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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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Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made:
1. Questions were used extensively to promote the drama process.
2. The teacher employed a wide range and diversity of questions.
3. Definite patterns emerged in teacher questioning techniques.
4. Specific kinds of learning were emphasized by teachers within the drama.
Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research:
1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described.
2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically.
The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Van, Zyl Yolande. "Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2290.
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Thesis (MDram (Drama))--Stellenbosch University, 2008.The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.
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Bryson, Lucy Lynn. "Drama + math = dramath". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.
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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
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Moss, Lynette Kaye. "Insights into drama in the early childhood setting: A rationale for the use of drama". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1388.
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This research is an investigation into the implementation of drama in early childhood education conducted in one Perth metropolitan primary school, over a three-week period. The six drama lessons were taught by the researcher/practitioner in a Pre-primary and a Year One class. These students were chosen for their limited exposure to the Drama in Education experience. The expectation was of a less conditioned response both in their conduct and expression within the drama environment. The lessons were captured on video and transcribed, then analysed utilising an ethnomethodological methodology. The responses of these children were recorded in an attempt to disclose how a group of young children share knowledge during a drama class, and examine the social conventions, articulating the features of common rule-usage and assumed communication. The discourse also examines the complex and at times ambiguous nature of drama and the need to articulate and to analyse practices, to unravel how drama is constructed and perceived. The practice of drama in the early childhood classroom highlights the role and relationship of the practitioner and the children. The study offers insights into the foundation issues within drama in education that are a product of the historical, cultural and social domains of knowledge and affect the implementation of drama in the early childhood. This research provides information on drama in education within the pre-primary school setting. It would be of interest to any teacher or researcher who wishes to gain a deeper understanding of the issues that surround drama in early childhood years, and provides insights into the interactions of the participants.
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Hartley, Jessica. "Guided practices in facing danger : experiences of teaching risk". Thesis, Central School of Speech and Drama, 2013. http://crco.cssd.ac.uk/457/.
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The central problem of this thesis is how a teacher may engage with risk. I offer a reconsideration of the term and suggest that risk is individual, perceptual and experientially driven. I use a Heideggerian (1962) frame when I suggest that, when taking a risk, a person is potentially encountering existential death. Using my own practice as a trapeze artist, I reveal how risk is manifested for the students I teach - how it can profoundly challenge and unsettle them- and how I as a teacher am charged with ensuring that they are empowered rather than stultified or domesticated by the risk. I call this enacted skill ‘pedagogic tact’. By combining Jacques Rancière’s notion of Universal Education (1991) with Martin Heidegger’s ontological appreciation of being-towards-death (1962), I propose that what teachers awaken within students is knowledge of the possibility of death and of not-death within certain pedagogic encounters. I cannot know, measure or prove whether this knowledge has been achieved. However, I can document and describe the students’ relationship with the teacher within these moments. This document therefore becomes a description of student-teacher encounters when the teacher attends towards the emancipation of the student. The combination of reflective research methods from David Tripp (1993), Max Van Manen (1990), Della Pollock (Pollock in Phelan and Lane, 1998) and Jonathan Smith et al (2009) provides a means for phenomenological hermeneutic analysis. I have reflected upon my work with five students over the course of five days of trapeze training, extracted what Tripp would call ‘critical incidents’ between teacher and student and considered their meaning (1993:3). This research is a documentation of engaged pedagogy. It is a performative thesis that ruminates upon how I teach aerial work. There are many findings that seem apparent at the time of writing up. I repetitively circulate around the notion of death, failure, rupture, domestication, entrapment, sacrifice, vulnerability, sobriety and pain as significant elements that describe my work with risk. These concepts are balanced with words such as poetry, liberation, love, strength, glory, resolution and joy. There appears to be a second paradox of teaching that sits alongside and dialogues with the Kantian ‘freedom through coercion’ (1960:699); it is summed up by aerialist and teacher Matilda Leyser in her description of aerial work as ‘strength through vulnerability’ (2007). In order to enable the students’ strength to be challenged, witnessed and supported, there needs to be vulnerability from them, from their carers, from the teacher and from the institution. This vulnerability is not imposed, or bestowed, but is ‘owned’ by the student and teacher in their anxiety and in their choice to, in a Heideggerian sense, comport themselves to that which matters most (Heidegger, 1962). In these moments, anxiety reminds the student that they might die; it also reminds them that they can be strong in the face of possible death. This paradox of vulnerability and strength is synthesised or ‘held’ by the teacher’s tact. The new knowledge that I assert, therefore, is a description and mapping of pedagogic tact. Through this new knowledge, I explore the possibility of becoming a better teacher.
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Poulsen, John Christian S. "Efficacy of drama-based teaching on children with learning disabilities". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ34693.pdf.
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Jordaan, Phoebe-Marie. "Finding creativity : integrating drama teaching techniques in creative writing lessons". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97125.
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Thesis (MEd)--Stellenbosch University 2015.ENGLISH ABSTRACT: Creative writing forms an essential part of the English language learning area in any curriculum. The expression of knowledge and ideas through writing is an integral part of the communication process; however, some learners struggle to express their thoughts and ideas in creative writing tasks. As such, this thesis strives to discover how creativity can be stimulated in order to assist learners in their written expression. Drama techniques, stimulation activities and other multi-literacy resources have been employed to try and understand the discovering and ‘finding creativity’ process through creative writing, journaling and performance in the drama classroom. The research utilises the action research methodology, employing participant observations, semi-structured interviews and reflective classroom discussions. It also uses the creative writing journals of the learners in an attempt to investigate how drama techniques can stimulate creativity for the creative writing process. The units of analysis in this case study are 13 grade 9 learners at a private school in the Western Cape, South Africa. The analysis of the data collected reveals that by utilising drama techniques, along with other stimuli and resources, in the classroom the process of creative writing become less troublesome and more enjoyable for both learners and teacher-researcher alike. Another finding is that the open, free and flexible atmosphere, which is created in the classroom assists learners not only with the development of their written expression, but also with verbal expression. The learners learn how to express their creative thoughts and ideas, about the world they live in, in a respectful, sensitive and empathetic manner. The creative writing programs have proved to be more than just tools to improve writing competence, but also have equipped learners with the tools to become creative, thinking citizens.
AFRIKAANSE OPSOMMING: Kreatiewe skryfwerk vorm ‘n essensiële deel van die Engelse leerarea in enige kurrikulum. Die uitdrukking van kennis en idees deur die skryfproses vorm ‘n integrale deel van die kommunikasieproses, maar sommige leerders vind dit uitdagend om aan hulle gedagtes en idees in kreatiewe skryftake uiting te gee. Met hierdie tesis beoog ek om dus om te ontdek hoe kreatiwiteit gestimuleer kan word om leerders met hulle geskrewe uitdrukkings vermoë te ondersteun. Dramategnieke, stimulerende aktiwiteite en ander meerdoelige geletterdheidshulpbronne is gebruik om te probeer verstaan hoe die ontdekking van die kreatiwiteitsproses deur kreatiewe skryf, joernaalinskrywings en opvoerings in die dramaklas, kan plaasvind. Hierdie studie het die aksienavorsingsmetodologie gevolg, waar deelnemende waarneming, semi-gestruktureerde onderhoude en reflektiewe klaskamergesprekke, asook die kreatiewe skryfjoernale van die leerders, gebruik is om te ondersoek in hoe ‘n mate dramategnieke kreatiwiteit vir die kreatiewe skryfproses kan stimuleer. Die studie is op 13 graad 9-leerders wat by ‘n privaatskool in die Wes-Kaap, onderrig word. Die analise van die versamelde data openbaar dat, wanneer dramategnieke in samewerking met ander stimulus en hulpbronne gebruik word, dit die kreatiewe skryfproses vergemaklik en dit meer genotvol vir beide die leerders en die onderwyser-navorser word. Nog ‘n bevinding toon dat die oop, vry en inskiklike atmosfeer, wat in die klaskamer geskep word, nie net die leerders in die ontwikkeling van hul geskrewe uitdrukking bygestaan het nie, maar ook met hul verbale uitdrukkingsvermoë. Die leerders het geleer hoe om hul kreatiewe gedagtes en idees oor hul individuele wêrelde in ‘n respekvolle, sensitiewe en empatiese manier uit te druk. Die kreatiewe skryfprogram blyk veel meer as bloot ‘n hulpbron te wees om die skryfvermoëns van die leerders te verbeter. Dit het hulle ook toegerus om kreatiewe, denkende landburgers te word.
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Piazzoli, Erika Caterina. "Navigating the Labyrinth: A Study of Engagement and Artistry in Process Drama for Additional Language Teaching and Learning". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365439.
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In this reflective practitioner research I investigate process drama for additional language teaching and learning (AL/process drama). In particular, I examine two constructs relevant to AL/process drama aesthetics: ‘learner engagement’ and ‘teacher artistry’. To explore these constructs I draw on three case studies, developed within two adult schools of Italian (AL) and a university, in Milan, Italy. As teacher/researcher, I designed and facilitated a series of process drama workshops for each context, resulting in 45 hours of video-recorded material. I kept a reflective journal (written in English) and a logbook (written in Italian) where I recorded my reflection-in-action and reflection-on-action. As a translingual researcher, I deliberately switched between languages, in an attempt to capture different nuances and better understand my attitudes and beliefs towards AL/process drama teaching. Within each case, I worked with a group of up to 16 international students of Italian (AL) at an intermediate level of proficiency (student-participants) and up to seven teachers (teacher-participants) who observed the workshops and took notes on the learners’ engagement. Both students and teacher-participants took part in individual and focus group interviews. At the end of each workshop, student-participants were invited to choose a specific moment from the drama and self-evaluate their engagement. These moments informed the selection of video extracts that were later used within video-stimulated recall interviews. The ‘learner engagement’ construct was explored through the Vygotskyan lens of ‘felt-experience’ (perezhivanie) in which individuals perceive, feel, interpret, internalise, and re-create meaning through a cognitive, affective and social investment. I analysed the nature of engagement from a sociocultural perspective, across three domains: Second Language Acquisition (SLA), Intercultural Education and Aesthetic Learning. The analysis revealed that the nature of learner engagement in the SLA domain seems to appear and manifest as a cycle of ‘perception-in-action’.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
Full Text
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Simons, Jennifer, University of Western Sydney, of Arts Education and Social Sciences College i School of Social Ecology and Lifelong Learning. "Enhancing the use of professional craft knowledge in process drama teaching". THESIS_CAESS_SELL_Simons_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/720.
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The research articles in this portfolio describe and analyse how process drama teachers use the special combination of content knowledge, pedagogical knowledge and knowledge gained in 'lifeworld' experiences (described in this portfolio as their 'professional craft knowledge') in order to promote learning. These publications also provide a detailed description of methods used in pre-service teacher education at the University of Sydney to enhance the development of professional craft knowledge in beginning teachers. The studies in this portfolio are framed within an interpretative research paradigm; the subject matter of the research is the way that teachers and learners in process drama collaborate to construct meaning. The methodology is primarily reflective practitioner research, recently described as one of drama's 'own innovative recommended research designs'. Qualitative methods have been used to collect and analyse relevant data. Separate sources of data are used to check the trustworthiness of the findings, through the process of crystallization : the alignment of sources such as reflective journals, outside observations, video records and oral reflections. Professional craft knowledge is developed by individual teachers as they reflect in action on the choices they see as available to them, as they work with their own classes. Often teachers are not conscious of the expertise they are developing; it quickly becomes tacit, embodied knowledge. However, reflecting upon their actions, teachers can usually explain why they acted as they did. The research articles in this Portfolio make use of reflection in and upon action in order to deconstruct the work of process drama teaching. As a collection these articles also examine how the use of reflective practices in pre-service education can facilitate and enhance the development of craft knowledge before teachers enter the professioDoctor of Education
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Simons, Jennifer. "Enhancing the use of professional craft knowledge in process drama teaching /". View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031014.145035/index.html.
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Thesis (Ed.D.) -- University of Western Sydney, 2002.A portfolio submitted in fulfilment of the requirements for the award of the degree of Doctor of Education, University of Western Sydney, November, 2002. Bibliography : leaves 134-137.
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Marschke, Renee. "Creating Contexts, Characters, and Communication: Foreign Language Teaching and Process Drama". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16104/1/Ren%C3%A9e_Marschke_Thesis.pdf.
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The foundational premise of communicatively-based foreign language teaching approaches is that the activities used in the classroom are 'communicative'; that the language learned is being used to 'communicate'. Genuine communication however is difficult to establish in a traditional classroom setting consisting of desks, chairs and textbooks. This project examines how a specific form of Drama in Education - process drama - can be used to create more authentic communicative situations and learning experiences in the foreign language classroom; experiences that are both intellectually and affectively engaging. It begins with a review of the literature pertaining to the three main areas that provide the backdrop to the project's central research proposition, namely second language acquisition, second language methodology and aesthetic education. The three main protagonists are then introduced, namely social interactionist theories of language acquisition, communicative language teaching approaches (the main focus being on task-based methodology), and process drama. The two supporting characters, change and motivation, also make their entrance.
The curtain is then raised to reveal a performance of various teaching and learning experiences of the use of process drama in first and second language settings. This illustrates how process drama operates on a practical level and explores the offered potential for more authentic communication when this approach comes into contact with second language task-based methodology. Literature surrounding unit and lesson planning frameworks from the fields of both second language acquisition and process drama is then examined before the spotlight falls on the proposed 'Foreign language and Process drama' Unit and Lesson planning Framework. Illustrative models of the innovative framework together with concrete examples of its use are provided to represent more clearly how it can facilitate the creation of characters and contexts through which to communicate more authentically in the FL classroom. The closing curtain falls on a reflection of the entire project, which includes recommendations and possibilities for further research.
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Marschke, Renee. "Creating Contexts, Characters, and Communication: Foreign Language Teaching and Process Drama". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16104/.
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The foundational premise of communicatively-based foreign language teaching approaches is that the activities used in the classroom are 'communicative'; that the language learned is being used to 'communicate'. Genuine communication however is difficult to establish in a traditional classroom setting consisting of desks, chairs and textbooks. This project examines how a specific form of Drama in Education - process drama - can be used to create more authentic communicative situations and learning experiences in the foreign language classroom; experiences that are both intellectually and affectively engaging. It begins with a review of the literature pertaining to the three main areas that provide the backdrop to the project's central research proposition, namely second language acquisition, second language methodology and aesthetic education. The three main protagonists are then introduced, namely social interactionist theories of language acquisition, communicative language teaching approaches (the main focus being on task-based methodology), and process drama. The two supporting characters, change and motivation, also make their entrance. The curtain is then raised to reveal a performance of various teaching and learning experiences of the use of process drama in first and second language settings. This illustrates how process drama operates on a practical level and explores the offered potential for more authentic communication when this approach comes into contact with second language task-based methodology. Literature surrounding unit and lesson planning frameworks from the fields of both second language acquisition and process drama is then examined before the spotlight falls on the proposed 'Foreign language and Process drama' Unit and Lesson planning Framework. Illustrative models of the innovative framework together with concrete examples of its use are provided to represent more clearly how it can facilitate the creation of characters and contexts through which to communicate more authentically in the FL classroom. The closing curtain falls on a reflection of the entire project, which includes recommendations and possibilities for further research.
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Morrison, Morag G. "Shouts & Whispers: Re-engaging Disaffected Girls through Peer-Teaching Drama". Thesis, Griffith University, 2010. http://hdl.handle.net/10072/366064.
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Truancy, disruptive behaviour and general disaffection from school are an on-going challenge in schools across the world, and it seems little headway has been made in developing effective strategies to support re-engagement. Many capable young people feel alienated from their schooling and seek affirmation and recognition via other avenues – avenues which do not always serve them well. Internationally, adolescent transgression and disenchantment remain intractable, with some evidence even suggesting negative behaviour is on the rise.
This study spans research across two secondary schools in two countries, Australia and the United Kingdom, and explores how peer teaching Drama may help re-engage disengaged or disaffected adolescents, and documents two separate but related projects in each country. In the course of research for the first project i.e. how Drama might be used to teach Conflict management, it was noted that peer teaching as a strategy in itself seemed to have a marked impact on several young women who had hitherto seemed reserved or vaguely dissatisfied and disengaged in the classroom. Although my first project had its genesis as part of a large Action Research study, as I began to focus on the experiences of these three Year 11 girls, it became apparent that a closer analysis of the personal impact of peer teaching through Case Study might yield deeper understanding. Thus the second project was designed as a Case Study from the outset – an exploration into how peer teaching might support the reengagement of two disaffected Year 9 girls.
The five young women who are the focus of my research ranged in attitude from being quietly disenchanted to actively challenging and disruptive in their behaviour within the school context; none would have put themselves forward for responsibility or, in the case of the challenging pupils, would have been trusted with responsibility by their teachers. There was however one area of the curriculum all the girls enjoyed, Drama, and this interest was able to be utilised in peer teaching.
Both projects were designed to involve participants as collaborators, and encouraged these students to take responsibility for shaping, delivering and reflecting on their experiences as teachers. They were stakeholders in the learning of others, and this responsibility provided profound personal learning experiences for participants, and rich insight for me into some of the reasons that might lie behind the girls becoming disengaged and disaffected in school.
The study suggests there is a strong link between democratic teaching and learning processes, risk and emotional engagement, and the contribution that constructive challenge can make. My findings indicate that the combination of these factors can generate the self-esteem and confidence necessary to transform the attitudes and behaviour of disaffected and disengaged female students.
The research also clearly demonstrates that peer teaching is a potentially powerful strategy to utilise in support of positive change and, in wider terms, possibly one way the challenge of adolescent truancy and disaffection might be addressed.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
Full Text
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Reznek, Jennie. "Moving ideas about moving bodies : teaching physical theatre as a response to violence and the violated body". Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11377.
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Includes bibliographical references.Includes abstract.
In this thesis I explore my obsession with teaching the physical theatre body over the past twenty-five years.Two sets of questions are proposed: How does the teaching of physical theatre respond to violence and the violated body; and how does pedagogy change when it moves from one context to another? Firstly, I argue that the pedagogy developed by Jacques Lecoq in Paris responded like a pendulum to the extreme violence perpetrated on bodies during the Second World War. I argue that my own practice, influenced by my two years of study at École Jacques Lecoq (1984-1986), continued this tradition by responding to what, I propose, existed as a ‘culture of violence’ in South Africa from the period of colonialism through the apartheid era and into the present. I analyse the impact of violence on the body by focusing on three consequences - stillness, erasure and rupture - and come to an understanding of how the teaching of physical theatre, as per Lecoq and myself, counters all three with a focus on the moving, articulate, individuated body capable of transformation. Secondly, I propose that pedagogy responds to geographic, philosophical and historical contexts and is subject to modification when context changes. The methodology has included conventional research, a comparative analysis of the two contexts, and an analysis of my own experiences - from notebooks that I have kept - as a student and teacher.
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Sammut, Elvira. "Notions of justice through drama". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1239.
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This paper explores and describes the lived-experience of a group of 16-year-old girls in a drama class designed to heighten awareness of values of social justice. The students involved are experienced drama students, with a good knowledge of the theory of role-play and play-making, as well as, sound dramatic skills and techniques. The lived-experience provided the source for the research study that used film as a medium to inculcate notions of justice and equity in the classroom through self-devised drama. Phenomenological research was conducted with a group of seventeen Year II drama students. The students took part in a series of' drama lessons that used a documentary film as stimulus for self-devised drama presentations. Participant observation, as well as the students' own personal reflective journals, were used to collect data that was then coded, collated and categorised into significant statements. The results suggested that a significant number of students understood more about values, recognised alternative actions to resolve conflict, and were generally more empathetic to others after completing the study module. This verified my thesis, that the drama classroom is a good environment to inculcate notions of justice, and that drama students are most receptive to this mode of learning. The results revealed sufficient positive evidence to indicate that concrete recommendations be considered by The Western Australian Curriculum Council for inclusion in Drama syllabi to further strengthen the Council's thrust for a values-based curriculum in Western Australian schools.
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Bennie, Kendal. "Turning with wa(y)ves of learning to use drama in my teaching". Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/6911.
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Bibliography: leaves 90-94.This dissertation is about teaching and learning from a subjective perspective. The learning is self-reflective as I study my actions, and interpretations of them, with the aim of improving my practice by learning a new skill to use in my teaching. The skill, teaching using drama, and my approach are based in the theory of enactivism. The Discipline of Noticing and Action Research are used in combination to systematically reflect and analyse my experiences during a Drama in Education course. I compare the experience to surfing, another endeavour that is learnt by having the courage to go out and do it and learn from mistakes.
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Nebe, Warren. "A critical analysis of the teaching technique role play, with particular reference to educational drama". Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/12745.
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Bibliography: leaves 192-196.This study analyses Role Play teaching techniques employed in Educational Drama and examines the possibility that the current practice of Role Play may actually obstruct the personal and collective empowerment of students, thereby limiting the educative potential of drama.
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Chen, Yung Ching. "A drama project teaching model in English language teaching : an action research at a Taiwanese primary school". Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439863.
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Khorll, Angela E. "Creating Dramatic Scene Work for Literature in a Secondary Language Arts Classroom". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/KhorllAE2008.pdf.
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Stols, Amori. "Die ontwikkeling van kritiese denke deur die gebruik van drama as onderrigmetode binne die vak Lewensorientering". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80384.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: Critical theory forms part of the foundation of the South African school curriculum. The development of critical thinking is part of the general aims of the curriculum. This study will investigate the possibility of developing critical thinking through the use of drama as a teaching method in the subject Life Orientation in the further education and training phase (FET) Grades 10-12. This problem statement will be researched through a quantitative literature study. The school curriculum underwent a transformation since 1994 from a content- and teacher driven curriculum to an experience- and student centred approach to teaching. New subjects were also included in the curriculum such as Life Orientation. There are, however, various implementation problems with regards to Life Orientation. These implementation problems can mainly be attributed to the insufficient in- and pre service training that teachers receive and their inability to use progressive teaching methods. The Life Orientation curriculum does, however, provide opportunity for the development of critical thinking skills. The concept of critical theory will be investigated as philosophical and theoretical basis for this study. The influence of critical theory on the critical pedagogy of Freire will be discussed to show the relationship between education and critical theory. Furthermore, the influence of critical theory on the development of Brecht’s Epic theatre will also be investigated. Finally, a definition for critical thinking will be put forward, after which the question whether critical thinking is developed through the school curriculum will be investigated. Different approaches to drama as a teaching method is briefly discussed. Dorothy Heathcoat’s approach to drama in education is chosen as a focus for this study as she uses drama as a teaching method to teach subject content and to develop thinking skills through reflection. Heathcote uses Brecht’s Epic theatre techniques to alienate the students in order for them to critically reflect on the content that is being taught. Process drama is a more accessible approach to drama in education, but it uses the same core elements namely improvisation, role-play and reflection. Process drama consists of an improvised role-play where the class collectively takes part and the teacher-in-role steers the educational experience through questions that leads to reflection. It is during this reflection that critical thinking is developed. Process drama can be used to teach the content of Life Orientation and develop critical thinking. It, however, requires the teacher to be the director, actor, writer, teacher and self-audience. During the planning of the process drama lesson the teacher also has to follow a certain process where the theme, contexts, roles, dramatic focus, tension elements and signs for the lesson is identified. To illustrate how drama as a teaching method can be used in Life Orientation, three lesson plans are provided.
AFRIKAANSE OPSOMMING: Kritiese teorie vorm deel van die grondbeginsels waarop die Suid-Afrikaanse skoolkurrikulum gebou is. Kritiese denke en die ontwikkeling daarvan is ook deel van die algemene doelstellings van die kurrikulum. Hierdie studie ondersoek die moontlikheid of kritiese denke bevorder kan word deur drama as onderrigmetode te gebruik binne die vak Lewensoriëntering in die verdere onderwys en opleidingsbaan (VOO) Grade 10-12. Daar sal van ’n kwalitatiewe navorsingsbenadering gebruik gemaak word om die probleemstelling te ondersoek in die vorm van ’n literatuurstudie. Die skoolkurrikulum het sedert 1994 getransformeer vanaf ’n inhouds-, onderwysergedrewe kurrikulum, na ’n ervaringsleer- en leerdergesentreerde benadering tot onderwys. Daar is ook nuwe vakke toegevoeg tot die kurrikulum, soos Lewensoriëntering. Daar is egter heelwat implementeringsprobleme met Lewensoriëntering en dit kan grotendeels toegeskryf word aan die swak in- en prediensopleiding wat onderwysers ontvang en hulle onvermoë om progressiewe onderrigmetodes te gebruik. Die Lewensoriëntering kurrikulum leen hom egter daartoe om kritiese denke te . As filosofiese en teoretiese basis vir die ondersoek word kritiese teorie omskryf. Die invloed van kritiese teorie op die kritiese pedagogie van Freire word bespreek om die verband tussen onderwys en kritiese teorie aan te dui. Die invloed wat kritiese teorie gehad het op die ontwikkeling van Brecht se Epiese teater word ondersoek. Daarna word kritiese denke gedefinieer en word daar ondersoek ingestel of kritiese denke deur die skoolkurrikulum ontwikkel word. Verskillende benaderings tot drama as ’n onderrigmetode word kortliks bespreek, waarna Dorothy Heathcote se benadering tot drama-in-die-onderwys as fokus vir die studie bepaal word, omdat sy drama as ’n onderrigmetode aanwend om vakinhoud te onderrig en denkprosesse te ontwikkel deur refleksie. Heathcote gebruik Brecht se Epiese teater-tegnieke om die leerders te vervreem en krities te laat reflekteer oor die inhoud wat onderrig word. Prosesdrama is ’n toegankliker vorm van Heathcote se benadering tot drama-in-die-onderwys, maar dit gebruik dieselfde kernelemente soos improvisasie, rolspel en refleksie. Prosesdrama bestaan uit geïmproviseerde rolspel waartydens die klas kollektief deelneem en die onderwyser-in-rol die leerervaring stuur en vrae aan die leerders stel wat hulle lei in refleksie. Dis tydens hierdie refleksie wat kritiese denke bevorder word. Prosesdrama kan gebruik word om die inhoud van die vak Lewensoriëntering te onderrig en kritiese denke te ontwikkel. Dit vereis wel dat die onderwyser die regisseur, akteur, skrywer, onderwyser en selftoeskouer word. Tydens die beplanning van ’n prosesdramales, moet die onderwyser ’n proses volg waar hy/sy moet besluit wat die tema, konteks, rolle, dramatiese fokus, spanningselemente en tekens gaan wees wat tydens die les gebruik gaan word. Om te illustreer hoe drama as onderrigmetode aangewend kan word binne die vak Lewensoriëntering, word drie lesplanne opgestel en bespreek.
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Anderson, Michael. "Journeys in Teacher Professional Development: Narratives of Four Drama Educators". University of Sydney. Policy and Practice, 2002. http://hdl.handle.net/2123/665.
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Ongoing teacher professional development is an essential part of the wellbeing of the schooling system and successful outcomes for students. In the past, teacher professional development has been used to describe an often �top-down� method of training to meet systemic needs while taking little account of teacher's individual needs. This approach often conceptualises the teacher's life as a dichotomy with the personal and the private separated and unrelated. In contrast, teacher professional development in this study is conceptualised as a journey that includes encouraging and discouraging turns. The journey is explored through the experiences of two primary and two secondary drama educators using Hargreaves and Fullan's (1992) organisers: teacher development as knowledge and skill development; teacher development as self understanding and teacher development as ecological change. The study focussed specifically on teachers of drama. Of the four educators two were beginning teachers, one primary and one secondary and two were experienced teachers, one primary and one secondary. The teachers were interviewed over twelve months. Narrative vignettes were developed from the interviews. As the context for these teacher journeys was pivotal, the influences on the teaching of drama in New South Wales were investigated. This included an exploration of the major issues that have influenced the development of drama education both internationally and in Australia. The concluding reflections from this study suggest that there is strong interaction between teachers' personal and professional lives. Teachers' personal circumstances, family histories and schooling backgrounds all have an important influence on their work as teachers. Significantly, issues related to drama education's history and current context reflected these teachers' classroom realities. The teachers argue that they understand their professional development needs best and should have influence and ownership of their own professional development experiences. They found aspects of their tertiary training and teacher induction unsatisfactory. The two beginning teachers in this study struggled to survive the difficulties of their first year and both seriously considered leaving teaching. The teachers describe self understanding through distinct phases of development that are made unique by each teacher's personality and context. The teachers saw subject identity and pedagogy as important to their professional identity. They report that times of crisis often lead to positive changes in their professional development journeys. The ecology for these teachers was made up of several complex issues that are resistant to change and there were a number of impediments reported by the teachers that arise from their teaching ecologies. Two of the teachers have used a change of context to improve their satisfaction and confidence levels. Two teachers described beneficial experiences with supervisors in the school setting. If beneficial ecological change is to occur, education systems must attend to the needs of teachers and provide opportunities to teach unimpeded by systemic obstacles. The study calls for changes in professional development and for the recognition of the multilayered nature of the teachers' journey. The study calls for a reconceptualisation of teacher professional development that recognises each teacher's ecology and self understanding. The renewed impetus for arts education will only be successful if the complexity of the teachers' journey is recognised and systemic obstacles are removed.
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Aronson, Shari Gay 1966. "La carpa: A descriptive model for teaching history through drama in education". Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278492.
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This model proposes an approach for teaching history through drama in education. The program uses the framework of la carpa, a Mexican American theatrical tradition. Participants develop historical knowledge and skills of expression while they learn to use their own lives as a key to understanding the lives of others. In the past two decades in the U.S., drama teachers and youth project leaders have been employing social drama to encourage adolescents to express their fears, frustrations and experiences. As with the tradition of la carpa, the scripts reveal sentiments that may not be able to be spoken safely elsewhere. In contrast to the production of classic, scripted plays, social drama provides participants with the opportunity to create their own material using their own lives as primary resources. In addition to challenging participants aesthetically, the teaching model of la carpa fosters interpersonal development.
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Frawley-Mangan, Anne, i res cand@acu edu au. "Drama and Religious Education: a match made in heaven". Australian Catholic University. School of Religious Education, 2006. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp109.11092006.
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This thesis investigates the use of drama as a teaching tool in religious education within the context of sacramental preparation. The research is informed by educational theories which suggest that arts education and religious education both rely on aesthetic knowing to construct meaning.The theories which underpin this research claim that this form of knowing honours the students’ freedom to form their own understandings and will be achieved through critical reflection and experiential methods which engage heart, spirit and mind. Drama is one such method and therefore this thesis contends that drama and religious education are indeed ‘a match made in heaven’.
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Wen, I.-chun. "THE EFFECTIVENESS OF LEARNING THROUGH DRAMA IN TEACHING CHINESE AS A SECOND LANGUAGE". Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1435882138.
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Bång, Olivia. "Drama as a pedagogical tool in technology education : A study of teachers’ perceptions of drama exercises when teaching ethics in technology". Thesis, KTH, Skolan för teknikvetenskaplig kommunikation och lärande (ECE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-207940.
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According to the National Agency of Education in Sweden, ethics should be a part of technology education in compulsory school (Skolverket, 2011), though research shows that technology teachers struggle with how they should teach ethics in technology (Kåreklint, 2007). The National Agency of Education also states that although drama does not have its’ own syllabus in Swedish grade school, it is encouraged that it is integrated in other subjects. The purpose of this study was to inquire how drama can contribute to the teaching of ethics in technology education in secondary schools. This was attempted to be fulfilled by answering the question " How do teachers view the usage of drama as a pedagogical tool when teaching ethics in technology education?" The inquiry was answered conducting three semi structured interviews with three different technology teachers from three secondary schools in Sweden. All teachers had previous to the interview received and conducted a lesson plan with their pupils, specifically developed for this study, where ethics in technology could be taught with a drama exercise. The interview was largely based on the teachers’ impression of this lesson. The result of the study shows that all participating teachers were very positive to the idea of using drama as a tool when teaching ethics in technology education. All teachers expressed that the lesson had gone well and they all answered that they could see themselves use drama as a tool again. The conclusion being that drama could be a viable option for teaching ethics in technology education.I läroplanen för grundskolan ska tekniketik vara en del av teknikundervisningen (Skolverket, 2011). Dock har forskning visat att lärare i Sverige har svårt att inkorporera detta i sin teknikundervisning (Kåreklint, 2007). I läroplanen för den svenska grundskolan så är drama inget eget ämne, men uppmanas av Skolverket (2016) att integreras i andra ämnen. Syftet med denna studie var att undersöka hur drama kan bidra till undervisningen av tekniketik genom att besvara frågeställningen "Hur ser lärare på användningen av drama som ett didaktiskt verktyg i teknikundervisningen kring etik?" Frågeställningen besvarades genom att intervjua tre tekniklärare från tre olika svenska grundskolor. Innan den semi-strukturerade intervjun hölls hade lärarna mottagit och utfört en för denna studie designad lektionsplanering där tekniketik lärdes ut genom en dramaövning. Intervjuerna vilade till största del på den uppfattning lärarna fått kring lektionen i fråga. Resultatet av studien visade att alla medverkande lärare såg positivt på att använda drama som ett didaktiskt verktyg för att lära ut tekniketik. Samtliga lärare uttryckte att lektionen hade fungerat bra och att de planerade att fortsätta använda dramaövningar i framtiden. Slutsatsen var att dramaövningar kan vara ett alternativ för undervisning av tekniketik.
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Mohd, Nawi Abdullah. "Applied Drama in English Language Learning". Thesis, University of Canterbury. School of Literacies and Arts in Education, 2014. http://hdl.handle.net/10092/9584.
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This thesis is a reflective exploration of the use and impact of using drama pedagogies in the English as a Second Language (ESL)/ English as a Foreign Language (EFL) classroom. It stems from the problem of secondary school English language learning in Malaysia, where current teaching practices appear to have led to the decline of the standard of English as a second language in school leavers and university graduates (Abdul Rahman, 1997; Carol Ong Teck Lan, Anne Leong Chooi Khaun, & Singh, 2011; Hazita et al., 2010; Nalliah & Thiyagarajah, 1999). This problem resonates with my own experiences at school, as a secondary school student, an ESL teacher and, later, as a teacher trainer. Consequently, these experiences led me to explore alternative or supplementary teaching methodologies that could enhance the ESL learning experience, drawing initially from drama techniques such as those advocated by Maley and Duff (1983), Wessels (1987), and Di Pietro (1983), and later from process drama pedagogies such as those advocated by Greenwood (2005); Heathcote and Bolton (1995); Kao and O'Neill (1998), and Miller and Saxton (2004). This thesis is an account of my own exploration in adapting drama pedagogies to ESL/EFL teaching. It examines ways in which drama pedagogies might increase motivation and competency in English language learning.
The main methodology of the study is that of reflective practice (e.g. Griffiths & Tann, 1992; Zeichner & Liston, 1996). It tracks a learning journey, where I critically reflect on my learning, exploring and implementing such pedagogical approaches as well as evaluate their impact on my students’ learning. These critical reflections arise from three case studies, based on three different contexts: the first a New Zealand English for Speakers of Other Languages (ESOL) class in an intermediate school, the second a Malaysian ESL class in a rural secondary school, and the third an English proficiency class of adult learners in a language school. Data for the study were obtained through the following: research journal and reflective memo; observation and field notes; interview; social media; students’ class work; discussion with co-researchers; and through the literature of the field.
A major teaching methodology that emerges from the reflective cycles is that of staging the textbook, where the textbook section to be used for the teaching programme is distilled, and the key focuses of the language, skills, vocabulary, and themes to be learnt are identified and extracted. A layer of drama is matched with these distilled elements and then ‘staged’ on top of the textbook unit, incorporating context-setting opportunities, potential for a story, potential for tension or complication, and the target language elements.
The findings that emerge through critical reflection in the study relate to the drama methodologies that I learn and acquire, the impact of these methodologies on students, the role of culture in the application of drama methodologies, and language learning and acquisition. These findings have a number of implications. Firstly, they show how an English Language Teaching (ELT) practitioner might use drama methodologies and what their impact is on student learning. While the focus is primarily on the Malaysian context, aspects of the findings may resonate internationally. Secondly, they suggest a model of reflective practice that can be used by other ELT practitioners who are interested in using drama methodologies in their teaching. Thirdly, these findings also point towards the development of a more comprehensive syllabus for using drama pedagogies, as well as the development of reflective practice, in the teacher training programmes in Malaysia.
The use of drama pedagogies for language learning is a field that has not been researched in a Malaysian context. Therefore, this account of reflective practice offers a platform for further research and reflection in this context.
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Wikström, Hannah. "Reading Drama in the EFL Classroom : An Analysis of the Potentials in Using Drama in the Swedish EFL Classroom". Thesis, Högskolan för lärande och kommunikation, Jönköping University, HLK, Ämnesforskning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49983.
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This study aims to examine the potential of reading dramatic scripts in the Swedish EFL classroom, using the play Top Girls by Carol Churchill as an example. In particular, it focuses on how literary theory and different aspects of feminism can be taught through the use of the play. The study is conducted through a textual analysis of the play’s main characters and the Swedish National Syllabus. The results show that there is a great potential in working with dramatic literature in the EFL classrooms. Using drama is effective in the way it covers several aspects of the core content of English in upper secondary school, and may be used to develop language skills, cultural understanding and critical thinking. The play contains complex ideas about different types of feminism, and the two main characters Joyce and Marlene represent two ways of striving for equality between men and women. These ideas are, in other words, represented by and embodied in the two main characters, which could make the ideas easier for students to understand.
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Gibson, Susan E. "Drama praxis : Rural arts workers and lifelong learning : a phenomenological study". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1359.
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The purpose of this study is to explore and describe the experiences of a specific group of arts workers in an isolated rural community in the South West of Western Australia. These participants have all worked in the community as arts workers for an extended period of time. Through phenomenological research, the telling of these workers stories, it is anticipated that the research will highlight, strengthen and enrich the political and economic positions of these workers. The study is based on the assumptions and pre-conceptions that geographical and cultural isolation contributes to significant problems and situations such as communication that the workers can have when organising, co-ordinating and funding community arts projects. The current theories of ‘lifelong learning’ are discussed and evidenced through the experience of the research participants. Although generalisations are not appropriate based on form, style and philosophical paradigm of this research, certain implications are evidenced through the participants responses, opinions and experiences. The study is conducted within a qualitative research paradigm. Phenomenology is the methodology used in this study. As such the lived experiences and perceptions of the research participants are described. Open-ended interviews were conducted.
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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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Lovesy, Sarah Caroline, University of Western Sydney, of Arts Education and Social Sciences College i School of Education. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning". THESIS_CAESS_EDU_Lovesy_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/787.
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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama educationDoctor of Philosophy (PhD)
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Stear, Ezekiel Glenn. "Dual-language drama as a door to classic literature". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3270.
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The author believes that the mediation of classic literature through drama would increase student's opportunity for academic success on the secondary and post-secondary levels of education. This project develops curriculum and materials using dramatic adaptations of ancient literature created by the author.
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Pretorius, Mareli Hattingh. "Drama-opleiding : ’n ondersoek na die aard, implementering en uitkomste van kurrikula in Suid-Afrikaanse skole". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/19995.
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Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In the past drama education was an uncommon occurrence in South African schools, limited to the elective subject Speech and Drama at secondary level, which was only offered in a few schools in some of the provinces. The assumption is made that the introduction of Arts and Culture as one of the eight learning areas in Curriculum 2005 has greatly impacted on drama education at school level. This study aims to determine the state of affairs with regards to drama education within the current (2011) education system by investigating the nature, implementation and outcomes of drama curricula in South African schools. In the context of the far-reaching changes that has occurred in South African education since 1994, a historical overview of education before 1994 is given to act as a backdrop for a discussion of the process of education reform. The shift to an outcomes-based education approach is investigated by defining and discussing it in relation to the chosen South-African approach; identifying and discussing the theories and philosophies underpinning an outcomes-based approach to education; and looking at the national curriculum from its introduction as Curriculum 2005 until the recent revision of the National Curriculum Statement (Grades R-9), which will be phased into schools from 2012 as the Curriculum and Assessment Policy Statement. A comparative evaluation of the drama curricula in the current (2011) National Curriculum Statement (Grade R-12) and the drama curricula in the revised Curriculum and Assessment Policy Statement serves as the means to determine the nature, content and outcomes of the drama curricula. The Africanisation of the drama curricula is investigated and it becomes apparent that indigenous knowledge, traditions, customs and cultural practices are successfully included in the drama curricula. The comparative evaluation also leads to the conclusion that the revised national curriculum is a definite improvement on the status quo. Through the investigation of the nature and outcomes of the different drama curricula, it is possible to identify specific requirements for the successful implementation of drama curricula. With these requirements in mind possible challenges and/or problem areas with regards to the implementation of drama curricula are determined and discussed. These challenges and/or problem areas are the following: the curriculum itself, the socio-economic circumstances of schools and learners, language issues, the status of drama education at school level, time allocation and management, funding and infrastructure, and teacher training.
AFRIKAANSE OPSOMMING: Drama-opleiding op skoolvlak was in die verlede ’n nie-algemene verskynsel en is hoofsaaklik beperk tot die keusevak Spraak en Drama wat slegs in sekere provinsies by ’n beperkte aantal skole op sekondêre vlak aangebied is. Die veronderstelling word gemaak dat die bekendstelling van Kuns en Kultuur as een van die agt verpligte leerareas binne Kurrikulum 2005 ’n geweldige impak op drama-opleiding op skoolvlak gehad het en steeds het. Hierdie studie stel dit gevolglik ten doel om die stand van drama-opleiding binne die huidige (2011) onderwysstelsel te bepaal deur ’n ondersoek te loods na die aard, implementering en uitkomste van dramakurrikula in Suid-Afrikaanse skole. In die lig van die ingrypende veranderinge wat sedert 1994 binne Suid-Afrikaanse onderwys plaasgevind het, bied die studie eerstens ’n historiese oorsig van onderwys voor 1994 wat as agtergrond dien vir ’n bespreking van die onderwyshervormingsproses. Die oorskakeling na ’n uitkomsgebaseerde benadering tot onderwys word in oënskou geneem deur die gekose Suid-Afrikaanse onderwysbenadering te omskryf en te bespreek; die filosofieë en teorieë onderliggend tot ’n uitkomsgebaseerde onderwysbenadering binne die Suid-Afrikaanse konteks te identifiseer en te bespreek; en die nasionale skoolkurrikulum in oënskou te neem vanaf die bekendstelling van Kurrikulum 2005 tot en met die voorgestelde hersienings van die Nasionale Kurrikulumverklaring (Grade R-12) wat vanaf 2012 in skole infaseer word en bekend staan as die Kurrikulum- en Assesseringsbeleidverklaring. Deur middel van ’n vergelykende evaluering van die dramakurrikula in die huidige (2011) Nasionale Kurrikulumverklaring (Grade R-12) en die dramakurrikula in die hersiene Kurrikulum- en Assesseringsbeleidverklaring, word die omvang, inhoud en uitkomste van die dramakurrikula bepaal. Daar word ondersoek ingestel na die Afrikanisering van die dramakurrikula en dit word duidelik dat inheemse kennis, tradisies, gebruike en kultuurpraktyke op suksesvolle wyse binne die onderskeie dramakurrikula ingesluit word. Na afloop van die vergelykende evaluering word die afleiding gemaak dat die mees onlangse hersiening van die nasionale kurrikulum ’n definitiewe verbetering op die status quo is. Dit is moontlik om na aanleiding van die aard en uitkomste van die onderskeie dramakurrikula spesifieke vereistes vir die suksesvolle implementering van die dramakurrikula te identifiseer. In die lig van hierdie vereistes word moontlike uitdagings en/of probleemareas ten opsigte van die implementering van die dramakurrikula vasgestel en bespreek. Hierdie uitdagings en/of probleemareas is die volgende: die kurrikulum self, sosioekonomiese omstandighede van skole en leerders, taalkwessies, die status van dramaopleiding op skoolvlak, tydstoedeling en -bestuur, befondsing en infrastruktuur, en onderwyseropleiding.
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O'Mara, Joanne, i jomara@deakin edu au. "Unravelling the Mystery: A Study of Reflection-in-Action in Process Drama Teaching". Griffith University. School of Vocational, Technology and Arts Education, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030228.103642.
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Unravelling the Mystery is a qualitative case study that examines the teacher researcher's reflection-in-action as she teaches using process drama. The teacher-researcher taught a class of Year Seven students for a school year. She worked with the students using process drama from 2-5 hours per week. All sessions were recorded and transcribed as part of the reflective practice research. They were then examined to study how the teacher might use reflection-in-action. The data is written as a series of vignettes. The vignettes are used to illustrate reflection-in-action and as a basis for discussion and analysis. In the thesis the data from five of these sessions is presented as vignettes-these vignettes illustrating the teacher's reflection-in-action process. The analysis focuses on the reflection-in-action for the teacher. The vignettes and accompanying analysis for the basis for an illustrative model of the scope of the teacher' reflection-in-action as she works using process drama. The study addresses the following questions: · How might reflective practice inform my teaching? · How can I as a researcher describe and document my reflection-in-action when working as a teacher in process drama? · What is the scope of my reflection-in-action when working as the teacher in process drama? · How might an increased understanding of reflection-in-action be useful to teachers of process drama? These questions are considered in light of the analysis and literature review. The study concludes that reflective practice is valuable to enable teachers to develop their practice. It recommends that this type of research is beneficial to both develop models of practice and to improve the practice of individual practitioners.
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O'Mara, Joanne. "Unravelling the Mystery: A Study of Reflection-in-Action in Process Drama Teaching". Thesis, Griffith University, 1999. http://hdl.handle.net/10072/365984.
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Unravelling the Mystery is a qualitative case study that examines the teacher researcher's reflection-in-action as she teaches using process drama. The teacher-researcher taught a class of Year Seven students for a school year. She worked with the students using process drama from 2-5 hours per week. All sessions were recorded and transcribed as part of the reflective practice research. They were then examined to study how the teacher might use reflection-in-action. The data is written as a series of vignettes. The vignettes are used to illustrate reflection-in-action and as a basis for discussion and analysis. In the thesis the data from five of these sessions is presented as vignettes-these vignettes illustrating the teacher's reflection-in-action process. The analysis focuses on the reflection-in-action for the teacher. The vignettes and accompanying analysis for the basis for an illustrative model of the scope of the teacher' reflection-in-action as she works using process drama. The study addresses the following questions: · How might reflective practice inform my teaching? · How can I as a researcher describe and document my reflection-in-action when working as a teacher in process drama? · What is the scope of my reflection-in-action when working as the teacher in process drama? · How might an increased understanding of reflection-in-action be useful to teachers of process drama? These questions are considered in light of the analysis and literature review. The study concludes that reflective practice is valuable to enable teachers to develop their practice. It recommends that this type of research is beneficial to both develop models of practice and to improve the practice of individual practitioners.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Arts, Education and Law
Full Text
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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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Gustafsson, Hanna. "Pedagogiskt drama i engelskundervisningen : En empirisk studie för drama som metod i engelskundervisningen för åk 4 till 6". Thesis, Högskolan i Jönköping, Högskolan för lärande och kommunikation, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-37327.
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Studien behandlar engelskundervisning för åk 4–6 där problemet är lärarnas inställningar gentemot pedagogiskt drama i engelskundervisningen. Syftet med där här studien är därför att undersöka hur pedagogiskt drama används i engelskundervisningen samt lärarnas inställningar till det. Vidare undersöks även lärarnas inställningar för språkliga- och psykosociala förmågor genom användandet av pedagogiskt drama i engelskundervisningen. Studien har en kvalitativ metod med en fenomenografisk inspirerad metodansats vars resultat bygger på intervjuer från verksamma lärare i åk 4–6. Resultatet är till sin struktur uppbyggt med studiens syfte och frågeställningar och innefattar enbart utlåtanden från deltagarna. Genom lärarnas utlåtanden och forskarnas studier leder slutsatsen till att eleverna utvecklar psykosociala förmågor som i sin tur förbättrar elevernas möjligheter till ökade språkliga förmågor.This study examines the English teaching classroom in grades 4 to 6. The problem for the study is the teachers‘attitude towards educational drama used in an English teaching classroom. The purpose is therefore to examine the teachers´ attitudes and how educational drama is used in an English teaching classroom. Furthermore, the purpose examines the teachers’ attitude towards the pupils’ capabilities to develop linguistic- and psychosocial abilities through educational drama used in an English teaching classroom. The result is based on interviews from teachers in grades 4 to 6. Onwards, the result contains only statements from the participants and is constructed by this study’s purpose and issues. Through the researchers ‘and teachers’ statements the conclusion for the study is that the pupils develop psychosocial abilities which in turn also develop the pupils’ linguistic abilities. The method used is a qualitative method with a phenomenologically-inspired theory.
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Leung, Tze-tuen Stella, i 梁子端. "Promoting learner autonomy through a drama project: an ethnographic study". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29664548.
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Ho, Chun-yun. "Students' and teachers' perceptions of using drama in the language classroom implications for teaching /". Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38733274.
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Ho, Chun-yun, i 何俊欣. "Students' and teachers' perceptions of using drama in the language classroom: implications for teaching". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38733274.
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Schultz, Waldemar. "Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actor". Thesis, Stellenbosch : Stellenbosch University, 1997. http://hdl.handle.net/10019.1/55769.
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Thesis (MDram)--Stellenbosch University, 1997.ENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department.
AFRIKAANSE OPSOMMING: 'n Tesis waarin die outeur maniere ondersoek waardeur 'n regisseur binne 'n akteurs-opleidingsinstansie die volskaalse teaterproduksie kan gebruik as 'n metode vir intense opleiding vir die betrokke studente. Die outeur meen dat 'n groot gedeelte van die teorie en praktiese opleiding wat in die klaskamer weergegee word, nie ten voile verstaan of benut word, tensy die student dit beproef en beleef in so 'n realisties (wat professionele teater betref) moontlike scenario, in die vorm van 'n studenteproduksie. Vir die doeleindes van hierdie tesis word 'n tipiese produksieproses as model gebruik, en verskeie areas waarin die regisseur as onderwyser of katalisator tot selfontdekking kan optree, word grotendeels bespreek in die volgorde waarin dit in die praktyk mag voorkom. Die gevolgtrekking is dat intensiewe opleiding in die produksieproses 'n uiters tydsame en duur oefening sou wees, dog baie lonend indien prakties uitvoerbaar. Daarby sou dit 'n hoogs gekwalifiseerde regisseur-opleier verg, met 'n holistiese kennis van die teaterkuns, wat bereid is om baie tyd en moeite op s6 'n produksie te bestee. Navorsing vir hierdie tesis sluit in leeswerk, praktiese regie- en toneelspelprojekte sowel as klasgee in toneelspel as deeltydse lektor aan die Universiteit van Stellenbosch se Departement Drama.