Gotowe bibliografie tematyczne / Drama teaching

Gotowa bibliografia na temat „Drama teaching”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Drama teaching"

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Burlinson, Kath. "Teaching ‘drama workshop’". Women: A Cultural Review 5, nr 2 (wrzesień 1994): 162–70. http://dx.doi.org/10.1080/09574049408578195.

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Marco, Josep. "Teaching drama translation". Perspectives 10, nr 1 (styczeń 2002): 55–68. http://dx.doi.org/10.1080/0907676x.2002.9961433.

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Seniarika, Seniarika. "Investigating Drama in Teaching Practice". Edukasi Lingua Sastra 15, nr 2 (11.01.2018): 92–100. http://dx.doi.org/10.47637/elsa.v15i2.71.

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Drama is widely used in English class inasmuch as drama is considered as a way to learn English effectively. A lot of researcher conducted studies on drama either aimed to find out the benefits obtained through drama or aimed to find out the difficulties that might be found by the learners in drama. This article reviews five articles in relation with drama. The researcher in those studies investigated drama from different perspective. The result found in this study is expected to be consideration in implementing drama in teaching practice.
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Donegan, Robert. "Process Drama and Teacher in Role in ELT". JALT PIE SIG: Mask and Gavel 8, nr 1 (styczeń 2020): 5–12. http://dx.doi.org/10.37546/jaltsig.pie8.1-1.

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This paper is a discussion of the potential of using specific drama techniques during English lessons at a Japanese private senior high school. The techniques in focus are process drama and specifically teacher in role (TiR). TiR is a specific technique that is often used in the broader area of process drama. Process drama concerns itself more with the experiential rather than the performance aspect of drama. In it, a teacher, or facilitator, goes into role with the participants in the co-construction of extended role-plays and dramas. Such methods have been used in English language teaching by many practitioners. The methods are discussed in this paper, with the focus on their suitability for teaching in a Japanese senior high school.
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Owens. "Talking Drama, Teaching Writing". Harold Pinter Review 2, nr 1 (2018): 10. http://dx.doi.org/10.5325/haropintrevi.2.1.0010.

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Eggers, W. "Teaching Drama: A Manifesto". Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 7, nr 2 (1.04.2007): 271–74. http://dx.doi.org/10.1215/15314200-2006-036.

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Knapp, Richard. "Teaching drama 11-18". Journal of In-service Education 28, nr 2 (1.06.2002): 375–400. http://dx.doi.org/10.1080/14759390500200421.

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

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The article dwells on the use of drama and performance techniques in education and social work in connection with multiple intelligence theory, emotional intelligence theory, and brain based learning. The author connects the use of drama in the alternative theories of teaching and learning based on recent neuroscientific research, and lays out an integrative approach to teaching and learning that promotes inclusion, diversity, and social awareness, through embodied and contextualized learning. If we perceive cognition and emotion as interrelated, then drama as an educational tool becomes essential. It creates metaphors of our lives, which we lead through both cognitive and emotional domains. Art and creativity play an essential role in connections between the body, emotions, and the mind. Moreover, as we live in relationship to the rest of the world around us, our learning is embodied, our brain, emotions, and physiology are constantly connected. Thus, the article demonstrates that drama and performance are vital in teaching the whole child, whether taught as a discipline or used as a teaching tool. This means, the author claims, educators, neuropsychologists, and theatre and drama specialists have to have open minds and be willing to step out of comfort zones and together make a case for using theatre and drama methods as a way to improve human lives.
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Kaličanin, Milena M., i Kristina M. Petrović. "TEACHING DRAMA: CHALLENGES AND BENEFITS". Методички видици 12, nr 12 (3.12.2021): 133. http://dx.doi.org/10.19090/mv.2021.12.133-148.

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It has frequently been stated that the dramatic method of teaching is rather efficient in students’ personal development. The basic practical aspect of this teaching method involves the acquisition of various social and language skills which point to its immense interdisciplinary potential. Apart from the benefits, teaching drama represents a highly challenging task for educators since they are supposed to mediate between the world of artists and the recipients of their art. In order to highlight the challenges and benefits of teaching drama, the theoretical framework of the paper relies on the pioneering lecturing work of Heathcote (1976, 1998), as well as the critical insights of Freire (2005) and Nussbaum (1997). Their methodical perspectives on drama as a learning medium have been combined with the results of the internal survey the authors of the paper conducted in the period 2016-2018 by teaching Renaissance drama courses at the university level.
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Connors, Christina. "Teaching ESL Through Creative Drama". TESL Canada Journal 3, nr 2 (26.06.1986): 73. http://dx.doi.org/10.18806/tesl.v3i2.487.

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Rozprawy doktorskie na temat "Drama teaching"

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Anderson, Colin. "Teaching Social Studies Through Drama". DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.

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Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices, cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely & Savage, 2011; Lement & Dunakin, 2005}.
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Collins, Lisa A. "Teaching drama in the ESL classroom". [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/LCollins2007.pdf.

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Johnson, Valerie. "Drama teaching: Understanding what we do". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/732.

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Drama teaching in secondary schools in Western Australia has become an increasingly complex discipline in recent years. This study has considered the work of Drama teachers from the point of view of those practising the discipline, using a phenomenological methodology which allowed the voices of the participants to be heard directly. In the discussion, consideration is given to the way in which these teachers practice the dynamic which is drama, are influenced by the art form of theatre, and deliver the school subject, Drama.
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Morton, Sheila A. Ellison Katherine E. "Teaching eighteenth-century drama through classroom and digital performance". Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1276391361&SrchMode=1&sid=5&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1202155512&clientId=43838.

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Thesis (Ph. D.)--Illinois State University, 2006.
Title from title page screen, viewed on February 4, 2008. Dissertation Committee: Katherine Ellison (chair), James Kalmbach, Claire Lamonica. Includes bibliographical references (leaves 164-177) and abstract. Also available in print.
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Marrier, D'unienville Krystle. ""Let's put on our teaching face" : an investigation of teaching styles and their skillsets". Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20650.

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The following dissertation analyses teaching as a performance and argues that teachers "enrole" or "put on their teaching face" when in front of their learners (Whatman, 1997:182; Dobson, 2005:334). The dissertation investigates the benefit to teachers of learning the skills of an actor such as voice, breathing and relaxation techniques, movement and use of space, presence and mindfulness and improvisation. The research argues that actor training may lead to increased effective communication with an 'audience' of learners in order to transmit and transact information. The research process involved observation and analysis of 14 teachers in government schools in Cape Town, using 'performance' as an analytical framework for a total of 36 hours over the course of a month. Questions around the use of acting and drama training are explored, and ethnographic observation and auto-ethnography are used to further the analysis. Trends and patterns were noted in the field using observational research methods such as video-recordings, field notes and interviews with participants. The writer's position as researcher was adapted from outsider (interpretive ethnography) to insider (autoethnography) due to unforeseen circumstances. Findings included the recognition of the predominant teaching style in schools, namely the transmissive approach, the emphasis on content learning, the lack of self-reflexive practice and acute stress due to the pressures of the job. The difficulties teachers are confronted with in their day to day operations became apparent, resulting in possible disinterest in, and lack of time, for professional development. The researcher's position as reflective practitioner and the ethnographic observations of teachers in schools confirmed and reinforced that teachers would benefit from actor and drama training skills such as voice, movement, improvisations and role-play.
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Kruger, Marlene. "Drama-based second language teaching and learning". Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78099.

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This study engages with the domains of second language teaching and learning (L2TL), drama-based teaching and learning (DBTL) and embodied cognition in order to establish how the effective implementation of DBTL may contribute to the efficacy of L2TL practices. There are shortfalls in second language (L2) classrooms and there is a need for a L2 teaching approach, which promotes social interaction in varied sociocultural contexts wherein learners are encouraged to make meaning in order to convey their message. The L2 learning processes created by this approach could overcome the shortfalls of L2TL and offer what is required by Second Language Acquisition (SLA) to acquire a L2. This study proposes that the use of the Common European Framework of Reference for Languages: Learning, teaching, assessment (CEFR) could overcome these shortfalls. However, CEFR can only be effective if the approach that is utilised in its implementation aligns with CEFR’s principles. This study argues that a drama-based teaching approach could adhere to CEFR and address the shortfalls of L2TL. This study explores drama as a facilitation tool and uses elements of process drama to create an approach to DBTL that could create learning experiences which may enhance the efficacy of L2TL and adhere to CEFR. This study argues that for a DBTL approach to be effective in L2TL, it has to foreground embodied cognition. Embodied cognition theories state that in order to create optimal learning opportunities, social, affective learning experiences should be created wherein learners interact with other humans and their environment in order to make and convey meaning. By critically engaging with embodied cognition theories, this study establishes which components of embodied cognition should be considered for DBTL to be effectively implemented in L2 classrooms. Subsequently, this knowledge ensures that the proposed approach to drama-based second language teaching and learning (DBL2TL) could allow for effective implementation. This study argues that a hypothetical DBL2TL programme based on this DBL2TL approach, which is steered by embodied cognition and adheres to CEFR, could overcome the shortfalls of L2TL. Furthermore, the programme could offer insight into how DBTL could effectively be implemented in L2TL, which in turn could enhance the effectual implementation of DBTL in L2 classrooms. Therefore, the hypothetical DBL2TL programme could enhance the efficacy of L2TL.
Dissertation (MA)--University of Pretoria 2020.
Drama
MA
Unrestricted
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Young, David L. "An invitation : improvisational living and teaching /". Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2067.

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Cody, Tracey-Lynne. "Drama education in New Zealand schools: the practice of six experienced drama teachers". Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.

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This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lenses of Artist and Co-artist, the study identifies the socio-cultural nature of the practice of these teachers. Teachers’ artistry is revealed through creative use of drama tools and processes to create aesthetically-rich learning experiences. The significance of relational pedagogy to teaching and learning in these drama classrooms is also examined within the study. Teachers’ accounts reveal the ways they seek to develop interpersonal relationships with and between students, and establish ensemble-based approaches to learning in drama. As co-artists, participants employ pedagogies that empower students to actively participate in a community of drama practice, intentionally developing students’ capacities for collaboration, creativity and critical thinking, while discovering and developing their artistic-aesthetic capabilities. These teachers share power with students through acts of negotiation, creating dialogic learning opportunities in order to develop student agency as artists and citizens. Attempts to navigate tensions that arise due to increased performativity pressures on teachers and to avoid prescriptive and technocratic delivery of drama curriculum are also explored. In-depth interviews were conducted with participants to discover the complexities of their teaching practice, the philosophy of drama education they hold, and the decisions they make in curriculum content and pedagogy. Observations of classroom practice were also undertaken, along with an analysis of planning documents and an interview with their students. The study provides six rich case studies of drama practice in New Zealand schools, contributing to local and international understandings of enacted drama education within school settings. Implications for educational policy, curriculum design, classroom practice and teacher education arise from this investigation.
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Lang, Linda L. "Teaching with drama, a collaborative study in innovation". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34870.pdf.

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Arieli, Bracha (Bari). "The integration of creative drama into science teaching". Diss., Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/531.

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Książki na temat "Drama teaching"

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Woolland, Brian. Teaching primary drama. New York: Pearson Longman, 2010.

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Andreasen, John. Drama teaching & mnemonics. Aarhus N, Denmark: Dept. of Dramaturgy, University of Aarhus, 1995.

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Starting drama teaching. Wyd. 2. London: David Fulton, 2003.

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Fleming, Mike. Starting Drama Teaching. Redaktor Mike Fleming. 4th edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460574.

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Teaching primary drama. New York: Pearson Longman, 2010.

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Starting drama teaching. London: Fulton, 1994.

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Starting drama teaching. Wyd. 3. Abingdon, Oxon: Routledge, 2011.

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Goodwin, Andrew. Teaching TV drama-documentary. London: BFI Education, 1986.

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Goodwin, Andrew. Teaching TV drama-documentary. London: BFI Education, 1986.

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Clipson-Boyles, Suzi. Drama in primary English teaching. London: D. Fulton, 1998.

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Części książek na temat "Drama teaching"

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Cone-Uemura, Karen. "Drama, Teaching". W Encyclopedia of Cross-Cultural School Psychology, 392–93. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71799-9_141.

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Cremin, Teresa. "Developing Creativity Through Drama". W Teaching English Creatively, 27–42. Wyd. 3. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003055372-3.

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Dowdy, Joanne Kilgour. "Poetry to Drama". W Teaching Drama in the Classroom, 111. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_23.

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Jones, Richard. "World Drama in Translation". W Teaching Literature in Translation, 196–204. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003105220-25.

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Østern, Anna-Lena, Tapio Toivanen i Tuija Leena Viirret. "Drama Boreale – Perspectives on Drama Education in Finland and Norway". W Reforming Teaching and Teacher Education, 169–92. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-917-1_7.

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Seipert, Karen Greene. "Developing Literature Through Drama". W Teaching Drama in the Classroom, 69–70. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_15.

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D’Cruz, Glenn. "From Drama to Theatre to Performance Studies". W Teaching Postdramatic Theatre, 49–72. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_3.

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Zhang, Lingfen. "Teaching Chinese culture". W Teaching Chinese by Culture and TV Drama, 36–57. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003134107-3.

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Thomas, Helena. "Drama in English". W A Practical Guide to Teaching English in the Secondary School, 105–15. Wyd. 2. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003093060-13.

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Oris, Heather. "Drama Activity: Peer Teaching Through Performances". W Teaching Drama in the Classroom, 77–78. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_18.

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Streszczenia konferencji na temat "Drama teaching"

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Birch, Peter, i Thomas Lennerfors. "Teaching Engineering Ethics With Drama". W 2020 IEEE Frontiers in Education Conference (FIE). IEEE, 2020. http://dx.doi.org/10.1109/fie44824.2020.9274160.

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Tsybaneva, Valentina, Anna Seredintseva i Oksana Maletina. "Using Drama in Teaching Intonation". W Proceedings of the 1st International Scientific Practical Conference "The Individual and Society in the Modern Geopolitical Environment" (ISMGE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ismge-19.2019.128.

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Kuzmenkova, Yulia. "DRAMA ACTIVITIES IN ENGLISH LANGUAGE TEACHING". W SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b13/s3.032.

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Felemban, Fatima Hussain. "Incorporating Pragmatic Principles In Teaching Drama". W 2nd Annual International Conference on Language, Literature and Linguistics (L3 2013). Global Science and Technology Forum Pte Ltd, 2013. http://dx.doi.org/10.5176/2251-3566_l313.18.

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Milovanović, Ana. "Mogućnosti i izazovi nastave dramske umetnosti u izmenjenom društvenom kontekstu". W Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.189m.

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The subject of the paper are the possibilities and challenges of teaching drama in a changed social context. In the social context changed by the application of the agenda of globalism in Serbian education, the teaching of drama for preschool teachers begins to lose quality at university. Due to the specific nature of drama as art, online teaching of this subject is not possible. Research of teaching the subject Drama and Movement at the Teacher Education Faculty in Belgrade was shown that teaching was limited to lectures and theoretical exercises during the state of emergency, and that practical exercises were necessary after its abolition. An insurmountable challenge was the protection measures against the corona virus, as a result of which it was impossible to hold exercises of puppet animation and puppet directing, ie to prepare puppet shows (except monodramas). High engagement of professor was necessary for the quality of teaching.
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Madej, E. D. "DRAMA AS A METHOD OF TEACHING SPEAKING". W ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-56.

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Wu, Jing. "Design of Traditional Drama Multimedia Network Teaching System". W The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.071.

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Galazka, Alicja. "ATTACHMENT- BASED TEACHING THROUGH DRAMA IN THE ELT CLASSROOM". W 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.1680.

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Liu, Qingming. "Application of Psychological Scene Drama in College Psychology Teaching". W 2016 5th International Conference on Social Science, Education and Humanities Research. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.75.

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Luo, Hongling. "Applied Research on Drama in Teaching Chinese as a Second Language". W 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.88.

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Raporty organizacyjne na temat "Drama teaching"

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

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Non-traditional methods of teaching are ways of improvement to the activity of the individual in the process of learning and creative work. It is the result from the destruction of usual stereotypes in knowledge and skills that starts off mechanisms of spontaneous activities, an integration of logical and evocative components. Current study examines the method of emotional and evocative drama art as a way of improvement to effectiveness in the learning and creative activities of the personality.
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