youth Theatre Journal 28, no. 2 (July 3, 2014): 104–14. http://dx.doi.org/10.1080/08929092.2014.932875.

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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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Dissertations / Theses on the topic "Process drama"

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Pheasant, Patrick Iain. "Engagement in Process Drama for Language Education." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21005.

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This thesis reports on the findings of a phenomenographic study exploring the role of different types of engagement in process drama for language education. This study provides a framework for describing in detail the participants’ subjective experiences of the phenomena of dramatic engagement and subsequent aesthetic engagement. The framework emerged from the findings and is useful for understanding dramatic engagement in all process dramas and its application in language education in Australia and internationally. The research was at an Australian University English Language Centre where a facilitator with experience in using process drama in language education was video recorded conducting three workshops over three weeks with ten adult international students. Linking two decades of research in dramatic engagement in process drama for language learning (Piazzoli 2018; Kao and O'Neill 1998), this study addressed the interaction of role, narrative and tension during process drama and its impact on language education. Sociocultural learning theory from the works of Vygotsky (1980, 1997, 2004) and transformative learning theory from the works of Mezirow (Mezirow 1991, 1997, 2000, 2003) were used to explore the transformative capacity of dramatic engagement in process drama from a sociocultural perspective. Phenomenography was used to crystallise the dramatic engagement occurring in the dramas. Using the key phenomenographic techniques of bracketing and reduction (Åkerlind 2008), this research investigated the phenomena of dramatic engagement for four specific cases and provides a multifaceted and systemic description of how an adult student of English learns through process drama when they are engaged with the art form. Three key moments of dramatic engagement were investigated through observation and video recall. Quality and quantity of multimodal linguistic devices were demonstrated when students were dramatically engaged and analysed from language education, process drama and dramatic engagement perspectives. The research revealed that during dramatic engagement, participants managed the dramatic elements narrative, role and tension through playbuilding, roleplaying and sensemaking processes. Metaxis, metacognition and meta-emotion acted as catalysts for dramatic engagement with the participants and contributed positively to the process drama and language learning experience. The thesis concludes that language education can be improved for international students studying English in Australia to provide a transformative learning experience through dramatic engagement. A framework for exploring aesthetic engagement through dramatic engagement is proposed. This research is significant for Australia’s third largest export industry, international education, and for aestheticians, process drama practitioners and language educators who are synergizing teaching and learning practice between these three growing pedagogies.
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Russell, Robert. "An actor's process." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240239777.

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Thesis (M.F.A.)--Kent State University, 2009.
Title from PDF t.p. (viewed Jan. 22, 2010). Advisor: Charles Richie. Keywords: Michael Chekhov; Bill Sykes; Cinnesias; Vershinin; Oliver; Lysistrata; Three Sisters; Archetype. Includes bibliographical references (p. 74).
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Mwange, Sepiso. "Process drama : affecting the second language learning classroom." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20618.

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This is a practice as research (PAR) study that investigates Process drama as a pedagogical methodology for second language acquisition. The dramas were structured around role play in fictional situations designed to improve the pupils' vocabulary in English, mainly using the strategies of Teacher in Role and Mantle of the Expert. This research demonstrates the effect and affect of placing the pupils in experiential learning environments that empower him/her to be a co-creator of knowledge, as well as the skills needed by the researcher to facilitate this process. The pilot study was designed for implementation over four months, with pupils in second language English classes in grades 2 and 3 (i.e. seven/eight years old). Qualitative research methods were used, including critical and reflexive ethnography, simple questionnaires, and unstructured interviews with teachers and pupils, Teachers' and Visitors' feedback, video recordings and the researcher's journal. The sample of participants was too small to make recommendations, but the study tested the Process Drama method and the techniques of role, Teacher-in-role and Mantle of the Expert. The analysis of the project draws from the theoretical principles applied in other case studies by practitioners in the field, comparing the methods used and their outcomes. As well as the assumption that Process Drama is a good way to teach language because it creates the space for emotion and cognition to co-exist within the learning space.
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Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.

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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made: 1. Questions were used extensively to promote the drama process. 2. The teacher employed a wide range and diversity of questions. 3. Definite patterns emerged in teacher questioning techniques. 4. Specific kinds of learning were emphasized by teachers within the drama. Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research: 1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described. 2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically. The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Hogan, Sharon. "Being ethical : how process drama assists pre-service drama teachers to reflect on professional ethics." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26436/1/Sharon_Hogan_Thesis.pdf.

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This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.
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Hogan, Sharon. "Being ethical : how process drama assists pre-service drama teachers to reflect on professional ethics." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26436/.

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This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.
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Piazzoli, Erika Caterina. "Navigating the Labyrinth: A Study of Engagement and Artistry in Process Drama for Additional Language Teaching and Learning." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365439.

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In this reflective practitioner research I investigate process drama for additional language teaching and learning (AL/process drama). In particular, I examine two constructs relevant to AL/process drama aesthetics: ‘learner engagement’ and ‘teacher artistry’. To explore these constructs I draw on three case studies, developed within two adult schools of Italian (AL) and a university, in Milan, Italy. As teacher/researcher, I designed and facilitated a series of process drama workshops for each context, resulting in 45 hours of video-recorded material. I kept a reflective journal (written in English) and a logbook (written in Italian) where I recorded my reflection-in-action and reflection-on-action. As a translingual researcher, I deliberately switched between languages, in an attempt to capture different nuances and better understand my attitudes and beliefs towards AL/process drama teaching. Within each case, I worked with a group of up to 16 international students of Italian (AL) at an intermediate level of proficiency (student-participants) and up to seven teachers (teacher-participants) who observed the workshops and took notes on the learners’ engagement. Both students and teacher-participants took part in individual and focus group interviews. At the end of each workshop, student-participants were invited to choose a specific moment from the drama and self-evaluate their engagement. These moments informed the selection of video extracts that were later used within video-stimulated recall interviews. The ‘learner engagement’ construct was explored through the Vygotskyan lens of ‘felt-experience’ (perezhivanie) in which individuals perceive, feel, interpret, internalise, and re-create meaning through a cognitive, affective and social investment. I analysed the nature of engagement from a sociocultural perspective, across three domains: Second Language Acquisition (SLA), Intercultural Education and Aesthetic Learning. The analysis revealed that the nature of learner engagement in the SLA domain seems to appear and manifest as a cycle of ‘perception-in-action’.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
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Wu, Hsin-Fei. "Effects of Process Drama-Assisted Intervention on Oral Communication Strategies." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367224.

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My aim in this study was to examine suggestions inherent in the literature on process drama that it has viability for enhancing ESL/EFL learners’ language proficiency .This intention was enacted by exploring effects of a process drama intervention in training English learners’ use of oral communication strategies (OCSs) in a comparison context with a more conventional drama technique, role-playing. Dependent variables used as measures of effect were the variety of OCSs that learners used and with what frequency. The respective approaches used a series of planned lessons incorporating techniques of process drama, and a similar set of lessons using scripted role-play with 53 EFL participants from a Junior College in southern Taiwan. Quantitative and qualitative data were gathered from participants’ responses to questionnaires based on an adapted Oral Communication Strategy Inventory (OCSI), oral exams, after-task reflection surveys, semi-structured group interview, questionnaires of Foreign Language Classroom Anxiety Scale (FLACS), journals and video-recording. Excerpts of class activities of each group are used as supplemental reference.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
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O'Connor, Peter J., and n/a. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness." Griffith University. School of Vocational, Technology and Arts Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031210.113358.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in 1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
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O'Connor, Peter J. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366538.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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Books on the topic "Process drama"

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S, Heap Brian, ed. Planning process drama. London: David Fulton, 2001.

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Drama worlds: A framework for process drama. Portsmouth, NH: Heinemann, 1995.

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Bowell, Pamela, and Brian S. Heap. Putting Process Drama into Action. Milton Park, Abingdon, Oxon ; New York : Routlege, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315717975.

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1942-, Gannon Catherine, ed. Reading Renaissance drama: A process approach. New York: P. Lang, 1991.

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Bowell, Pamela. Planning process drama: Enriching teaching and learning. 2nd ed. New York: Routledge, 2013.

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Process of Drama: Negotiating Art and Meaning. London: Routledge, 1992.

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S, Heap Brian, ed. Planning process drama: Enriching teaching and learning. 2nd ed. New York: Routledge, 2013.

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Sabet, Rosemary. Towards and beyond a fusion of process drama and product drama. Birmingham: University of Central England in Birmingham, 2001.

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Oakes, Meredith. The editing process. London: Oberon Books, 1994.

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Starratt, Robert J. The drama of leadership. London: Falmer Press, 2003.

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Book chapters on the topic "Process drama"

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Coleman, Claire. "Critical process drama framework." In The Routledge Companion to Drama in Education, 117–21. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-12.

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Patrickson, Bronwin. "Multi-user Interactive Drama: A Micro User Drama in Process." In Interactive Storytelling, 199–206. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-25289-1_22.

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Piazzoli, Erika. "Drama as Process in L2 Education." In Embodying Language in Action, 21–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77962-1_2.

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Eriksson, Stig A. "Distancing as topos in process drama." In The Routledge Companion to Drama in Education, 18–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-4.

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Park, Hae-ok. "7. ELT Materials Using Process Drama." In Creativity and Innovations in ELT Materials Development, edited by Dat Bao, 109–21. Bristol, Blue Ridge Summit: Multilingual Matters, 2018. http://dx.doi.org/10.21832/9781783099702-009.

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Ødemotland, Siv. "Exploration Through Process Drama with Kindergarten Children." In International Perspectives on Early Childhood Education and Development, 173–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36271-3_11.

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Bryden, Mary. "Beckett/Deleuze/Guattari: Gender in Process." In Women in Samuel Beckett’s Prose and Drama, 58–69. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-12881-5_3.

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Jovanov, Branka Bajić. "Ecological education of preschool children using process drama." In The Routledge Companion to Drama in Education, 166–71. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-17.

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Hallgren, Eva. "Drama in education and the value of process." In The Routledge Companion to Drama in Education, 45–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-6.

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Goldberg, Moses. "The Theatre Product in Relation to Teaching Dramatic Process." In Key Concepts in Theatre/Drama Education, 271–74. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_44.

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Conference papers on the topic "Process drama"

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Moļņika, Baiba. "Drama Education for Violence Prevention: Approaches and Challenges." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.60.

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Violence in schools is a socially and culturally complex phenomenon that affects not only the victim and the abuser but everyone, including eyewitnesses, parents, and educators. Drama education provides a unique experience in reducing violence because it involves both the mind and the emotions The adolescent is the age stage that is influenced by many external and individual factors, such as those related to the change in the training system, age development, change of interests and change of class dynamics, etc. All of these factors can lead to an increase in the risk of stress background and violence situations. The study explores violence prevention through the lens of drama. The review reveals several approaches for drama education with connection to personal development and violence prevention, including, “Forum Theatre” and “Process drama”. The study provides recommendations to emphasize the role of drama education in reducing violence in schools.
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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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Van Rijsselbergen, Dieter, Barbara Van De Keer, Maarten Verwaest, Erik Mannens, and Rik Van de Walle. "On the implementation of semantic content adaptation in the drama manufacturing process." In 2009 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2009. http://dx.doi.org/10.1109/icme.2009.5202621.

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Ozogul, Tugce, and Hakan Sezerel. "ZOOMING ON THE "REAL" WORKING LIFE: APPLYING PROCESS DRAMA IN TOUR GUIDE EDUCATION." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1071.

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Marrucci, Luca, and Erika Piazzoli. "Evaluating Learner Engagement in Arts Education: Perspectives from Music and Drama in Education." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5516.

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In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.
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Drozenová, Wendy. "Technika, autonomie a etika: ke stému výročí Čapkova dramatu R. U. R." In 100 let R. U. R. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9688-2020-1.

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Čapek’s drama R. U. R., which is rather a social dystopia than a science fi ction (the principle of functioning of robots is not suggested, the drama is focused on the impact on humanity), shows the double face of technology: Th e dream about the “liberation of work” easily takes a turn for its opposite, and for destruction of humanity in consequence of ruthless utilization of the technological achievement for selfi sh economical and militaristic interests. „Autonomous technology“, which is not controlled by human aims any more, but by the rules of its own development, became an important subject of philosophy and ethics of technology (e.g. in works by J. Ellul, H. Jonas), and has a warning eff ect. Today, Industry 4.0 and the process of robotization bring new promises, but also new problems. Th e legacy of Karel Čapek includes values of humanism and understanding for other people’s views and needs, which is valuable for developing ethics of technology in democratic society.
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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva, and Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process." In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.
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Krahulcova, Kristyna. "SPECIFICS OF DRAMA THERAPY FOR PEOPLE WITH DRUG ADDICTION IN THE COMPLEX THERAPEUTIC PROCESS IN DETOXICAL DEPARTMENT." In SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b12/s2.109.

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Bukatov, V. "DRAMOHERMENEUTICS: BASIC PROVISIONS, METHODOLOGICAL GUIDELINES AND EDUCATIONAL PRACTICE." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2557.978-5-317-06726-7/107-112.

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A living understanding (according to Losev) of the topic studied in the lesson for the student is associated with the personal experience (according to Stanislavsky) of its semantic context. The individuality of the tempo/rhythm of this process guarantees the emotionality of the student's mastering of the studied. To provide teachers with the ability to design such a “lesson direction” from the situational-business conjugations of theatrical, hermeneutic and pedagogical spheres of professional activity, drama hermeneutics arose in didactics. Switch super task of which is to provide teachers with a system of figurative prompts: which of the well-known methodological techniques it makes sense to involve in their next lessons, building out of them one of the modern versions of the “hermeneutic procedure”.
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Luo, Jian-Shing, Jeremy D. Russell, Lang-Yu Huang, and Tsang-Pei Chen. "Applications of Electron Tomography on Advanced DRAM." In ISTFA 2007. ASM International, 2007. http://dx.doi.org/10.31399/asm.cp.istfa2007p0115.

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Abstract It is well known that pursuing the miniaturization of devices to lower the cost and increase high-speed performance are extremely important goals for dynamic random access memory (DRAM). Therefore, electron tomography has a high potential for application to novel generation DRAMs. In this article, several real-case examples of electron tomography on 90 nm technology DRAM, including barrier layer step coverage, via fill process observations and defect analysis are reported. These cases were demonstrated to show the applications of bright field-transmission electron microscope (BF-TEM) and HADDF- scanning transmission electron microscope (STEM) tomography to analyze barrier layer step coverage, defects, and W fill quality in advanced DRAM. By appropriate use of BF-TEM or HAADF STEM tomography, optimal information for failure analysis, root cause clarification, and subsequent process improvements can be obtained. Electron tomography holds significant advantages in comparison to traditional TEM imaging for appropriate cases.
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Reports on the topic "Process drama"

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Korol, A. Non-traditional Methods of Teaching Based on Emotional and Evocative Dramatic Art in the Creative Development of the Personality. Lardy Publishing House, 2018. http://dx.doi.org/10.31812/123456789/3287.

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Non-traditional methods of teaching are ways of improvement to the activity of the individual in the process of learning and creative work. It is the result from the destruction of usual stereotypes in knowledge and skills that starts off mechanisms of spontaneous activities, an integration of logical and evocative components. Current study examines the method of emotional and evocative drama art as a way of improvement to effectiveness in the learning and creative activities of the personality.
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Stojanovic, Vladimir, and Krste Asanovic. Analysis and Design of Manycore Processor-to-DRAM Opto-Electrical Networks with Integrated Silicon Photonics. Fort Belvoir, VA: Defense Technical Information Center, December 2009. http://dx.doi.org/10.21236/ada511353.

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