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Fleming, Kristina A. "Promoting learning across the curriculum with creative dramatics". Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fleming_K%20MITthesis%202007.pdf.
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Johnson, Valerie Frances Anne. "Drama with a Capital D: Text and Context in the Documentation of Curriculum". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/11678.
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Drama in practice is a creative process which makes meaning by the application to the human condition of aesthetic understanding, but drama in schooling is part of a system which makes meaning through a division of human understanding into subjects and courses. The discourse of drama education suggests that drama is a transformational process of personal development and social intervention. When schools offer to their students a subject called Drama, however, questions inevitably arise about the way in which the subject is validated. Is it a teaching and learning strategy, a means of intervention in dysfunctional situations, or a public relations exercise for the school? Which is more important, a polished performance or the spontaneous expression of students’ ideas, feelings and understandings? Is Drama undertaken primarily as recreation, or for the more “bankable” skills and strategies which can be gained from participating in it? Are such skills to be generically appreciated or vocationally targeted? It is a premise of the study that the school subject is both represented and shaped by the documents which set out the requirements for teaching and learning: the syllabus and its attendant texts. The Western Australian senior secondary school syllabus in Drama has been subjected to a process of deconstruction which considers information from the linguistic structure of the text, from the sociocultural contexts of theatre and schooling and from the situational contexts of curriculum development and teaching. This information has been used to recover meanings inherent in the document which can be used to define the domain being represented there. Thus the research consists in an analysis of the text itself, as the medium through which meaning is communicated, a review of the contexts which are represented in the document, and the identification of ways in which the school subject of Drama is validated.
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Cannon, Ashley N. "Incorporating drama across the curriculum into the intermediate elementary classroom". Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1020.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Education
Education
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Gatt, Isabelle. "Challenging policy, changing practice : introducing drama as a curriculum innovation". Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434359.
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Baker, Heidi G. "A Christian dance-drama curriculum for ministry training in Hong Kong". Theological Research Exchange Network (TREN), 1985. http://www.tren.com.
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Wachsman, Frances 1942. "Music, movement and drama in the center of the elementary curriculum". Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277227.
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The purpose of this project is to develop a research-founded semiotically-based, holistic philosophy for utilizing quality, child-tested music, movement and drama resources in an integrated learning format and to provide workable activities within an accessible, understandable structure for use by the teacher in kindergarten through third grade classroom situations. Since children are "meaning makers," it is logical to create an approach for classroom teachers to use which builds on what children need most to help them make learning connections: an integrated format which helps children understand how learning fits together or makes sense. This project organizes music, movement and drama activities thematically in content areas which are ordered from simple to complex to accommodate the age range to which the project is directed.
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Karlsson, Evelina, i Sofia Larsson. ""Drama har tappat lite status. Men jag tycker drama är viktigt." : Pedagogers perspektiv på förutsättningar för arbete med drama". Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48521.
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Förskolan har en läroplan att utgå ifrån vad gäller innehåll och målsättning i det pedagogiska arbetet. Läroplanen har omarbetats och reviderats och detta har lett till konsekvenser i förskolan som verksamhet. Ett ämne som påverkats är drama som är ett av de estetiska uttrycksformerna där även t.ex. musik, bild och rörelse ingår. Den här studiens syfte är att undersöka vilka möjligheter pedagogerna i förskolan har att arbeta med drama utifrån läroplanen och andra kringliggande ramfaktorer. Genom att analysera både avverkade och aktuella styrdokument för förskolan, samt intervjua yrkesaktiva pedagoger på olika verksamheter framkom det tydligt att handling påverkar konsekvens. Resultatet visar att pedagoger upplever sig styrda av läroplanen, trots läroplanens utveckling från vad som skulle kunna kallas en handbok till ett dokument öppet för egna tolkningar. Drama som ämne kan anses ha låg status där det bortprioriteras, inte av ointresse men på grund av att andra ämnen prioriteras högre. Ramar som tid, kompetens och den politiska styrningen påverkar också det konkreta pedagogiska arbetet. Vilka ramar som pedagogerna själva upplever påverkar dem är ramarna i verskamhetens direkta närhet. Faktorer utifrån var för pedagogerna inte lika synliga.Swedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.
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Cheng, Siu-Lun. "Curriculum change and professional development the impact of the introduction of a drama curriculum on the competence of teachers /". Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37610041.
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Cheng, Siu-Lun, i 鄭兆麟. "Curriculum change and professional development: the impact of the introduction of a drama curriculum onthe competence of teachers". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37610041.
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Lovering, Christine. "I see a spark and blow on it: Drama practice in Year 1 and the new Australian Curriculum in the Arts". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1740.
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New educational directives have an effect on the practice of teachers in schools. This study is propelled by the introduction of a national Australian Curriculum and subsequent changes to the Arts curriculum. As one of the five arts subjects, drama has been included in the primary school curriculum in Western Australia since 1997, however, its inclusion and the teaching of drama has not been consistently realised.
Teacher perspectives and beliefs about specific Learning Areas influence their planning and practice; often this is related to past experiences. This study aims to determine Year 1 teachers’ perspectives of, and practices in, drama. In addition, knowledge of the new Australian Curriculum in the Arts and the level of support required during the implementation process are sought. The study focuses on the Year 1 level, as this particular year marks a significant transition in a young child’s life from a Pre‐primary setting to the Year 1 classroom; considering the playful quality inherent in drama experiences, it is a time when drama pedagogy could be explored fully.
Data collection instruments were generated based on previous research and state curriculum documents. Participants in the study were asked to complete a questionnaire. The data provided an insight into Year 1 teacher perspectives and practice and the new Arts curriculum. The subsequent semi‐structured interviews were conducted to augment the questionnaire data.
The study found that Year 1 teachers extolled the positive benefits of using drama; however, experiences in drama, both as teacher and participant, affected their willingness to implement it. Teachers were using drama, yet analysis of semi‐structured interviews revealed a common practice of implementing incidental and unplanned drama experiences. A foundation for the implementation of drama in the new Arts curriculum with recommendations for possible professional development and support for drama practice are provided.
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Donelan, Katriona Jane, i n/a. "The Gods Project: Drama as Intercultural Education. An Ethnographic Study of an Intercultural Performance Project in a Secondary School". Griffith University. School of Vocational, Technology and Arts Education, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060609.111246.
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This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives. This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called The Gods Project. Jean, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an African creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jeans residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project. I collaborated with Jean and with a group of senior students, who volunteered to be student co-researchers, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jeans pedagogy of intercultural story telling within the drama classroom and her role as a cultural guide throughout the project was explored. As a participatory ethnographic researcher, drama educator and assistant director, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts. Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of social drama and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turners concepts of the liminal/liminoid and communitas were applied to the participants experiences at the creative arts camp and within the workshop and performance space. Dark play was identified as the young peoples response to the difficult social drama they were involved in; their subversive play provided a way to engage with the strangeness of the cultural material and the plays dark story and themes. The participants dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making. The students efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative intercultural reflexivity, ethnography can enhance intercultural drama education. The pedagogical features of The Gods Project are related to Turners concept of performance ethnography and the role of a cultural guide in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.
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Donelan, Katriona Jane. "The Gods Project: Drama as Intercultural Education. An Ethnographic Study of an Intercultural Performance Project in a Secondary School". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/368076.
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This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives.
This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called ‘The Gods Project’. ‘Jean’, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an ‘African’ creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jean’s residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project.
I collaborated with Jean and with a group of senior students, who volunteered to be ‘student co-researchers’, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jean’s pedagogy of intercultural story telling within the drama classroom and her role as a ‘cultural guide’ throughout the project was explored. As a participatory ethnographic researcher, drama educator and ‘assistant director’, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts.
Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of ‘social drama’ and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turner’s concepts of the ‘liminal/liminoid’ and ‘communitas’ were applied to the participants’ experiences at the creative arts camp and within the workshop and performance space. ‘Dark play’ was identified as the young people’s response to the difficult social drama they were involved in; their subversive play provided a way to engage with the ‘strangeness’ of the cultural material and the play’s ‘dark’ story and themes. The participants’ dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making.
The students’ efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative ‘intercultural reflexivity’, ethnography can enhance intercultural drama education.
The pedagogical features of The Gods Project are related to Turner’s concept of performance ethnography and the role of a ‘cultural guide’ in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Full Text
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Rose, Liisa Marie 1969. "Shakespeare in high school drama: A model for active learning". Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278579.
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There is a need in the United States for a philosophical change in education. Students schooled in the traditional manner of direct instruction are not graduating high school with adequate preparation to enter college or the work force. To change this trend, teachers must consider using methods other than direct instruction. This thesis presents one possible method: active learning. For information to be most useful to students, it must be made relevant. Active learning places emphasis on meaning making and the entire process of learning which encourages students to find connections with the material. In active learning, students become learners as well as learned in a subject, a step beyond direct instruction. Presented is a model for all of curriculum, a refinement of active learning for high school Shakespeare including example lessons.
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Combs, Carolyn. "A conceptual framework towards a democratic citizenship curriculum, and its implications for educational drama". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62711.pdf.
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Radley, Kathleen Elizabeth. "The teaching of drama in secondary schools : how Cambridgeshire teachers feel the subject should be taught in relationship to the National Curriculum". Thesis, n.p, 2002. http://oro.open.ac.uk/18810.
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Martello, Julie. "Acting on literacy curriculum and pedagogy in early childhood education". View Thesis, 2005. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20060201.103358/index.html.
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Thesis (Ed.D.) -- University of Western Sydney, 2005.A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the award of the degree of Doctor of Education, May 2005. Includes bibliography.
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Montgomery, John David. "Censorship and the Drama Curriculum: A study of the censoring of HSC Drama texts for study and performance in the experience of nine educators working in secondary Christian schools in New South Wales". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/14614.
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This research investigates the contributing factors that influence policy and practice relevant to the censoring of the senior secondary school drama curriculum. Specifically, it examines the practice of and the philosophical basis for censorship in the study and performance of HSC Drama in secondary non-government schools in New South Wales. This study employs an interpretative paradigm of educational research based on a constructivist methodology using narrative analysis. As such the research methodology is a qualitative study employing the tools of interview and questionnaire to three case studies. The three case studies investigated are the three main Christian school systems in New South Wales: Catholic, Protestant and non-denominational Christian schools. In each case study, there is an HSC Drama teacher, a drama faculty head and a director of curriculum. The aim of this study is to produce high-quality, in-depth understandings of why and how censorship operates in these case studies. This study will be of interest and practical use to teachers and principals. These findings demonstrate a chilling effect is widespread in these critical cases. This fear is influencing school management, teachers and students to censor and self-censor texts. This censorship is significantly diminishing the breadth and richness of the curriculum, narrowing student engagement with diverse ideas and significant theatre practitioners. The motivation for these decisions of censorship is often influenced by fear of potential reprisal for the teacher and the school’s reputation. Censorship responses are not often deeply considered and reasoned but rather frequently motivated by appeasement. Issues of the chilling effect, hegemony, determining values and standards, and decision-making processes emerge as themes of this study. The division, diversity and passion in the stories of the respondents, demonstrate a need to develop a conceptual framework and review process to support censorship discourse in schools that is balanced and free of fear. The conceptual framework and review process that this study posits will assist teachers, principals and school communities to make well informed and rationally considered decisions in developing an appropriately broad and balanced arts curriculum.
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Sun, Ping-Yun. "Drama in education the process of self-discovery and transformative learning /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3161794.
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Thesis (Ph.D.)--Indiana University, School of Education, 2005.Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0078. Adviser: Mary B. McMullen. Title from dissertation home page (viewed Oct. 11, 2006).
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Leedberg, Linda Carol 1946. "Global methodology: Engaging children in drama and theatre arts to enhance creative and aesthetic response". Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278484.
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This study proposes a different approach for teaching drama/theatre arts to encourage lifelong creative and aesthetic response. Teachers introduce domain-relevant concepts using children's intrinsically generated themes and stories. Because it roots children in both the generative and interpretive work of drama and involves the student holistically, this approach is labeled global. A reciprocal student-teacher relationship reinforces self-esteem and motivation as children work from within the drama process writing, directing, acting, designing, building, and reacting as audience. The global method works as a K-12 curriculum for children because it stresses developmental theory in both creative and aesthetic growth. To this end, the global approach encourages openness, flexibility, self-direction, divergent and heuristic thinking, risk taking, and perseverance in a collaborative setting natural to drama and life. Drawing from personal observations and writings on creativity and aesthetics, the author builds a case for this method to merge disparate views on drama in education.
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Fatzinger, Stefanie Abbott. "Weaving Together the Curriculum Through the Integration of Drama in the Classroom: Presenting Spoon River Anthology". University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1271007280.
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Hoadley, Ursula Kate. "An analysis of the constitution of a school subject through recontextualizing : the case of the NAC drama syllabus (1994)". Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18378.
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This study sets out to develop a framework for the analysis of a school subject and uses as a focal study the NAC drama syllabus developed in1994. Drawing in the main on Basil Bernstein's theory of curriculum, an analysis is made of how a syllabus is constituted through recontextualizing, using the theoretical concepts of voice and identity, classification and framing, and hierarchy. The discourses that have been recontextualized in the formation of the syllabus are identified. Two sets of discourses are identified: educational policy discourses (namely the discourses of progressivism, utilitarianism and reconstruction and development) and educational drama discourses. The specialization of voice in the syllabus marks out the academic identity, and is an indicator of educational drama discourses evident in the syllabus. The specialization of identity marks out projected social identities, indicating the recruitment of educational policy discourses in the constitution of the syllabus. The field in which the syllabus is constructed is also examined, which following Bernstein is defined as the recontextualizing field. The syllabus writers, located in this field, act selectively on the educational policy and educational drama discourses in constituting the syllabus. The rules for selection in the development of the syllabus are examined, and these are related to the syllabus writers' situation within the recontextualizing field. It is argued that the syllabus writers are positioned subordinately within the field, and that this factor to a large extent regulates the operation of educational policy discourses as rules for selection in the drawing up of the syllabus .
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond". BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.
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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Kanira, Eleni. "The contribution of drama in education to discourse-making and language development in the Foundation Stage curriculum". Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1297/.
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The importance of early childhood education in children's social, emotional, cognitive, physical and spiritual development is only recently gaining coinage in the formal education system in the UK, despite the fact that extensive research has been conducted in the fields of child development and child psychology for many years. Such studies reveal the importance of a child centred, humanising education in the development of the young child, and pay particular attention to the role and value of language acquisition and meaningful language use in the holistic education of young children. Against the background of a newly introduced early years curriculum in the UK (2000), this study traces the historical origin of early childhood education and the socio-cultural, political and economic factors that impact upon its delivery and implementation in various curricula, both nationally and internationally. The recent Foundation Stage curriculum document (2000) identifies language, play and human interaction as tools not only for the development of personal, social and linguistic skills but also as key processes of learning and teaching in early childhood education. However, in the absence of a well developed methodology and with insufficient Early Years training for the Foundation Stage Curriculum (2000), language teaching and learning is generally regarded more as a preparation for the formal school curriculum rather than in the context of discourse and communication for the development of personal and social skills. This situation has led to a considerable degree of professional conflict and insecurity amongst Early Years practitioners about the aims of the new curriculum and its implementation. The thesis argues that young children develop holistically (cognitively, personally and socially) through the medium of 'speech' and 'discourse', and that language is a social construct and a product of human culture. Therefore in early years, language and literacy development cannot be separated from the child's social world and the focus, in terms of teaching and learning, should be on discourse-making: the making, negotiation and development of rules, terms and conditions of the child's social world. This can offer children the linguistic resources they need to be confident and secure in familiar and unfamiliar environments and to problem-solve, organise and maintain their social worlds. The thesis argues that play and well structured Drama in Education activities can provide opportunities for meaningful communication and discourse. Drawing from the research findings, a model to structure and develop children's play for personal, social and linguistic development through Drama in Education is proposed. It will be shown that drama contains interactive tools and meaningful forms of learning which can assist teachers to create living contexts and fictitious worlds with the children within which the different functions of language can be identified and developed.
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Sutherland, Alexandra. "Writing, identity, and change : a narrative case study of the use of journals to promote reflexivity within a Drama Studies curriculum". Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1004384.
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The study adopts a case study examination of three student reflective joumals written about class and field based applied Drama experiences over one year. The journals were written as part of a curriculum outcome to develop reflective practice, for one Drama Honours paper (Educational Drama and Theatre) at Rhodes University Drama Department, South Africa. Based on a narrative inquiry approach, the study documents the changes in identity, discourse, and representation of self and other, which emerge through the journal writing process. The research analyses how identities are constructed through reflective writing practices, and how these identities might relate to the arguments for the development of reflexivity. The development of reflexivity is seen as integral to contemporary educational policies associated with lifelong learning, and the skills required of graduates in South Africa's emerging democracy. These policies centre on means of preparing students for a world characterised by change and instability, or what Barnett (2000) has termed a "supercomplex world". The research findings suggest that journal writing within a Drama Studies curriculum, allows students to construct subjectivities which support Barnett's claim that "the main pedagogical task in a university is not that of the transmission of knowledge but of promoting forms of human being appropriate to the conditions of supercomplexity" (Barnett, 2000b: 164). In addition, the development of different writing genres within a Drama Studies curriculum allows students to develop disciplinarily relevant ways of discussing and researching artistic processes and products. A reflective journal is a potential site for students to interrogate and construct emerging identities which enable them to negotiate diversity, thus preparing them for their lives beyond the university.
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Stinson, Madonna Therese. "The Shifting Sands of Curriculum Development: A Case Study of the Development of the Years 1 to 10 - The Arts Curriculum for Queensland Schools". Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365602.
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Curriculum development is a complex, problematic and challenging field. Nowadays educators and curriculum developers acknowledge that understanding of curriculum and approaches to curriculum development must be transformed in response to the rapidly changing and increasingly diverse world in which we live.
This study focuses on a particular curriculum development project, the Years 1-10 The Arts Curriculum for Queensland Schools, which was undertaken at the cusp of 21st century. While grounded in a technical model of curriculum development the project was influenced by reconceptualist concepts, particularly in terms of the valuing of diversity, and extensive and ongoing consultation which involved stakeholders in the construction of the curriculum. It was constrained by power disjunctions between contributing authorities, and the existing “model of the state”.
This thesis uses a narrative case study approach to document and analyse the process of curriculum development on this particular project. I worked as a participant-observer for the duration of the curriculum development project and have interwoven, into a single narrative, the personal, systemic and political influences on the developing curriculum.
The initial research question focused particularly on significant influences and constraints that contributed to the development of this arts curriculum. However, during the process of analysis, a second important question emerged: ‘What does it mean to be a curriculum developer involved in systemic curriculum construction at the beginning of the 21st century? In seeking to answer this second question I draw on reconceptualist approaches to curriculum theorising.
A review of literature encompasses curriculum theory, suggestions for curriculum development, outcomes-based-education, arts and drama education, and progression in drama.
The body of the thesis documents, analyses and critiques this curriculum development process in three phases: developing the design brief, constructing the outcomes and syllabus, and the trial/pilot process in schools. At the end of each phase important influences and constraints are identified.
I offer three insights emerging from this research which may be of value to future curriculum developers. The first of these is the proposal that we “curate” curriculum rather than create it. Curate derives from the Latin curare: to care, and curatorship is characterised by the processes of selection, organisation and “looking after” the items in a collection or exhibition. As curriculum developers we construct the curriculum out of existing materials, selecting some and discarding others. We organise and share the curriculum so that others can access and “see” things anew. I also suggest a framework for conversation about curriculum development which sees dialogue, recursivity and the valuing of diversity as essential underpinnings of the process. Finally I suggest desirable qualities of a collaborative curriculum developer. These qualities assist the developer to navigate the “shifting sands” that are inherent in any curriculum development process.
This study calls for increased attention to the nature and processes of consultation. It highlights the importance of teachers’ contributions to systemic curriculum development and the need for mechanisms of support that enable and value diversity of input.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Faculty of Education
Full Text
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Timms, Heather A. "The journey of making meaning in drama : a case study in a metropolitan priority school". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1176.
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Children with a low socio-economic background frequently fail within our schools. The school milieu is a potential contributor to this scenario, as schools are generally designed for the attributes, needs, and skill levels that are characteristic of middle• class children. It is therefore important to explore alternative learning frameworks that will enable these children to function within the school system. Drama offers unique and exciting possibilities in this field. Previous research endorses the use of drama in education for this specific purpose; and the theories propounded by learning and language theorists and drama educationalists provide a strong theoretical framework.
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Merrill, Jean Collins. "Eureka: A gold rush play integrating the performing arts into elementary social studies curriculum". CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2566.
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The purpose of this project is two-fold. The first purpose is to explore the benefits of incorporating the arts in the education of all students. Incorporating the arts into other curricular areas enhances learning and makes it more meaningful to the student. The second purpose is to develop a performance program that brings the California Gold Rush era and the cultural diversity of that period of history alive.
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Gosse, Douglas. "Historical fiction, drama, and journal infusion in grade nine, early French immersion history, a curriculum guide using Enfants de la rébellion". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23140.pdf.
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Kim, Su-youn. "Issues related to the potential adoption of drama as an integral part of a new national curriculum : the case of South Korea". Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/66682/.
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South Korea has recently adopted a new national curriculum (the new NC, 2009 NC), emphasising the development of students’ creativity, their interest in learning, and self directed learning. However, it seems that some confusion exists in local schools as to how to follow the emphasised points of the new NC. This study started under the hypothesis that the adoption of drama and story would contribute to schools following the main ideas of the new NC, facilitating an enjoyable and effective curriculum in local Korean schools. To examine this hypothesis I created a workshop which actively adopted drama and story, with a focus on teaching selective parts of the new NC to year one classes. I wanted to intensively observe what happened during these workshops. I had a total of six or seven sessions to teach the workshop to five year one classes in two Korean schools. I adopted the case study as my research methodology, studying the five cases (the five year one classes) in depth with a mixed method approach, which allows the use of both qualitative and quantitative research methods. After the workshop those students, class teachers and head teachers who participated in the study provided positive responses regarding the adoption of drama and story within the new NC. It can be said that this study shows the possibility that adopting drama and story can be a way to teach the new NC in an enjoyable and stimulating manner. However, it has also found that the class and teacher require certain conditions in order for the effects of adopting drama and story to be fully realised. In particular, it is very important to develop school teachers’ understanding of drama in the classroom and to support them in their practice if they want to adopt drama in their teaching. Therefore individual schools, the Ministry of Education and the Local Ministry of Education need to cooperate to provide proper support for teachers. It is expected that this study will result in more active future research in this area, since there is still no published research about drama and story for both an integrated curriculum and, more specifically, for the new NC design in Korea.
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Baisden, Michelle. "Enhancing the aesthetic response and learning in the drama classroom". Thesis, Queensland University of Technology, 2003.
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This enquiry is a conceptual study that challenges the ways that teachers and students learn about the creative process of Responding as defined in the Queensland Senior Drama Syllabus 2001. During the term of this research I have been challenged to rethink my attitudes to responding by contemplating new experiences and opportunities to enable my drama students to engage fully with live theatre.
Theatre visits are integral components of learning about drama and they do not necessarily entail assessment. However, the subject of this enquiry is in part about the
assessment of the Responding objective, given the trend that teachers frequently use live theatre for responding tasks. As distinct from qualitative research, this study seeks to conceptualise a variety of responding models that can be employed in the drama classroom. Some new concepts proposed in this thesis may be intellectually challenging
for school students, however I believe that it is healthy to continually challenge the learning experiences and related assessment tasks that we implement in our drama
classrooms.
There are no certainties in conceptual research, but assumptions and ideas that link with theory and perhaps lead to improved practice. It is my view that rethinking the models that teachers use to teach responding will enable more students to engage meaningfully
with live performance.
This research endeavours to raise awareness of new possibilities in the area of responding to live theatre. My own journey of thinking about responding is reflected in
the structure of this thesis. Early discussions with teaching colleagues and arts providers have been included as these have been integral in setting a background context for this field. The focus of the literature review in this enquiry is the concept of the mature responder, which has informed my exploration of four models of responding developed from theory and my own classroom practice. My interest in this research project has been generated from attempts to design challenging and authentic responding tasks for my senior drama students.
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Rodrigues, Lisinei Fátima Dieguez. "Teatro e transdisciplinaridade : a experiência do projeto Amora no Colégio de Aplicação da Universidade Federal do Rio Grande do Sul". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55428.
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O trabalho propõe-se a discutir a presença de atividades de caráter transdisciplinar no ensino e aprendizagem de teatro na Educação Básica. O foco da investigação é a experiência pedagógica do Projeto Amora do Colégio de Aplicação da Universidade Federal do Rio Grande do Sul (CAP/UFRGS), no período compreendido entre 1996 e 2011. A escolha desse campo investigativo decorre, dentre outros aspectos, da identificação da autora (professora da disciplina de Teatro do CAP) aos propósitos do Projeto Amora, que objetiva “oportunizar a construção do conhecimento a partir da articulação entre as múltiplas facetas das diferentes disciplinas e propiciar ao sujeito da aprendizagem uma visão ampla e interacional da realidade, sem descuidar do binômio afeto-cognição”. Na intenção de compreender tais propósitos, relacionando-os à construção de conhecimento na disciplina de Teatro, partiu-se da hipótese de que os entrelaçamentos conceituais e epistemológicos entre os distintos campos de conhecimento poderiam contemplar o desejo de que os estudantes realizassem aprendizagens significativas no espaço escolar. Sob o aporte das teorias do currículo, da epistemologia e da pedagogia do teatro, e tendo como metodologia o estudo de caso, analisou-se o ensino de Teatro desenvolvido no referido projeto a partir de diversas fontes, tais como, documentos, relatos de experiências de docentes e estudantes, planos e relatórios de ensino e de aprendizagem, dentre outras. Nessa perspectiva, foi possível identificar que o Projeto Amora possibilitou a transformação das relações interpessoais e da gestão escolar, ao adotar em suas práticas a concepção de conhecimento interacionista, na qual o desenvolvimento moral e o protagonismo dos estudantes se refletem no uso dos tempos e espaços institucionais. Foi possível ainda: reconhecer que a pedagogia relacional e suas concepções nortearam a ressignificação das disciplinas, das experiências de ensino e aprendizagem e dos processos avaliativos; e constatar que o reconhecimento do Teatro como área de estudo, na forma proposta pelo Projeto Amora, oferece um processo contínuo de estruturação de esquemas e conteúdos que possibilita aos estudantes realizar operações cognitivas de identificação (o que é só do Teatro), de comparação (o que não é só do Teatro) e de relação (o que é do Teatro e de outras disciplinas), permitindo formular generalizações acerca do ato teatral. Dessa forma, consolidou-se a ideia de que a transdisciplinaridade não pode prescindir do mergulho necessário nas especificidades da mathema Teatro.This paper aims at discussing the presence of transdisciplinary activities in the teaching and learning of Drama in elementary school. The investigation focuses in the experience at a Pedagogical project called Amora at Colégio de Aplicação da UFRGS (CAP/UFRGS), between 1996 and 2011. The author’s identification with the project’s purpose -- which aims at building learnig experiences through the articulation of the different subjects and allow the learner to develop an open and interactional view of reality, caring for their cognition and affection -- motivated the research due to her work as a Drama teacher. Intending to comprehend such purposes, and relating them to the building of Drama knowledge, we hypothesized that the epistemological and conceptual interrelations among the different fields of study could contemplate the student’s wishes to accomplish meaningful learning in the school. Based on epistemology, Drama pedagogy and curriculum theories, and the case study methodology, the teaching of Drama in such project was analyzed from several sources such as documents, reports from teachers and students, teaching plans and reports, and others. It was possible to identify that the Amora Pedagogical Project allowed changes in interpersonal relations and school management, by adopting the project’s interactionist concepts and knowledge, in which the moral development and the students’ protagonism reflects in the institutional time and space. It was also possible: to recognize that the relational pedagogy and its conceptions guided the subjects’ resignificance, the teaching and learning experiences, and the assessment processes; to find out that the recognition of Drama as a Field of study, in the way proposed by the project, allows a continuous process of scheme organization and contents that enables the students to accomplish identification cognitive operations (which belongs to the Drama field), comparison (which does not belong only to Drama) and connection (which belongs to Drama and other subjects), allowing them to formulate generalizations about the dramatic acting. Thus consolidating that the transdisciplinarity idea cannot be subtracted from the specificities of the Drama mathema.
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Rau, Man-Lin. "Creative, imaginative English-as-a-foreign-language using storytelling and drama". CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2693.
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With a view to improve English teaching, this project provides creative teaching methods for English teachers of elementary schools in Taiwan. Storytelling, creative writing, and creative drama are interesting and lively activities that are used to motivate students to learn English.
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Almodovar, Mayra. "Integrating music, drama and the visual arts in the early childhood curriculum a study of early childhood teachers in a metropolitan area of Puerto Rico /". Amherst, Mass. : University of Massachusetts Amherst, 2010. http://scholarworks.umass.edu/open_access_dissertations/195/.
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Gilbert, Nina Marie. "A teacher researcher study of the influence of using improvisational drama in teaching an integrated curriculum unit of study on kindergarten children's free-choice play". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413296876.
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Matthews, Robert. "Learning basic concepts of worship through a designed curriculum and musical for the children's choir of Trafalgar Village Baptist Church, Memphis, Tennessee". Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Gore, Rosemary Anne. "The Kartini Project". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35809/1/35809_Digitised%20Thesis.pdf.
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This project is an account of one teacher's journey with her students, across cultural boundaries in search of creating authentic Asian/Australian Drama experiences. The project explores the notion of establishing a shared cultural context. The early chapters focus on the background influences that determine where and how the project is set. Subsequent chapters provide an account of the innovative use of dramatic forms used in preparation for the fieldwork, then account of the fieldwork and post classwork. The study ends with a series of recommendations for any teacher intending to undertake a similar project.
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Feng, Lin Su, i 林素鳳. "Drama Education Applied in Interdisciplinary Curriculum". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/65608675699329629981.
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碩士國立臺東大學
兒童文學研究所
92
Applications of Drama Education in the First-Grade Interdisciplinary Curriculum ABSTRACT This research is mainly talked about the possibility of drama education applied in Interdisciplinary Curriculum in order to be the reference of curriculum integration in our national 1st- 9th grades curriculum alignment This operational curriculum research is proceeded by an elementary school teacher from his class . The researcher coordinated the above result with drama (TPR) method and illustrated properly through self-reflection. The results mainly revealed three aspects: For students: Because of their rapturous learning , students not only achieve the reformation toward homework , look forward to go to school but also extend to somewhere further away from school like their home, friends, and surrounding environment . Their individual basic ability learning accomplishment will be established invisibly through learning more and deeper when relationship undergo harmonious interaction For teachers : The teaching progress was slightly affected by every accidental error but not totally insusceptible. However, it still worth celebrating for the enhancement of teaching quality. The feasibility study of executing in curriculum integration : It’s feasible to apply drama teaching in Interdisciplinary Curriculum. But the utmost presupposition is “ Acting can’t be the one and only “ reason in this teaching method. If a teaching method with the elements of drama focuses on energizing the course, that will be a cheerful teaching and learning process. The last part will be the evaluation aimed at the result of the study for the purpose of reviewing merits and demerits which can be the reference for anyone who wants to use drama teaching to achieve Interdisciplinary Curriculum. Key words: drama teaching(the Teaching Ability of Drama) . elements of a play . the motive of learning . Interdisciplinary Curriculum
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Wee, Su-Jeong. "Early childhood drama education : curriculum and collaboration /". 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3363109.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009.Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Liora Bresler. Includes bibliographical references (leaves 178-189) Available on microfilm from Pro Quest Information and Learning.
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Naidu, Ramola L. "Speech and drama curriculum development : the perspectives of a selection of drama teachers in KwaZulu Natal". Thesis, 1998. http://hdl.handle.net/10413/4494.
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The researcher has attempted to gain an understanding of how Drama teachers perceive the teaching of the curriculum and curriculum change. The data were obtained through the use of the qualitative mode of engaging in research. The researcher, who is also a Drama teacher had come to experience the need for teachers to be given an opportunity to express their views on curriculum as the area of curriculum is complex and always in need of reappraisal. Also, teachers needed a medium through
which they could share their perspectives on curriculum. The researcher collected the relevant information by using the interview context as a
means of data collection. Ten Drama teachers responded to questions focusing on curriculum teaching and curriculum change. The Drama teachers' perspectives were recorded and analysed. Marxist theorists like Bowles and Gintis( 1986) view teachers as mere state functionaries and agents of the system. Drama teachers in this study contradicted the view of teachers as technicians within the system. They were not reflective of typical teachers. Rather Drama teachers challenged and mediated the curriculum, they did not accept and abide by the syllabus document and their classroom practice was determined by the immediacy of their particular teaching context. Finally through engaging in this research study the researcher has achieved the following objectives:
1. An understanding of the view that knowledge is a socially constructed
concept.
2. Has provided a medium through which the perspectives of Drama teachers are heard.
3. Has provided an invaluable experience of documenting the processes of
qualitative research.Thesis (M.Ed.)-University of Natal, Pietermaritzburg, 1998.
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Huang, Ching-Ya, i 黃靖雅. "Learning About Haidian Community Through Drama – The Integration of Drama into “Community Learning” of Life Curriculum". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/00959178914637176628.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
105
The action study investigated the curriculum design process of the integration of drama into “community learning” of Life Curriculum, teaching reflection, and second graders’ experiences of constructing community awareness through drama. Three themes were identified through the curriculum development process. They were “understand Haidian community,” “field trip to Haidian community” and “I love Haidian.” Observations, interviews, field notes, documents, and video taking were utilized to collect data from the teacher, students, observer, cooperative teacher, and the expert. The results of the study are as the following: 1) Curriculum Design: The community learning was student-centered curriculum. It raised students’ awareness of the community through the vivid scenarios of the drama. The field trip also helped students indulge themselves in the drama. 2) Teaching Reflection: Teachers needed to be part of the learning process along with students. This way, teachers would be able to accept and synthesize students’ thoughts and learning experiences with open-minded attitudes in order to help students construct understanding of the community. 3) Students’ Experiences: Students learned what to look at in the community and how to introduce the community to their family members and friends through the field trip and drama curriculum. They not only participated more in the community events but also showed their love and devotion to the community more. , They enjoyed all in the process and felt a great sense of achievement. The students built the awareness of the community through the study. Community learning happened in class as well as in real life experiences.
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Wei, Li-Ting, i 魏利庭. "A Study of Applying Drama Strategy in Secondary Visual Arts Curriculum". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/6a25uc.
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碩士國立臺北藝術大學
藝術與人文教育研究所
100
In response to the contemporary trend of education and visual arts, today’s visual arts education encourages learners to experience creating, presenting and appreciating the works in class. Meanwhile, the Grade 1-9 Curriculum encourages teachers to structure their own lesson plans, additionally opening up the diversity of secondary visual arts curriculum. Owning to the addition of performing arts to Arts and Humanies Learning Area in Grade 1-9 Curriculum and the absence of specialists in school, the researcher as teacher has to take responsibility for teaching both visual arts and performing arts. Consequently, how to connect visual arts with performing arts becomes significant. According to Grade 1-9 Curriculum, drama in school is not merely a subject but also a teaching strategy—it can work as a platform to integrate different learning areas, activate teaching, and develop learners’ critical thinking, expression capability as well as drama literacy. This study applied drama to visual arts curriculum planning and teaching. By evaluating the gap amongst the planned curriculum, enacted curriculum and experienced curriculum, the connection between drama teaching and visual arts curriculum throughout the preparation, development and integration phases, and the impacts on the students as well as the researcher, it highligted the challenges and possibilities of applying drama in visual arts curriculum. The study found that applying drama strategy may benefit learning motivation together with course dynamics and promote the dialogue between teacher and learners, as well as embrace both dynamic and static tasks in visual arts learning and give the learners access to different art forms. Meanwhile, the study also inferred from the fact that one should pay even attention to content and form while taking issues as the starting point of visual arts lesson and look after both sides of audience and performers while applying drama strategy in visual arts curriculum.
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Sammut, Carmel. "Imagination as critical education : introducing theatre/drama into the maltese curriculum". Thesis, 1997. http://hdl.handle.net/2429/6369.
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This thesis is the result of my personal search to find ways to harness the
creative processes of participatory theatre and process drama to create a site for
critical thinking. As a teacher in my home country, Malta, I realised the limitations
of our educational system that does not cater to teachers who would like to use
theatre/drama as learning/teaching mediums. The position of theatre/drama
teacher does not exist within the Maltese education system. Therefore, I had to
opt to travel to a foreign country to find an opportunity to combine the dynamics of
theatre/drama with my teaching background.
My experiences in using both process drama and participatory theatre have
led me to conclude that there are many commonalties between the two creative
processes. In the first chapter of this thesis, I compare the philosophies of process
drama and participatory theatre and how the two can be combined to create a
holistic and edifying experience for all participants. Moreover, I illustrate how
different theatre directors engaged in collective creations have the same beliefs as
drama in education practitioners: participants/actors in dramatic processes are to
rely on inner resources and confront their own realities to construct a richer
fictional world.
The aim of the second chapter of this thesis is to show how theatre/drama
can benefit the educational sphere. Drama/Theatre combine both consciousness
and physicality and thus engage the whole being of the learner both at an
interpersonal and intrapersonal level. Educational drama and theatre take into
consideration the different learning styles of individuals and so involve the
participant through aural, visual and kinaesthetic modes that enhance the
possibility of new learning and critical awareness.
After looking at the characteristics of the drama/theatre teacher in Chapter
three, I then proceed to propose a program aimed at Maltese educators working
with 11-16 year olds using both process drama and adapted participatory theatre
techniques. I suggest a gamut of activities that focus on factual learning, personal
development, awareness of social issues and development of communication and
theatre skills. My intention is to include students from the initial phase of the
process and then to present the co-created scenarios to other students. I would
like to create an "open" performance where the voices of the audience can
intermix with those of the actors.
Finally, in my concluding chapter I take a closer look at the implications for
the Maltese educational system if theatre/drama educators are introduced into
individual schools. The advantages of having both a Theatre in Education team
and drama/theatre educators are exposed and explored.
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WEN, CHIA-HUI, i 温嘉惠. "The Design and Practice of Creative Drama in Chinese Language Curriculum". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/ebe89n.
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碩士國立暨南國際大學
華語文教學碩士學位學程
106
In Chinese language teaching, the predominant methodology is didactic, one-way input, ignoring the importance of dialogic, two-way communication. Creative Drama stimulates student to provide more input which create a two-way communication-friedly enviroment, students could then be gradully guided by teacher to imagine and experience during learning process. In order to help learners achieve effective output as well as input, the current study explores the feasibility and efficacy of integrating Creative Drama into the design and teaching of Chinese language courses. Considering the stimulating characteristics of Creative Drama, particularly for short-term Chinese classes, we expect to promote students’ spontaneous collaborative learning and enhance their overall fluency by contextually linking nonverbal to verbal output. Through Creative Drama activities, students are encouraged to gain a higher degree of accomplishment so as to reinforce their motivation to learn Chinese. This research is divided into five chapters. The first chapter describes the research background and motivation, purpose, and problems. The second chapter discusses the literature: the history of the use of drama in education, Creative Drama teaching activities, collaborative teaching methodology, and second langauge teaching theory. The third chapter is the research method and research framework. The study implements action research in two short-term Chinese classes at the basic and advanced level. The fourth chapter is the research results and analysis. The effect of Creative Drama activities is analyzed from the experimental results. The fifth chapter draws conclusions based on the initial research purpose of the study and provides recommendations for the findings and conclusions. The conclusions of this research are as follows: First, the cooperative learning model can be applied to Creative Drama to significantly reduce anxiety; Second, multiple activities positively affect learners' active learning ability and motivation in short-term Chinese classes. Third, Creative Drama teaching can enhance the ability of listening and speaking.
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CHANG, YU-WEN, i 張毓紋. "An Action Research on Applying Creative Drama into Music Creating Curriculum". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/e9sr8z.
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碩士國立臺北藝術大學
藝術與人文教育研究所在職專班
107
The main purpose of this study is to probe into the implementation of plays and playmaking integrated into music creating curricula found in creative drama strategies in junior high schools , guiding students to face music creating tasks with creative thinking and music creating abilities. In” music creating “and “rhythmical movement composing” serve as cores to design educational activities, cooperate with games and playmaking strategies combined with melodies rhythmical movement, musical knowledge, and many other connotations of musical education, performing in groups or as individuals, observe the possibilities brought about in the merging of creative curricula, and study the impact of this curriculum on the acceptance of music creating. The conclusions of this study are as follows : 1. Applying creative drama into music creating curriculum can enhance the music creative ability of students. 2. Multi-activity design, let students have more imagination for music creation. 3. Using creative drama strategies in the music creation class, students are giving more positive feedback. 4. Applying creative drama into music creating curriculum help students to work together and improve their interest and motivation in learning music
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Kuo, Hsing-mei, i 郭香妹. "Action Research on Elementary School Teachers’ Creative Drama curriculum---Teachers’ Drama Workshop from Tainan County as the Example". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/6rxsvy.
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碩士國立中山大學
教育研究所
95
The purpose of this study was to investigate how Teachers’ Drama Workshop established by elementary school teachers, and the systematic and consistent seminars helped increase teachers’ specialty in drama teaching. The feedback to the workshop would be later examined to pass down plans and to develop suitable creative drama curriculum for elementary school. The research outcomes could serve as future reference to drama teaching in performing art. The focus of this study was on how the members in a teachers’ specialized group cooperated, shared and interacted, and on the effectiveness of promoting specialty. This author used action research for investigation, starting from meeting the needs of the subjects involved, holding conversations, finding and solving problems. The conclusions were as follows. 1.Difficulties in promoting performing art curriculum in elementary school included the shortage of teachers, the ineffectiveness of seminars and teachers’ lack of specialized knowledge. 2.The key to improve performing art curriculum and teaching was a systematic teacher training program. 3.Teachers’ specialized groups helped teachers promoting the specialty, and shared and enriched their knowledge. 4.The feedback program helped teachers solving problems, and learned by teaching. 5.Teachers paid more attention on teaching goals when teaching drama. 6.As curricular designs differed in advantages, different designs should be well combined to make good use of all the advantages. 7.Creative drama curriculum in elementary school should include body exploring, sound and facial expression, puppets and masks, improvisation, storytelling, storytelling theater, drama appreciation, drama creation, exhibition and show. 8.There should be more than eight creative drama lessons in a semester and twenty lessons in a school year. 9.The content of creative drama teaching should be altered in proportion as the cognitive development of students changed. To succeed was to inspire students and cultivate their abilities year by year. 10.Designing and developing the Creative drama teaching lessons should experenced some stages, from brewing/preparation, development, integration to realization. During the process, some steps were also crucial, such as analyzing, discussing, designing, practicing, examining and correcting. The researcher offered the following suggestions. 1.The most important mission so far was teacher training. 2.Teachers should join more related seminars to increase their specialized knowledge in creative drama. 3.Creative drama curriculum should be promoted in elementary school to encourage open and multi learning and to help students develop fine personalities. 4.Curriculum should be put into practice step by step, and students’ changes would thus be clearly traced. 5.Teachers should be encouraged to establish specialty groups of performing art, to form unions for strategy exchange so as to share and enrich their knowledge. This author also offered five points to ponder, hoping these research outcomes would be helpful reference for upgrading performing art teaching and enriching students’ learning experience.
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Hung, Yi-chun, i 洪宜君. "Research on the Curriculum and Instruction of Drama in Junior High School-Taking Two Expert Drama Teachers as Examples". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/67498611438198005503.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
95
The research uses case study to explore the curriculum and instruction of two drama experts. The purpose of the research is to analyze different features of their curriculum ideologies, goals, contents, teaching processes and strategies. Problems faced by two drama experts in the process of teaching and how they overcome the difficulties are also investigated in the research. The two drama experts have their own educational ideologies and goals. Both the design of the curriculum are also different. Even though, they teach with similar processes, but the strategies they use are varied according to the situations. Finally, they both face similar problems, including classroom management, grouping and subculture issues, however, they deal with those problems with similar attitudes and processes.
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Huang, Ya-sui, i 黃雅穗. "Weaving It Together:Teaching and Learning First Grade Integrated Activity Curriculum Through Drama". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/x46u7e.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
101
The Ministry of Education has incorporated integrated learning activities into the nine- year compulsory curriculum, the goal of which is to equip students with the competencies required to adapt to modern life. However, difficulties have been encountered in the implementation of the curriculum. This study merged drama into the integrated activity curriculum in order to explore curriculum design methods, student performance, methods of curriculum implementation, and professional growth among teachers. This study used research diaries, classroom observation records, student data, dialogue and social measurement instruments to research the cyclic course of curriculum delivery. Narrative inquiry, thick description, and in-depth reflection were then utilized to analyze the research results. Researchers and collaborating teachers produced curriculum maps and network diagrams to identify appropriate themes, objectives, and essential questions for various curriculum domains. Results demonstrate that the curriculum could be more effectively implemented if it provided a student-centered plan and suitable competency indicators, emphasized the individual attributes and diverse abilities of teachers and students, and could be flexibly adjusted to accommodate individual learning styles. After implementing and reflecting on the delivery of a four-unit course (“Growing Up”, “The Story of My Feelings”, “Little One Step”, and “Flying Colored Bubbles”), this study found that drama can provide students with a safe learning context, which employs multiple intelligences for expression. In openly asking questions and engaging in dialog students are encouraged to reflect on and practice life skills. The integrated activity curriculum was designed on the principles of integrating experience, knowledge, and social skills as well as providing students with a learning environment incorporating experience, reflection, practice and diversity. Through drama we can put the principles of the integrated activity curriculum into effect and achieve the objectives of building internalized meaning, cultivating altruistic feelings, and demonstrating how knowledge is linked to and practiced in everyday life.
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Yuan, Chen, i 陳緣. "Effect of Teaching The fourth Grade Student with the Drama Game Curriculum". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/93376210678880335729.
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碩士國立新竹教育大學
美勞教育學系碩士班
101
Abstract This research aimed to explore the effect of teaching elementary student by the dramatic game and visual arts curriculum. In order to achieve the purpose, I designed a series of performing arts and visual art curriculum’s integration activities to finish this program. I had had studied on the Hsinchu Tung-Yuan Elementary School fourth grade with 31 students as a Experiment Group and the others 2 classes, total 56 students, as a control group to do the questionnaires of drama and stage property. After used qualitative classroom observation, learning sheet as the pre-and-post-test score data analysis expert checklist, text feedback and doing identification and openness questionnaires of drama and stage property as research methods and analyzed, I had these result: First of all, the implementation of dramatic game curriculum could improve students' visual arts’ creation and abundance. Next to go will be, dramatic game curriculum made students cooperate and learn together which could enhance students' willingness and ability of self-reflection. The third to go will be, each students had very different personalities and mentality, however, their checklists and results were surprising similar; students who had lots of activities were doing the checklist roughly; students who were very cautious wanted more time to make their work better but the results had had no difference by three teachers’ estimate even if they had more time. Last but not least, co-teachers who were from different professional backgrounds and different values could increase the diversity of views. From teacher’s side: the same copy of the checklist which had been filled by different teachers had unequal level of placement. In other words, teachers would have miscellaneous judgments because of their experience and expertise. From the expert’s side: while doing the "Basic Stage spatial planning" pre-and-post evaluation, three teachers had different data placement level. If teachers had been judging the professional part, the lower grade would they have gave (probably because it requires more stringent capability). And if teachers had been facing the strange part that they could not hold it very accurately, they would have usually made the scores more loosely and wildly. In the nutshell, according to the aforementioned, we can make the specific conclusions.
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Lin, LING-JUNG, i 林玲瑢. "The Effects of Integrating Drama Strategies into Curriculum on Children's Impulsive Behaviors". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/89942600286997330267.
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碩士國立屏東大學
幼兒教育學系碩士班
103
This study aims to explore the progress and the influence of how teachers improve children's impulsive behaviors by using drama strategies. Based on action research approach, this study adopted four themes, including "I got you, walking lightly-moving slowly, you touched me, I will hide," applying different drama strategies to the curriculum to improve children's impulsive behaviors. The curriculum proceeded two months. Three children, who have impulsive behaviors, were chosen by the researcher as the objects of study. The researcher collected the information through observation, interviews and documents, and then carried out the qualitative analysis. The results of this research are as follows: 1. Teachers can indeed improve children's impulsive behaviors by using elastic drama strategies (such as teacher-in-role, oral instruction and so on). 2. By observing children's learning, understanding children's impulsive emotions, and leading children to the context of drama strategies, teachers can learn how to think over the problems and come up with the solutions to improve children's impulsive behaviors. 3. Through various drama strategic, children can acquire multiple solutions for conflicts and establish the value of respecting others. 4. Peer pressure can reduce and improve children's impulsive behaviors so as to increase their development of positive behaviors.
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Lee, Huei-Chun, i 李慧君. "Study of Drama in Chinese Textbooks in the Grade 1-9 Curriculum". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/34495363625740577789.
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碩士國立臺北教育大學
語文與創作學系語文教學碩士班
99
With the rise of different versions of textbooks and the implementation of the Grade 1-9 Curriculum, scripts have become a field ready for cultivation. This study aims to conduct a series of studies on scripts to explore the characteristics of the script form, expression of content, and exhibition of topics. The findings are expected to provide more literary considerations and references for the organization and writing of Chinese textbooks. The main difference between scripts and other literary forms is that scripts can be acted out, and two-dimensional textual appreciation can be turned into three-dimensional dynamic instruction. This paper is divided into five chapters. Chapter 1 is the Introduction, which explains the research motivation and objective, research methodology and steps, research scope and limitations, and definitions of terms. Chapter 2 is a literature review that discusses the content of Chinese language education, studies relating to Chinese textbooks, content of scripts, and strategies of teaching scripts in Chinese textbooks. Chapter 3 uses scripts from Chinese textbooks published by three publishers, Nan I, Kang Hsuan, and Hanlin, in the 2008 academic year, to explore the selection and distribution ratios of scripts. This chapter also conducts content analysis based on script topics, plots, and characters. Chapter 4 uses the types of exercises, integrative activities, instructional objectives, and aptitude indicators for divisions based on the scripts in analyses and comparisons. Chapter 5 proposes conclusions and suggestions after research. At the end of the thesis, a list of referenced works and scans of scripts in Chinese textbooks are also included for reference. This study finds that: (1) there is an insufficient number of scripts, the ratio is low, and scripts are clustered around the third, fourth, and fifth years; (2) limited topics that are insufficiently broad; (3) the scripts are primarily multi-scene plays, mostly based on interpersonal conflict, foreshadowing is often used in leading up to the conclusion, and there is a lack of conflict and dramatic character; (4) character portrayal is limited to roles with traditional educational meaning; (5) few exercise types with low variability; (6) integrative activities focus on knowledge within the scripts; (7) instructional objectives focus on knowledge and skills, less on content of the scripts; (8) aptitude indicators for divisions generally have overlaps. Reading scripts can enhance diverse intellectual development of students, provide them contextual experiences and role play opportunities, and expand upon their aesthetic experience. This paper discusses scripts in Chinese textbooks as a referential basis for teachers when they select textbooks and design instructional activity content.