Artykuły w czasopismach: „Drama curriculum”

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Goodlass, Ray. "Drama and the curriculum". NJ 40, nr 1 (2.01.2016): 3–14. http://dx.doi.org/10.1080/14452294.2016.1240654.

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O'Connor, Peter, i Moema Gregorzewski. "The intellectual whakapapa informing the New Zealand Drama Curriculum". Teachers and Curriculum 22, nr 1 (3.08.2022): 9–19. http://dx.doi.org/10.15663/tandc.v22i1.415.

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Underpinning drama education in New Zealand is the desire to improve the lives of individuals, communities and societies by catalysing embodied learning in and through the art form of theatre. Learning in drama is intended to foster well-being, social cohesion and active citizenship. Put another way, drama education in New Zealand has always been about more than training actors for the theatre stage. It has been about fostering the development of actors who engage in, on and with the world. This determination has led to the particular pedagogical and curricular response that frames how drama is taught in New Zealand. In drama education in New Zealand we have focused for a generation on working practically to explore the nature of drama as a meaning making tool. Students not only study theatre by passively watching, they actively partake in framed fictional worlds and reflect on these embodied experiences. By engaging students in dramatic encounters, we argue drama education bears the potential to engage in critical and creative engagement with pivotal social issues in the real world (Anderson & O’Connor, 2015). The nature of the meaning making has seen a deliberate privileging of non-naturalistic forms of drama presentation and representation. Progression is understood in the curriculum as moving from exploration of narrative through imagined and social play at junior primary to understanding how to use conventions as dramatic structuring devices (Ministry of Education, 2007). This can be understood as a conventions approach (CA) to drama education. In this article we consider the pedagogical and theatre traditions that informed the New Zealand curriculum to contextualise the planned curriculum refresh in 2023.

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Tam, Po-Chi. "Blurring the play–drama boundary: A case study investigating the teaching and learning of a drama-integrated curriculum in a Hong Kong kindergarten". Contemporary Issues in Early Childhood 22, nr 4 (18.11.2021): 328–41. http://dx.doi.org/10.1177/14639491211060559.

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This study aims to conceptualise a drama-integrated curriculum devised from process drama as an approach to play-based pedagogy and curriculum to realise the policy initiative of learning through play. By investigating teachers’ perspectives and practices in relation to the curriculum of a local kindergarten, examples of effective drama-integration strategies and the associated children's learning are identified and organised into four themes – namely, drama teaching and learning through, before, in and after play. The teachers understood that although their curriculum is not based on free play, its not-so-free features may reconcile the play–learning binarism, daring them to navigate the maze of complex relationships between play, drama, teaching and learning in implementing a playful curriculum.

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Winston, Joe. "Drama, Spirituality and the Curriculum". International Journal of Children's Spirituality 7, nr 3 (grudzień 2002): 241–55. http://dx.doi.org/10.1080/1364436022000023248.

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Baldwin, Patrice. "Drama: a post-National Curriculum overview of drama in education". FORUM 44, nr 3 (2002): 103. http://dx.doi.org/10.2304/forum.2002.44.3.1.

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Fraser, Deborah, Viv Aitken i Graham Price. "Inquiry learning, drama and curriculum integration". Set: Research Information for Teachers, nr 3 (1.11.2012): 32–40. http://dx.doi.org/10.18296/set.0382.

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Prentki, Tim, i Madonna Stinson. "Relational pedagogy and the drama curriculum". Research in Drama Education: The Journal of Applied Theatre and Performance 21, nr 1 (2.01.2016): 1–12. http://dx.doi.org/10.1080/13569783.2015.1127153.

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Österlind, Eva. "Drama into the curriculum – Sisyphus’ work". NJ 39, nr 1 (2.01.2015): 3–18. http://dx.doi.org/10.1080/14452294.2015.1083517.

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Zheng, Sisi. "Process drama in Chinese education: Possibilities and challenges in governmental policy papers and the curriculum of moral education". Applied Theatre Research 9, nr 2 (1.11.2021): 155–72. http://dx.doi.org/10.1386/atr_00055_1.

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

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Eriksson, Stig A., i Tor-Helge Allern. "Educational drama in Norway: From cultural expression to curriculum element". Applied Theatre Research 10, nr 2 (1.12.2022): 155–68. http://dx.doi.org/10.1386/atr_00068_1.

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The article is conceived as a survey exploration of significant historic developmental stages of the Norwegian educational drama field. The article first engages in an historical consideration of educational dramatics from traces of performed education in old Norse culture, via school drama organized by the church in the Middle Ages, to a decline of drama and theatre after Pietism in the eighteenth century, with a succeeding narrower view of knowledge and teaching in the following century and scarce information about drama as education. The focus then turns to deliberation of educational reforms in the twentieth and twenty-first centuries, offering new possibilities for drama pedagogy through the Progressive Education movement, followed by identifying the position of drama in the six national curriculum reforms from 1939 to 2020 and the changing role of the subject area resulting from policy accentuations underlying curriculum revisions.

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Rodríguez-Bonces, Mónica. "A Basis for the Design of a Curriculum Incorporating Music and Drama in Children’s English Language Instruction". PROFILE Issues in Teachers' Professional Development 19, nr 2 (1.07.2017): 203–23. http://dx.doi.org/10.15446/profile.v19n2.59583.

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This article presents the foundations to design a curriculum that integrates music and drama as strategies for the teaching of English as a foreign language. Besides promoting interdisciplinarity, this curriculum seeks to improve the language level of those children attending continuing educational programs at any higher education institution. The interdisciplinary curriculum not only innovates the offer of English courses for children—music and drama—but also promotes meaningful learning and creates a positive attitude in children so that a high degree of interest in learning a foreign language exists. The article, besides explaining the basis for curriculum design, highlights the advantages of integrating music and drama as a medium for the teaching of a foreign language.

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Cleary, Donald L., i David Hornbrook. "Education in Drama: Casting the Dramatic Curriculum". Journal of Aesthetic Education 27, nr 3 (1993): 114. http://dx.doi.org/10.2307/3333257.

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Sharp, Jonathan. "Drama in SPRACHPRAXIS at a German University English Department: Practical Solutions to Pedagogical Challenges". Scenario: A Journal of Performative Teaching, Learning, Research VIII, nr 1 (1.01.2014): 19–35. http://dx.doi.org/10.33178/scenario.8.1.3.

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This article describes the initial phase of incorporating drama-in-education classes into the practical language curriculum of a German university English department. It offers a brief overview of drama in (higher) education, before focusing on some recent developments in Germany and the UK: specifically the current increase of interest in Theaterpädagogik in Germany, and the incorporation of performative pedagogy in UK higher education, with the example of an initiative at the University of Warwick. The practical language curriculum of the University of Tübingen English Department, within which the drama classes are being run, is introduced. A report on one of the classes is provided, with a short example of a student-led presentation session. After investigating some student feedback from the class, the article concludes by suggesting that a drama approach offers solutions to some challenges posed by the curriculum, and explains a brief rationale for its further development in this context.

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Chang, Hsiao-hua, i Shan Jing. "Applying the Role Drama Approaches of die in Teaching English Famous Play: Taking “The Cop and the Anthem” in a High School as an Example". Beijing International Review of Education 3, nr 4 (31.01.2022): 625–54. http://dx.doi.org/10.1163/25902539-03040009.

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Abstract The teaching of famous English play is generally either for the comprehension of texts or a stage performance in our schools. While considering about an integrated curriculum of Drama and English could enable students to have a deeper, broader, more complete, and interesting course in the learning process, we designed and implemented a curriculum of Role Drama approaches of Drama in Education (die) into the teaching of an English play “The Cop and the Anthem” for the class of students who study English as a second language in a high school. From observing participant students and evaluating the 5-session teaching process in the class, we found that the effectiveness of the curriculum on Role Drama approaches of die not only lets students to have enjoyable English performing courses but also improves students’ capabilities in English expression and personal literacy. Depending in this teaching experience, finally, we present our conclusions on the feasibilities of activities for improving teaching.

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O’Toole, John. "The basic principles of a socially just arts curriculum, and the place of drama". Australian Educational Researcher 48, nr 5 (8.10.2021): 819–36. http://dx.doi.org/10.1007/s13384-021-00480-6.

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AbstractThis paper provides a descriptive historical analysis of the planning and writing of the Australian Curriculum: The Arts which occurred from 2009 to 2013. This process involved extensive consultation across a range of stakeholders, including curriculum research, background reading and analysis that preceded the Australian Curriculum, Assessment and Reporting Authority’s writing process. The curriculum itself was underpinned by a range of democratic principles, including the importance of developing a socially just curriculum. This necessitated extensive discussion which interrogated the terms excellence and equity to ensure a high-quality arts education was accessible for all students, regardless of their background. The implementation of these principles is then explored through the perspective of the Drama writing team, including the importance of the subject Drama in developing a sense of inquiry and empathy in students by exploring their own and others’ stories and points of view. The final curriculum document for the Arts, and specifically for Drama exemplifies the importance of these social justice principles in responding to the Melbourne Declaration on Educational Goals for Young Australians (2008) which advocates for equity and excellence in Australian schooling and for all young Australians to become successful learners, confident and creative individuals and active and informed citizens.

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Gallagher, Kathleen. "The social habitus of drama: the Ontario drama curriculum in theory and practice". Research in Drama Education: The Journal of Applied Theatre and Performance 21, nr 1 (2.01.2016): 20–36. http://dx.doi.org/10.1080/13569783.2015.1126172.

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Hennessy, Laura. "A secondary school drama teacher's experience of drama in the curriculum in 2015". Research in Drama Education: The Journal of Applied Theatre and Performance 21, nr 1 (2.01.2016): 78–89. http://dx.doi.org/10.1080/13569783.2015.1127141.

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Savković, Nemanja. "JOSIP KULUNDŽIĆ KAO GLUMAČKI PEDAGOG". Узданица XIX, nr 2 (2022): 107–20. http://dx.doi.org/10.46793/uzdanica19.2.107s.

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Josip Kulundžić’s engagement in the field of drama pedagogy was multi- faceted and fruitful. For almost three decades, he taught in state drama schools and a private drama studio. Kulundžić’s pedagogical work ranged from the scientific field of theatrology to the artistic fields of acting, directing and dramaturgy. This paper reports on Kulundžić’s drama pedagogy, manifested in two aspects: theoretical, which refers to designing drama curriculum, and practical, which refers to the implementation of the curriculum in teaching drama. The data collection method, content analysis method, biographical and compara- tive methods were used in the research. Based on Kulundžić’s own writings on pedagogy, on testimonies given by his students, fellow professors and assistants, artistic collaborators and managers, as well as on theater experts’ and critics’ opinions, it can be concluded that Kulundžić was deeply dedicated to pedagogical issues and that his approach in working with young actors was enthousiastic – he taught them dramatic theory, but also supported their creative expression on stage, revealed their hidden potentials, encouraged and moti- vated them. These testimonies lead to the conclusion that Josip Kulundžić deserved to get a significant place in the field of drama theory and practice.

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Nixon, Jon. "Solidarity, with Differences". New Theatre Quarterly 2, nr 7 (sierpień 1986): 285–86. http://dx.doi.org/10.1017/s0266464x00002268.

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DAVID HORNBROOK'S articles in New Theatre Quarterly are a timely and significant contribution to the debate on drama in schools. They articulate a persuasive critique of the ‘progressive’ roots of educational drama, raise important questions about where drama should be placed in the curriculum, and rightly stress the need for teachers to define clearly the content of their discipline.

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O'Farrell, Lawrence. "Challenging Our Assumptions: Playwrights and the Drama Curriculum". Canadian Journal of Education / Revue canadienne de l'éducation 18, nr 2 (1993): 106. http://dx.doi.org/10.2307/1495184.

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Nicholson, Helen. "Drama and curriculum: A giant at the door". English in Education 46, nr 2 (czerwiec 2012): 190–92. http://dx.doi.org/10.1111/j.1754-8845.2012.01126.x.

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Davis, Susan. "Drama, education and curriculum: alive, kicking and counting". Research in Drama Education: The Journal of Applied Theatre and Performance 20, nr 3 (3.07.2015): 327–30. http://dx.doi.org/10.1080/13569783.2015.1059271.

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Göksel, Eva. "Drama-based pedagogy: Activating learning across the curriculum". Research in Drama Education: The Journal of Applied Theatre and Performance 25, nr 4 (28.08.2020): 655–56. http://dx.doi.org/10.1080/13569783.2020.1811657.

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Yates, Kathleen. "Book Review: Social Drama - Towards a Therapeutic Curriculum". Dramatherapy 10, nr 1 (grudzień 1987): 42–43. http://dx.doi.org/10.1080/02630672.1984.10557336.

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Stinson, Madonna. "Prevailing Winds: Influences on Systemic Drama Curriculum Development". NJ 33, nr 1 (1.07.2009): 31–41. http://dx.doi.org/10.1080/14452294.2009.12089353.

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Pascoe, Robin. "Postscript to Special Edition: Drama Curriculum: looking forward". NJ 33, nr 1 (1.07.2009): 95–98. http://dx.doi.org/10.1080/14452294.2009.12089358.

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Greenwood, Janinka. "Road Blocks, Road Works and Continuing Explorations of the Terrain: An examination of drama in education in New Zealand in relation to the UNESCO Road Map". Encounters in Theory and History of Education 11 (29.09.2010): 67–79. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2527.

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This article examines the current state of drama in education in New Zealand. It takes as a basis the principles of the UNESCO Road Map, but also recognises that education is a complex human agency that does not readily follow map directions. It acknowledges the factors that cause frustration for drama teachers, and tracks the development of a strong role in national curriculum. It examines the complex relationship between the agency of teachers and the external constraints that impact upon them. Finally it explores the opportunities offered by having drama in the curriculum, noting particularly how the apparent constraints created by being an examinable subject can be transformed to serve genuine educational goals.

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Yuanyuan, Chen. "Enhancing EFL Students’ English Competency Through Drama: A Case Study in a Primary School in China". English Language Teaching 12, nr 7 (8.06.2019): 68. http://dx.doi.org/10.5539/elt.v12n7p68.

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

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Donnery, Eucharia. "Testing the Waters: Drama in the Japanese University EFL Classroom". Scenario: A Journal of Performative Teaching, Learning, Research III, nr 1 (1.01.2009): 17–33. http://dx.doi.org/10.33178/scenario.3.1.3.

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This paper explores the rationale for including drama-based pedagogy into the curriculum of the Department of English at Ritsumeikan Asia Pacific University (APU) in Japan. Traditional Japanese teaching practices are explained, followed by an outline of the parallels between drama-based pedagogy and teaching practices of the Japanese elementary school. Contrary to popular expectation, drama-based pedagogy is compatible with existing traditional and cultural systems of education in Japan. Therefore, drama-based pedagogy was included in the Fundamental English language course at APU to provide the students a bridge to move from teacher-led styles of junior high and senior high schools to return to the more learner-centered styles of education of the elementary educational system. This would seem a reasonable way in which to facilitate more cooperative, rather than competitive, styles of learning. Secondly, within the course subject matter of “Intercultural Communication”, drama-based pedagogy could be employed through role plays and self-reflection inside the classroom to allow the students to experience awareness of differing communicative styles when engaged in social interaction with the international students outside of the classroom. Likewise, the process of self-reflection in drama and theatre practices is a complex mix of introspective interrogation and affective engagement, which forms the catalyst for dramatic communication. The purpose of this paper is to present one specific case where drama-based pedagogy was incorporated into the English language curriculum of a rather unique Japanese university.

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Joseph, Christopher Odhiambo. "The ‘invisible’ drama/theatre in education curriculum in Kenya". Research in Drama Education: The Journal of Applied Theatre and Performance 21, nr 1 (2.01.2016): 17–19. http://dx.doi.org/10.1080/13569783.2015.1127148.

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Denby, Mark. "Drama in Education: conflict and violence in the curriculum". Research in Drama Education: The Journal of Applied Theatre and Performance 1, nr 1 (luty 1996): 130–32. http://dx.doi.org/10.1080/1356978960010113.

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Haseman, Brad. "The ‘Creative Industry’ of Designing a Contemporary Drama Curriculum". Melbourne Studies in Education 43, nr 2 (listopad 2002): 119–29. http://dx.doi.org/10.1080/17508480209556408.

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Hui, Zhang. "Chinese University Drama Department Talent Training Education Curriculum Construction". Journal of the Korea Entertainment Industry Association 16, nr 7 (31.10.2022): 179–90. http://dx.doi.org/10.21184/jkeia.2022.10.16.7.179.

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Jun, Xu, i Stig A. Eriksson. "From short story to process drama: A Chinese and a Norwegian classroom approach". Applied Theatre Research 10, nr 2 (1.12.2022): 169–86. http://dx.doi.org/10.1386/atr_00069_1.

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In this practice-oriented article, each author has found an example in their national contemporary literary legacy to be explored through educational drama approaches. One is a short story (and a one-act play version of the story) by Lao She, China; the other is a short story by Tor Åge Bringsværd, Norway. Both stories are about experiences on train journeys and the article presents ideas for how to use them in drama pedagogical settings. Each author contextualizes their drama approach in terms of current public curriculum policies relevant to aesthetic education and drama education in each country, and theory from the field literature.

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Kurnia, Deden, Euis Eti Rohaeti i Enung Nurhayati. "STRUCTURE AND LANGUAGE IN WRITING THE TEXT OF FILM / DRAMA STUDENTS CLASS XI". JLER (Journal of Language Education Research) 4, nr 2 (3.05.2021): 88. http://dx.doi.org/10.22460/jler.v4i2.6417.

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In the current curriculum, Curriculum 2013, the text becomes the main concept which develops the learning material. As for one of the material taught in the 2013 curriculum is the text of a film / drama review. The film / drama’s review texts discussed in the 2013 curriculum require the students be able to produce the review texts which suitable with their language structure and rules. Therefore in this study the author observes the analysis of structure and rules, especially among the sentences in writing of a film / drama review text by a class XI student. It uses a qualitative research approach with descriptive methods.The data source in this study is based on document. It is a collection of text reviews of films / plays by students of class XI. The objects of research are class XI or second grade of senior high school. This research using documentation and questionnaires as a data collection technique. The data is collected by using a test technique. The test is carried out with the same film for all students, a film from a TV drama entitled " Aku Malu Bapakku Badut ". All student are able to write review texts. In the analysis of the structure of text reviews as the work of class XI or second grade students with total of 36 student works, all students are able to write text structure review. While in conjunction between sentences, out of the 36 students, only 31 students used inter-sentence conjunctions.

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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy". European Journal of Social Science Education and Research 5, nr 3 (1.12.2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.

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

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Ali Zaiter, Walid. "Drama to Instruct and Entertain: Literature and Performance for EFL students, EFL Dramatists and EFLDirectors (Drama Instructors): Curriculum and Extra -curricular Activities". Arab World English Journal For Translation and Literary Studies 3, nr 3 (15.08.2019): 221–32. http://dx.doi.org/10.24093/awejtls/vol3no3.18.

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Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum". Scenario: A Journal for Performative Teaching, Learning, Research XIII, nr 2 (10.12.2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.

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This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes which were implemented longitudinally over two academic terms (20 weeks): self-standing play excerpts combined with drama games in the second term followed by a full-scale performance of a single play in the third term. Data were collected through a semi-structured questionnaire, follow-up interviews and researcher’s field notes. Findings revealed that learners perceived that collaboration and interaction through drama were important elements for promoting a positive attitude towards learning a foreign language and their oral production despite the challenges that a full-scale production may pose when subjected to the various constraints of time and the syllabus requirements of a compulsory curriculum.

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Carter, Mindy R. "Drama and Theatre Education in Canada: A snapshot". Notes from the Field 49, nr 1 (3.07.2014): 237–45. http://dx.doi.org/10.7202/1025780ar.

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This “Note from the Field” provides an overview of what is happening in K to University drama and theatre education across Canada. In addition to this snapshot I offer some considerations for extending this discipline and its potential impact on curriculum, policy and practice.

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윤혜미 i 이향근. "Overview and Analysis of Educational Contents of Australian Drama Curriculum". Korean Journal of Elementary Education 30, nr 3 (wrzesień 2019): 259–73. http://dx.doi.org/10.20972/kjee.30.3.201909.259.

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Stinson, Madonna, i John Nicholas Saunders. "Drama in the Australian national curriculum: decisions, tensions and uncertainties". Research in Drama Education: The Journal of Applied Theatre and Performance 21, nr 1 (2.01.2016): 93–104. http://dx.doi.org/10.1080/13569783.2015.1126173.

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Roy, David, i Caroline Dock. "Dyspraxia, drama and masks: Applying the school curriculum as therapy". Journal of Applied Arts & Health 5, nr 3 (1.12.2014): 369–75. http://dx.doi.org/10.1386/jaah.5.3.369_1.

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Brown, Victoria. "Drama as an Integral Part of the Early Childhood Curriculum". Design For Arts in Education 91, nr 6 (sierpień 1990): 26–33. http://dx.doi.org/10.1080/07320973.1990.9934835.

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Saunders, John Nicholas, i Madonna Stinson. "Drama in the Australian national curriculum – the role of advocacy". NJ 40, nr 2 (2.07.2016): 113–26. http://dx.doi.org/10.1080/14452294.2016.1276737.

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McCabe, Una. "The drama in sociodramatic play: implications for curriculum and pedagogy". NJ 41, nr 1 (2.01.2017): 3–13. http://dx.doi.org/10.1080/14452294.2017.1329689.

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Stinson, Madonna. "Speaking up about oracy: the contribution of drama pedagogy to enhanced oral communication". English Teaching: Practice & Critique 14, nr 3 (7.12.2015): 303–13. http://dx.doi.org/10.1108/etpc-07-2015-0055.

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Purpose – The purpose of this paper is to consider the growing interest in oracy and to propose the pedagogy of process drama as an ideal model for the dialogic classroom. Design/methodology/approach – This paper takes the form of an explanatory case study where the author draws on a successful drama/oracy project in a primary school in Brisbane, Australia, to illustrate the connections between Alexander’s five indicators of a dialogic classroom and the process drama in which the students participated. Findings – The application of this process drama as pedagogy for the teaching and learning of oracy has contributed positively to students’ oral communication skills and intercultural awareness. In addition, parents provide positive feedback about student engagement in school and developing self-confidence because “they have something to say”. Research limitations/implications – There was no formal pre-post test for the oral communication skills on this study, instead the researchers developed a draft “oracy” checklist which deserves further interrogation and development. Practical implications – There are implications for the use of process drama as a means of creating and sustaining the dialogic classroom. Teacher professional development would be required to assist the planning and delivery of dramas that allow for the deep and complex learning evidenced in this study. Social implications – This is an ideal vehicle for assisting in the development of empathy, collaboration, emotional intelligence and intercultural understanding. Originality/value – This is an example of an extremely high-quality curriculum plan and implementation. The importance of engaging in implicit and explicit instruction of oral communication for the twenty-first century should not be underestimated. The process drama allows oral language to be foregrounded, with additional learning opportunities from a range of other learning areas, brought together in a coherent and complex model of practice.

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Wang, Yiou, Xiuqing Qiao i Shusheng Ma. "The opportunities and challenges of drama in education in Chinese kindergartens". Applied Theatre Research 10, nr 2 (1.12.2022): 187–204. http://dx.doi.org/10.1386/atr_00070_1.

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With the introduction of drama in education and creative drama in China in the late twentieth century, drama in education has become a new practice and research hotspot in the field of education. However, children’s theatre performance and dramatic acting training have for a long time been the main form of Chinese preschool drama education and still have a noticeable impact. In this article, we explore how drama in education can improve and expand Chinese kindergarten teachers’ teaching repertoire and how it can contribute to children’s interpersonal development. This design-based study uses interventions in the form of drama in education workshops in a Chinese kindergarten. By undertaking these workshops, observing workshop participants and interviewing teachers and children, we have found that drama in education supports children’s language learning and helps develop their individual self-awareness. In addition, it also provides multiple new methods of teaching and thus promotes teachers’ individual growth as professionals in the kindergarten classroom. In terms of kindergarten curriculum reform, this study aims to contribute to the current developments and debates about teaching, learning and overall education.

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., Ramlan, Abdul Rozak, Fikriyah ., Nurkholis . i Yusuf Ibrahim. "Nurturing Moral Values Among the Children: Insights from Dance and Drama-Based Learning". International Journal of Engineering & Technology 7, nr 3.21 (8.08.2018): 547. http://dx.doi.org/10.14419/ijet.v7i3.21.17231.

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Emerging the immoral behavior being the challenges in Indonesia during the last few decades needs to have alternative approach implemented in the learning process. The serious reconstruction of the national education curriculum has to be conducted into designing the alternative concept, especially inculcating the moral personality within the exciting programs. Among those programs with offering exciting programs, one of them is dance and drama basis. This paper aims to explore the way to inculcate moral values among the children through dance and drama based learning. Literature analysis was conducted from peer reviewed books and journals using the theme of dance and drama based learning. The results indicate that there are three core basis of delivering learning basis of arts where both refer to sharing the art with a significant professional experience to connect with each other in realizing to feel emotional similarities, potential in shaping moral values. Those are the process of receiving knowledge in the sense of sharpening performance with managing the learning habit. This study is expected to contribute to the conceptual basis on how to inculcate the moral values among the children. Thus, moral education should be optimized within this co-curricular program.

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Abu-Taweeleh, Saleh Mohammad, i Mustafa Odeh Jwaifell. "ATSAR ISTIKHDÂM AL-DRAMÂ WAFQ MANAHI MASRAHAH AL-MANÂHIJ FÎ TANMIYAH AL-FAHM AL-QIRÂÎ FÎ AL-LUGHAH AL-'ARABIYAH LADA THÂLIBÂT AL-SHAF AL-SÂBI' AL-ASÂSÎ FÎ MAAN". Arabiyat : Jurnal Pendidikan Bahasa Arab dan Kebahasaaraban 6, nr 1 (12.06.2019): 185–204. http://dx.doi.org/10.15408/a.v6i1.9139.

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This study aimed at measuring the impact of using curricula dramatization on Arabic language Understanding among seventh graders students in Ma'an. The study sample consisted of (43) female students distributed randomly onto two groups: (20) control group and (23) experimental group. The control group taught traditionally while the experimental groups taught by dramatization the curriculum. Achievement exam where used to measure Arabic language reading understanding. Result of ANCOVA showed significant statistics at a≤0.05 for the benefit of experimental group. The study recommended encouraging teachers to use drama approach in teaching and learning Arabic language.

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Karimova, G. "THE CONNECTION BETWEEN TEACHING THE DRAMA AND BRANCHES OF SCIENCE". BULLETIN Series of Philological Sciences 73, nr 3 (15.07.2020): 358–64. http://dx.doi.org/10.51889/2020-3.1728-7804.56.

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

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