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Pheasant, Patrick Iain. "Engagement in Process Drama for Language Education". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21005.
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This thesis reports on the findings of a phenomenographic study exploring the role of different types of engagement in process drama for language education. This study provides a framework for describing in detail the participants’ subjective experiences of the phenomena of dramatic engagement and subsequent aesthetic engagement. The framework emerged from the findings and is useful for understanding dramatic engagement in all process dramas and its application in language education in Australia and internationally. The research was at an Australian University English Language Centre where a facilitator with experience in using process drama in language education was video recorded conducting three workshops over three weeks with ten adult international students. Linking two decades of research in dramatic engagement in process drama for language learning (Piazzoli 2018; Kao and O'Neill 1998), this study addressed the interaction of role, narrative and tension during process drama and its impact on language education. Sociocultural learning theory from the works of Vygotsky (1980, 1997, 2004) and transformative learning theory from the works of Mezirow (Mezirow 1991, 1997, 2000, 2003) were used to explore the transformative capacity of dramatic engagement in process drama from a sociocultural perspective. Phenomenography was used to crystallise the dramatic engagement occurring in the dramas. Using the key phenomenographic techniques of bracketing and reduction (Åkerlind 2008), this research investigated the phenomena of dramatic engagement for four specific cases and provides a multifaceted and systemic description of how an adult student of English learns through process drama when they are engaged with the art form. Three key moments of dramatic engagement were investigated through observation and video recall. Quality and quantity of multimodal linguistic devices were demonstrated when students were dramatically engaged and analysed from language education, process drama and dramatic engagement perspectives. The research revealed that during dramatic engagement, participants managed the dramatic elements narrative, role and tension through playbuilding, roleplaying and sensemaking processes. Metaxis, metacognition and meta-emotion acted as catalysts for dramatic engagement with the participants and contributed positively to the process drama and language learning experience. The thesis concludes that language education can be improved for international students studying English in Australia to provide a transformative learning experience through dramatic engagement. A framework for exploring aesthetic engagement through dramatic engagement is proposed. This research is significant for Australia’s third largest export industry, international education, and for aestheticians, process drama practitioners and language educators who are synergizing teaching and learning practice between these three growing pedagogies.
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Russell, Robert. "An actor's process". [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240239777.
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Thesis (M.F.A.)--Kent State University, 2009.Title from PDF t.p. (viewed Jan. 22, 2010). Advisor: Charles Richie. Keywords: Michael Chekhov; Bill Sykes; Cinnesias; Vershinin; Oliver; Lysistrata; Three Sisters; Archetype. Includes bibliographical references (p. 74).
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Mwange, Sepiso. "Process drama : affecting the second language learning classroom". Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20618.
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This is a practice as research (PAR) study that investigates Process drama as a pedagogical methodology for second language acquisition. The dramas were structured around role play in fictional situations designed to improve the pupils' vocabulary in English, mainly using the strategies of Teacher in Role and Mantle of the Expert. This research demonstrates the effect and affect of placing the pupils in experiential learning environments that empower him/her to be a co-creator of knowledge, as well as the skills needed by the researcher to facilitate this process. The pilot study was designed for implementation over four months, with pupils in second language English classes in grades 2 and 3 (i.e. seven/eight years old). Qualitative research methods were used, including critical and reflexive ethnography, simple questionnaires, and unstructured interviews with teachers and pupils, Teachers' and Visitors' feedback, video recordings and the researcher's journal. The sample of participants was too small to make recommendations, but the study tested the Process Drama method and the techniques of role, Teacher-in-role and Mantle of the Expert. The analysis of the project draws from the theoretical principles applied in other case studies by practitioners in the field, comparing the methods used and their outcomes. As well as the assumption that Process Drama is a good way to teach language because it creates the space for emotion and cognition to co-exist within the learning space.
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Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made:
1. Questions were used extensively to promote the drama process.
2. The teacher employed a wide range and diversity of questions.
3. Definite patterns emerged in teacher questioning techniques.
4. Specific kinds of learning were emphasized by teachers within the drama.
Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research:
1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described.
2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically.
The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Hogan, Sharon. "Being ethical : how process drama assists pre-service drama teachers to reflect on professional ethics". Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26436/1/Sharon_Hogan_Thesis.pdf.
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This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.
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Hogan, Sharon. "Being ethical : how process drama assists pre-service drama teachers to reflect on professional ethics". Queensland University of Technology, 2008. http://eprints.qut.edu.au/26436/.
Pełny tekst źródłaStreszczenie:
This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.
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Piazzoli, Erika Caterina. "Navigating the Labyrinth: A Study of Engagement and Artistry in Process Drama for Additional Language Teaching and Learning". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365439.
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In this reflective practitioner research I investigate process drama for additional language teaching and learning (AL/process drama). In particular, I examine two constructs relevant to AL/process drama aesthetics: ‘learner engagement’ and ‘teacher artistry’. To explore these constructs I draw on three case studies, developed within two adult schools of Italian (AL) and a university, in Milan, Italy. As teacher/researcher, I designed and facilitated a series of process drama workshops for each context, resulting in 45 hours of video-recorded material. I kept a reflective journal (written in English) and a logbook (written in Italian) where I recorded my reflection-in-action and reflection-on-action. As a translingual researcher, I deliberately switched between languages, in an attempt to capture different nuances and better understand my attitudes and beliefs towards AL/process drama teaching. Within each case, I worked with a group of up to 16 international students of Italian (AL) at an intermediate level of proficiency (student-participants) and up to seven teachers (teacher-participants) who observed the workshops and took notes on the learners’ engagement. Both students and teacher-participants took part in individual and focus group interviews. At the end of each workshop, student-participants were invited to choose a specific moment from the drama and self-evaluate their engagement. These moments informed the selection of video extracts that were later used within video-stimulated recall interviews. The ‘learner engagement’ construct was explored through the Vygotskyan lens of ‘felt-experience’ (perezhivanie) in which individuals perceive, feel, interpret, internalise, and re-create meaning through a cognitive, affective and social investment. I analysed the nature of engagement from a sociocultural perspective, across three domains: Second Language Acquisition (SLA), Intercultural Education and Aesthetic Learning. The analysis revealed that the nature of learner engagement in the SLA domain seems to appear and manifest as a cycle of ‘perception-in-action’.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
Full Text
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Wu, Hsin-Fei. "Effects of Process Drama-Assisted Intervention on Oral Communication Strategies". Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367224.
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My aim in this study was to examine suggestions inherent in the literature on process drama that it has viability for enhancing ESL/EFL learners’ language proficiency .This intention was enacted by exploring effects of a process drama intervention in training English learners’ use of oral communication strategies (OCSs) in a comparison context with a more conventional drama technique, role-playing. Dependent variables used as measures of effect were the variety of OCSs that learners used and with what frequency. The respective approaches used a series of planned lessons incorporating techniques of process drama, and a similar set of lessons using scripted role-play with 53 EFL participants from a Junior College in southern Taiwan.
Quantitative and qualitative data were gathered from participants’ responses to questionnaires based on an adapted Oral Communication Strategy Inventory (OCSI), oral exams, after-task reflection surveys, semi-structured group interview, questionnaires of Foreign Language Classroom Anxiety Scale (FLACS), journals and video-recording. Excerpts of class activities of each group are used as supplemental reference.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
Full Text
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O'Connor, Peter J., i n/a. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness". Griffith University. School of Vocational, Technology and Arts Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031210.113358.
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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in 1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
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O'Connor, Peter J. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366538.
Pełny tekst źródłaStreszczenie:
The National Project to Counter Stigma and Discrimination was established by the New Zealand government in1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Full Text
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Breden, Simon David. "Beyond the playwright : the creative process of Els Joglars and Teatro de la Abadía". Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/402.
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The rehearsal processes of theatre companies are an oft-neglected area of research in Drama and Performance Studies. My study of the Catalan devising collective Els Joglars and the Madrid producing venue Teatro de la Abadía seeks to redress the balance with a close analysis of methodologies employed in rehearsal. In both cases I have witnessed rehearsals first-hand; with Els Joglars observing preparations for En un lugar de Manhattan (2005); in the case of the Abadía working as assistant director on El burlador de Sevilla (2008). These observations are fundamental to a thesis where I have sought to place both companies in a local, national and international context. The thesis examines Els Joglars’ roots in mime and how they have generated a practice-based methodology by means of a hands-on exploration of ideas derived from practitioners as varied as Etienne Decroux and Peter Brook. With Teatro de la Abadía, the focus shifts to how the founder and Artistic Director José Luis Gómez developed exercises drawn from European practitioners such as Jacques Lecoq and Michael Chekhov in order to create his own actor-training centre in Madrid. In effect, both companies have created distinctive rehearsal processes by applying ideas and techniques from a wider European context to a Spanish theatre scene which had been seen to follow rather than develop trends and techniques visible in theatre across France, Italy and Germany. Critically, their hybrid rehearsal processes generate heightened theatrical results for the audience. This could be described as an experiential engagement, where the creative process has been consciously geared towards placing the audience in a ‘distinct situation’ and requiring them to respond accordingly. Thus the thesis shifts the focus of academic study away from product and towards process, demonstrating how an understanding of process assists in the reading of the theatrical product.
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Sun, Ping-Yun. "Drama in education the process of self-discovery and transformative learning /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3161794.
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Thesis (Ph.D.)--Indiana University, School of Education, 2005.Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0078. Adviser: Mary B. McMullen. Title from dissertation home page (viewed Oct. 11, 2006).
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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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Gervais, Marie. "How do junior high students make values decisions through process drama?" Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60393.pdf.
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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/.
Pełny tekst źródłaStreszczenie:
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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Simons, Jennifer. "Enhancing the use of professional craft knowledge in process drama teaching". Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/720.
Pełny tekst źródłaStreszczenie:
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 professio
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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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Westkaemper, Lisa. "Tiger; a stage play, and a reflective essay detailing the writing process". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3167/.
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This thesis includes a full length play and a separate section describing the creation of this play. The play depicts family members struggling with the direct and indirect ramifications of alcoholism, depression, and suicide. The play is composed of two acts; act one contains eight scenes, and act two contains six scenes. It is set in the 1950s and 1960s and takes place in various areas of the family home, at a wedding reception, and at a funeral. The essay section includes a description of the process, a record of changes in the play's direction, notations of personal discoveries, and a self evaluation of the strengths and weaknesses of the play.
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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.
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Al-Bassam, Sulayman. "Adapting Shakespearean drama for and in the Middle East : process and product". Thesis, University of Hertfordshire, 2018. http://hdl.handle.net/2299/21087.
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This dissertation chronicles the development of a series of plays, collectively referred to as The Arab Shakespeare Trilogy, from the perspective of their playwright Sulayman Al-Bassam. Together, The Al-Hamlet Summit (2002-2005), Richard III, An Arab Tragedy (2007-2009), and The Speaker's Progress (2011-2012) register the eruptive social, political, and cultural contexts of the Arab world during the first decade of the twenty-first century while negotiating the adaptation of Shakespeare's plays to a form thought-provoking and entertaining to audiences both within and outside the Middle East. The document outlines the inception of the project, which includes both personal and historical context, and provides more specific commentary on the production of each play individually. In addition to its focus on the specific impact of 9/11, and its global consequences, on the development of these dramatic works, it attends to topics including the technical and ideological challenges of linguistic and cultural translation, the adaptation of Shakespeare in Arabic theatre, the politics of art and drama in the Arab world, and the involvement of art in the shaping of the ethics of cross-cultural representation. Of particular interest are the linguistic conditions bearing upon the adaptation of English language texts into multi-lingual and cross- cultural works, the effects of the globalisation of politics and media, and the international touring life of the plays between the Arab region and wider world. The play texts of the Trilogy make up the second part of the document. The methodology of this dissertation deploys historical contextualisation, autobiographical memoir, literary analysis and creative improvisation. The play-texts are dramatic adaptations of specific Shakespeare texts to the Arab world.
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Chen, Irene Wen-Ling. "EFL learners developing critical intercultural awareness through process drama : dialogue and discovery". Thesis, Durham University, 2013. http://etheses.dur.ac.uk/8464/.
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The overall aim of this research study is to look for a paradigm shift in foreign language (English) education in Taiwan. By challenging the role of foreign languages teaching and learning in the reproductive purpose of education systems, this study addresses the significance and urgency of developing critical intercultural awareness (CIA) in Taiwan students’ language learning experience. This study is a reflective account of an action research project that explores the how and why CIA can be developed in process drama praxis in the context of the Advanced English Learners’ Programmes for 27 junior high school students in Taiwan. Drawing on the theoretical framework of socio-cultural and educational drama theories for foreign language learning, this study follows the line of performative inquiry (Fels, 1999; 2000; 2008). As such, the drama site is regarded as a space for reflective action to take place, the drama workshop is seen as a collective experience of reflection, in which the participants are made able to problematise the current situation, to see things from different and distanced perspectives, and develop understanding in every moment of encountering with others, while co-constructing meanings together through dialogue and critical reflections. The narrative accounts of this inquiry serve to answer the major research question: How would a process drama syllabus help EFL learners develop critical intercultural awareness? The qualitative data demonstrated how such the multilayered mental space in drama allowed the language learners to develop flexibility and mobility through a freedom in the choice of action endowed upon them by the drama syllabus. The analysis revealed how drama created a milieu for the participants to engage, to negotiate, and co-construct meanings with SELF and Others from critical perspectives. The foreign language learning experience serves as a contact zone in which the SELF is deconstructed and reconstructed through a constant interplay and negotiation of meaning with the OTHER. The drama syllabus and approaches furthered this inter-space experience, deepened the impact of encountering the OTHER, and thus enabled the process of recognizing and re-strengthening of one’s own cultural identity. The evidence in the research demonstrated that, when given appropriate opportunities, the EFL learners are able to develop critical intercultural awareness though the language learning experiences. A model for the development of such intercultural education is then constructed through this study. The research thus argues for a need of a critical pedagogy approach in the foreign language classroom.
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TerraNova-Webb, Ria G. "Folktales in Forty Minutes: A Creative Dramatics Approach to Integrated Learning and Character Education". University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1132583365.
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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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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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Perley, Mary-Ellen. "Voices for engaging and enriching learning, the interplay of Process Drama and English". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60401.pdf.
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Knightsbridge-Randall, S. J. "The drama of a policy process : community education in Waltham Forest 1984-89". Thesis, Cranfield University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385763.
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Rothwell, Julia C. "Let's eat the captain! Thinking, feeling, doing : intercultural language learning through process drama". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63847/1/Julia_Rothwell_Thesis.pdf.
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This research investigated the sustained use of process drama in a middle school foreign language classroom. The experience led to widespread learner engagement, a deeper contextualisation of the language as a socio-cultural practice, and a willingness to use the spoken and written language, regardless of limited proficiency. The drama required that language use be context and culture specific, contingent and multi-modal, which encouraged the beginner students to "mushfake" or improvise spoken and written text. Particularly important was the way the body was used through drama to express emotion, remember language and to illustrate the sociocultural context of its use.
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Hägelmark, Syrene, i Birgitta Thim. "Att orka vara elev. Pedagogiskt drama i värdegrundsarbetet". Thesis, Malmö högskola, Lärarutbildningen (LUT), 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34985.
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SammanfattningUppsatsen är en fördjupning av en C-uppsats i ämnet pedagogiskt drama. Syftet med uppsatsen är att ta reda på hur elever uppfattar ämnet samt att påvisa ämnets användbarhet i arbetet med värdegrunden i skolan.Uppsatsens frågeställningar är:- Vad uppfattar elever i åldrarna 11-14 att undervisningsämnet pedagogiskt drama är?- Hur uppfattar eleverna att lektionerna med pedagogiskt drama har varit?- Hur förhåller sig denna uppfattning till värdegrunden i skolan?Metoden för arbetet är reflexiva intervjuer med enskilda elever samt parintervjuer. Tillämpningen utgår från en hermenutisk fenomenografisk induktiv metod där fokus ligger på den mening ett fenomen har för en grupp.Vi utgår ifrån de centrala dramapedagogiska perspektiven och förstärker dessa med verksamhetsteorin. Under arbetets gång sker hos författarna en reflektionsprocess, vilken påverkar arbets-sättet och utfallet. Denna process beskrivs ingående i uppsatsen. Vi ställde frågor relaterade till det utvecklingsarbete som eleverna tidigare hade deltagit i. Vidare tillverkades en analysnyckel för att kunna göra elevernas utsagor till beskrivningskategorier. Detta utifrån texter som beskiver fenomenografi. Sedan letade vi efter kategorier med skilda sätt att erfara pedagogiskt drama. För att göra tolkningen mer reliabel analyserade vi materialet var för sig för att senare jämföra våra resultat. Slutligen nådde vi samförstånd i tolkningen. Vi hittade icke-betonade och betonade kategorier och urskiljde fem normerande beskrivningskategorier; roligt, lär sig, känslor, trygghet och samarbete. Vi jämför vår uppfattning av vad pedagogiskt drama har för mål med elevernas uppfattning av vad pedagogiskt drama är, genom de normerande beskrivningskategorierna. Något tillspetsat uttrycker eleverna att pedagogiskt drama hjälper dem att stå ut under resten av skol-arbetet. Resultatet visar också att den modell av vad pedagogiskt drama är som lyfts i början av uppsatsen; tanke och känsla/handling finns i elevernas svar som reflektion, lär sig om känslor, kreativitet respektive kul, trygghet och samarbete. En viktig aspekt för eleverna har varit att pedagogiskt drama har hjälpt dem att koncentrera sig på andra lektioner samt att de gett och fått energi under lektionerna. ”När man gör roliga lekar så får man liksom upp energi och då blir det liksom lättare sen”. (ie. 3).Den dramapedagogiska ansatsen märks i elevernas uppfattning av vad pedagogiskt drama är och den demokratiska fostransansatsen finns tydligt i deras svar. De nämner bl.a. att om man inte brukar vara utanför vet man inte hur det känns och sådana känslor har de prövat i pedagogiskt drama. Intervjuerna med eleverna visar också att eleverna själva är experter på sin socio-kulturella miljö och att de rollspel som de arbetar fram utifrån sina egna tankar och erfarenheter blir både meningsfulla och realistiska. Eleverna uppfattar att pedagogiskt drama ger dem stor möjlighet till delaktighet och att alla får komma till tals. De ger uttryck för att det fanns en respektfull stämning på lektionerna och att de fick växa med uppgifterna. Detta stämmer väl med värdegrunden och vi tolkar det som om eleverna genom pedagogiskt drama ser värdegrunden som ett naturligt tillstånd.Genom arbetsprocessen ifrågasattes invanda tankar och mönster, hos pedagogerna, och den egna arbetsvardagen blev synlig. Reflektion kommer, därför, i framtiden att vara ett mer synligt verktyg i det dramapedagogiska arbetet.Authors:Syrene Hägelmark is, a selfemployed consultant, who work with pedagogic development and alteration projects. Birgitta Thim, a primary school teacher, at a community school with children ages six to twelve, uses pedagogic drama at school. Both authors have studied pedagogic drama at the 60-credit level att Malmö University.Titled:TO ENDURE BEING A PUPIL. Using pedagogic drama, when educating in fundamental values.Subject:Education Science, pedagogyBackground:An alteration project (C-level essay) involving 78 pupils, ages nine to twelve, at a compulsory school. Weekly pedagogic drama lessons, n four groups, the aim of which has been to enable pupils to play forum-theatre. Three och four groups achieved the goal.Purpose:To identify pupils pedception of pedagogic drama. The ambition is to prove that pedagogic drama is useful when educating children in democracy and fundamental values. There is also an aim to improve pedagogic drama's reputation at school.Problem:What is the idea of pedagogic drama according to pupils aged eleven to fourteen?How do pupils interpret the lessons in pedagogic drama?How is this connected to fundamental values?Methods:Phenomenography is used to understand the pupils' ideas about pedagogic drama and to make the process during interviews discernible to the reader.Result:The interviews were analyzed twice. Later the analyses were compared and five normative categories appeared. The pupils' perceptions of pedagogic drama are suggested by such terms as: having fun, learning, co-operation, safety and emotions. The connection to fundamental values appears in the pupils' discussions inte their co-operating and helping each othe and their being able to stand for their believe.Future:A stong democracy demands pupils thar are aware of the system. Pupils need instruments that will enable them to influence the future. For pedagogic drama to be an effecitve instument for education in democracy and fundamental values pupils must be aware of ghe purpose of pedagogic drama exercieses. Therefore more reflection in pedagogic drama i needed.
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Scheurer, Pamela Kay. ""A thousand Joans" : a teacher case study drama in education a process of discovery /". Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243354659.
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Irugalbandara, Ayomi Indika. "Investigation of the development of creative thinking and adaptability skills through process drama techniques in junior secondary school students in Sri Lanka". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/203805/2/Ayomi_Irugalbandara_Thesis.pdf.
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This thesis has shown the importance of developing creative thinking and adaptability skills through a drama-based teaching approach in junior secondary school students in Sri Lanka. Findings will help teachers enable and encourage the development of creative thinking and adaptability skills in junior secondary school students, teaching them how to be open to new ideas and think outside the square through process drama techniques, enhancing 21st-century skills.
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Hackett, Linda. "Into the hourglass: a teacher's retrospective study of a process-drama approach to Greek tragedy". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103484.
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Researchers are asking what drama teachers do in the classroom that promotes effective learning. Educational drama practitioner researchers O'Neill (1995) and Taylor (2006) suggest that theory informs practice and practice informs theory. This qualitative retrospective study examines a teacher's and students' reflections on a process-drama approach to Greek tragedy. Drawing on Schon's (1983, 1987) theory of reflective practice, my study examines my "reflections-in-action" with five secondary 5 adolescent students between 1997 and 2004, and "reflections-on-action" with the same adult students between 2009 and 2010. An hourglass serves as a visual metaphor for reflection on three phases of the learning process: collaboration, transformation and performance. Synopses of Agamemnon and Antigone initiate group discussion, improvisation and scriptwriting. Journal entries, mask designs, transcriptions of videotaped performances, screenshots of performances, email correspondence and interviews provide original data for the adults' reflections on their process of learning through drama. The findings of this study indicate that educational drama is essential to the development of creativity, collaboration and empathy among the youth, our future world leaders.Les chercheurs s'interrogent sur les moyens utilisés par les enseignants d'art dramatique pour favoriser l'apprentissage efficace. Selon O'Neill (1995) et Taylor (2006), professeurs chercheurs en théâtre éducatif, la théorie éclaire la pratique et la pratique éclaire la théorie. Dans cette étude rétrospective qualitative, on examine les réflexions d'une enseignante et d'élèves quant à l'approche processus-théâtre propre à la tragédie grecque. S'inspirant de la théorie sur la pratique réflexive de Schon (1983, 1987), cette étude examine les « réflexions-dans-l'action » d'une enseignante et de cinq adolescentes du 5e secondaire entre 1997 et 2004 et les « réflexions-sur-l'action » des mêmes étudiantes adultes entre 2009 et 2010. Un sablier est utilisé comme métaphore visuelle quant à la réflexion pour trois phases du processus d'apprentissage : collaboration, transformation et performance. Les synopsis d'Agamemnon et d'Antigone ont alimenté la discussion de groupe, l'improvisation et l'écriture de scénarios. La tenue d'un journal, la conception de masques, la transcription de performances sur vidéo, la capture sur écran de performances, la correspondance électronique et les entrevues ont fourni des données inédites pour enrichir la réflexion des adultes quant à leur processus d'apprentissage par le théâtre. Les constatations de cette étude révèlent que le théâtre éducatif est essentiel au développement de la créativité, à la collaboration et à l'empathie des jeunes, nos futurs dirigeants du monde.
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Baranowski, Krystyna. "Setting the scene for liminality: non-francophone French second language teachers' experience of process drama". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95002.
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Non-francophone teachers of French as a second or additional language (FSL) often struggle with overwhelming oral anxiety, consequent low self-confidence, and workplace marginalisation. Core French or Basic French teachers, in particular, and their subjects have been undervalued (Carr, 2007; Lapkin, McFarlane, & Vandergrift, 2006; Richards, 2002). Moreover, recent national FSL research points to challenges in the areas of teacher attrition, lack of methodological and /or linguistic preparation, and lack of professional development opportunities in the FSL context (Karsenti, 2008; Salvatori, 2007). In this dissertation, I present the findings of my qualitative research study, which examined the conditions and experiences of non-francophone FSL teachers in Manitoba. To do so, I looked at the teachers' relationship with French and how French oral competency and oral language communicative confidence are intertwined to foster the teachers' sense of agency. The theoretical orientations underpinning this study draw from socio-constructivism (Bruner, 1985, 1990; Vygotsky, 1978), Feminist Standpoint theory (De Vault, 1999; Lather, 1991), Bakhtinian dialogism (Vitanova, 2005), and Institutional Ethnography (Smith, 1987, 2005). The lens I used to understand and interpret the voices and self-perceptions of the teachers is Process Drama, delivered in the form of professional development workshops. Process Drama (Heathcote, 1991) consists of thematically based improvisations, which are used to explore a topic and, at the same time, to invite self-exploration. It possesses unique characteristics, and has been successfully used in the second and foreign language classroom (Dicks & Le Blanc, 2009; Kao & O'Neill, 1998; Liu, 2002; Marshke, 2005). My particular focus, however, was on the Manitoba FSL teacher as a student, rather than as a teacher of language. Findings from this study indicate reduced oral anxiety as related to French language competency, reduced performanceLes enseignantes et enseignants non-francophones du français langue seconde et additionnelle (FL2) se trouvent parfois aux prises avec l'anxiété orale, le manque d'estime de soi et la marginalisation au travail. En particulier, les enseignants du Français de base sont souvent sous-valorisés par rapport à la matière enseignée (Richards, 2002 ; Lapkin, McFarlane & Vandergrift, 2006 ; Carr, 2007). Des sondages et des études récentes à l'échelle nationale indiquent des défis dans le domaine de l'attrition professionnelle, du manque de préparation méthodologique et/ou linguistique, et de la pénurie d'occasions de perfectionnement professionnel dans le contexte du FL2 (Salvatori, 2007 ; Karsenti, 2008). Ce mémoire de thèse présente les résultats de mon étude qualitative où j'ai examiné les conditions et les expériences des enseignants non-francophones du FL2 au Manitoba. Je me suis concentrée sur la relation entre l'enseignant et la langue française et comment la compétence orale et la confiance communicative se combinent pour construire l'identité linguistique et l'agentivité du locuteur non-natif. À la base de cette étude, mes orientations théoriques proviennent du socio-constructivisme (Vygotsky, 1978 ; Bruner, 1985, 1990), de la théorie de « Feminist Standpoint » (De Vault, 1999; Lather, 1991), du dialogisme bakhtinien (Vitanova, 2005) et de l'ethnographie institutionnelle (Smith, 1987, 2005). Les voix et les perceptions des enseignants-participants de cette étude sont interprétées sous l'optique du Process Drama. Le Process Drama (Heathcote, 1991) consiste en épisodes thématiques improvisés où les participants explorent un sujet et s'explorent parallèlement. Le Process Drama possède des caractéristiques uniques qui font l'objet de recherche dans des classes de langue seconde et de langue étrangère (Dicks & Le Blanc, 2009 ; Kao & O'Neill, 1998 ; Liu, 2002; Marshke, 2005 ). Mon intérêt, cependant, porte sur l'e
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Barnes, Mary Kathleen. "Kids on the campaign trail : process drama, social studies, and assessment in the elementary classroom /". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951214940158.
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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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Shum, Wai-chung Chris, i 岑偉宗. "A research on the composing process in playwriting in Chinese of professional playwrights in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223333.
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Staples, Adele. "Playing with the written word: Examining the impact of role to improve writing in a primary classroom". Thesis, University of Canterbury. Literacies and Arts in Education, 2012. http://hdl.handle.net/10092/7546.
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How can role be used to impact upon the motivation of student’s writing?
Can learning in a creative context cause change in students’ writing?
There is a body of literature that examines the use of drama to facilitate development in literacy, and some of it addresses writing. However, most of the classroom based studies in this literature have been undertaken by drama specialists who have extended their curriculum interests to broader fields such as social studies and literacy. Their work has offered a challenge to classroom teachers who are not drama specialists to explore and adopt relevant process drama approaches. This study has been conducted by one such teacher and as such it brings a new and different perspective to the research and to the growing body of knowledge.
The current education system has placed strong importance on managing student levels of achievement in writing with the National Standards being introduced as a way of reporting student progress in this area as well as that of reading and mathematics. The Standards aim to make parents more aware of where their children sit in regards to the National levels. Consequently this thesis adopted an assessment format that incorporated the National Standards to assess change in surface and deeper features of writing.
The students involved in the study were from one Year Five and Six classroom in a decile ten contributing school in Christchurch. They completed questionnaires at the beginning of the study and were interviewed at the end to survey their thoughts on writing and drama. The classroom teacher was also interviewed to gain her views on student levels of motivation in writing and their needs in the classroom. A series of lessons were then facilitated involving the use of process drama to encourage the students to think independently and tell a story through action before they put pencil to paper. Observations were written during each lesson documenting student responses and interactions to the drama and writing samples and student journals were also collected. A systematic analysis was completed on students’ writing to measure change in their writing features over time. These methods were also followed by the classroom teacher in order to measure reliability of the assessment.
Writing samples and student feedback indicated strong improvement in motivation levels and engagement in each task through increased lengths of writing and use of subject-specific vocabulary and emotive language. Results also showed a creative teaching approach can be an effective facilitator of certain aspects of writing in children working at different levels and that the National Standards can be incorporated smoothly and reliably within this type of assessment.
Overall, the findings from this study highlight the use of drama as an instructional tool in writing and support the conclusion that these strategies can be incorporated into the teaching of writing for more effective instruction.
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Nascimento, Luiz Augusto Sousa do. "Prwncwyj: drama social e resolu??o de conflito entre os Ap?niekra J?-Timbira". Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12261.
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Previous issue date: 2009-07-01This work considers a ethnography boarding on the Ap?niekra J?-Timbira group of Central Brazil - leaving of a proposal of agreement of the group in perspectives of historical situations, analyzing its social organization from situational approaches. Taking the ethnography as main tool of production of data, the focus of the research takes dimension, when in the course of the ethnography situation, they come out, from certain events, social dramas that if ramify in crises, conflicts, faccionalismo. I analyze the mechanisms elaborated for the group to neutralize these dramas , such as the constitution of a tribal court , composites for native mediators and external mediators, dynamics ritual processes and politicians.
Este trabalho prop?e uma abordagem etnogr?fica sobre os Ap?niekra grupo J?- Timbira do Brasil Central - partindo de uma proposta de entendimento do grupo em perspectivas de situa??es hist?ricas, analisando sua organiza??o social a partir de enfoques situacionais. Tomando a etnografia como ferramenta principal de produ??o de dados, o foco da pesquisa toma dimens?o, quando no curso da situa??o etnogr?fica, eclodem, a partir de certos eventos, dramas sociais que se ramificam em crises, conflitos, faccionalismo. Analiso os mecanismos elaborados pelo grupo para neutralizar esses dramas , tais como a constitui??o de um tribunal tribal , compostos por mediadores nativos e mediadores externos, dinamizando processos rituais e pol?ticos. Palavras- have: Ap?niekra, Timbira, situa??o social, drama social, processo ritual.
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Sewell, Diana C. "Process Drama| Impacting Quality Writing and On-Task Behaviors of Third Grade Students Diagnosed with ADHD". Thesis, Piedmont College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3729968.
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The purpose of this single-case research study was to examine the use of process drama to improve the quality writing and increase on-task behaviors of students in a third-grade classroom. Four students diagnosed with ADHD participated in nine different process drama sessions. Quality writing samples along with observational data were collected on these four students. Social validity questionnaires were also administered to the students, two teachers, and four parents as a component of the research. Changes in students’ quality writing and on-task behaviors were examined using an ABAB withdrawal design. Visual analysis was employed to determine if there was a functional relationship between process drama and an improvement in the participants’ quality writing and on-task behaviors during process drama intervention. Results indicated that all four participants scored higher on their quality writing samples and had an overall increase in their on-task behaviors. These findings supported the use of process drama intervention to increase quality writing and on-task behaviors of students with ADHD.
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Manley, Anita Odell. "Unlocking Communicative Competence in Classrooms For Students With Hearing Impairment:|bTraditional Discourse Versus Process Drama Discourse /". The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487868114112915.
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De, Bruyn Lavona. "Exploring social identity through theatre : an examination of the process of creating Jingle Dreams with youth in the coloured community of Clanwilliam". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/10391.
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Includes bibliographical references (leaves 58-62).This dissertation examines the process of creating Jingle Dreams with the youth in Clanwilliam. It aims to ascertain whether the processes of Community Theatre drama create opportunities for the individuals in the identified community to explore a social identity influenced by historical legacy, heritage, memory (or absence thereof) and socio-economic environment. The intention of the dissertation is influenced by the Applied Drama mission to benefit individuals, communities and societies through artistic forms of intervention such as dramatic activities, theatre directing, mediation and discussions. I will examine how the processes and the performative qualities of drama and theatre have the potential to transform individuals and society. Community Theatre creates the space for young people to share and question common experiences of life. This ensures that marginalised voices are heard which has psychological and social benefits for the participants. The dissertation proposes to interrogate how young people revealed their social identity through the narrative structure, dialogue, stereotypes and symbols in Jingle Dreams. I have been strongly motivated by the work of Augusto Boal which was the source of a large part of the dramatic processes. In the research process, the young people belonging to The Community Networking Creative Arts Group were encouraged to find their own forms of artistic, cultural and theatrical expression. During the rehearsal process, the group improvised and developed many scenes which reflected issues such as alcoholism, drug abuse, domestic violence and intergenerational tension. The narrative of the performance was based both on their stories and on stories from their community. It reflected their circumstances, their struggles, their hopes and their dreams. Theatre devised in community situations reflects concern with the representation of memory, and participants are invited to recognise that autobiographical narratives have social, communitarian and historical significance, as well as personal relevance. Performers drew on their own experiences to devise the scenes. This process often emphasised how the boundaries between truth and fiction are blurred. The lack of a clear distinction between fact and art facilitated the revelation, exploration and contestation of social identity.
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Harrison, Austin Brian. "DIVING INTO ONE’S PAINFUL PAST AND DARKEST INTERNAL FEARS: THE DEVELOPMENTAL PROCESS OF THE THREAD THAT SNAPPED". OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2732.
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AN ABSTRACT OF THE THESIS OFAustin Harrison, for the Master of Fine Arts degree in Theatre, presented on April 10, 2020, at Southern Illinois University Carbondale. TITLE: DIVING INTO ONE’S PAINFUL PAST AND DARKEST INTERNAL FEARS: THE DEVELOPMENTAL PROCESS OF THE THREAD THAT SNAPPEDMAJOR PROFESSOR: Dr. Jacob Juntunen This thesis details the development of my full-length play The Thread That Snapped from its early conception in 2019 to full production at Southern Illinois University Department of Theatre’s Christian H. Moe Theatre’s space in March 2020. In writing The Thread That Snapped, I was inspired by traumatic chapters within my life that shaped me as a human. This play, therefore, examines the unpredictable ways in which an individual is driven to insanity and the delicate thread that separates sanity and insanity. From this play comes a study into the human condition and how society and relationships shape who we become n life. Chapter One includes a statement of the project, the origin, and development of the script, initial structure and plot considerations for the script, research that impacted the creation of the script, character development, and tools for self-evaluation. Chapter Two covers the pre-writing process, feedback from my writing partner, notes from my advisor, Jacob Juntunen, and the director, Susan Patrick Benson, about the script’s development and an overall description of the play’s progression through drafts. Chapter Three describes the design meetings held in preparation for the production of The Thread That Snapped. Chapter Four details the audition and casting process as well as rehearsals for the piece. Chapter Five evaluates The Thread That Snapped’s production, describes ideas for future productions of the piece as well as possible revisions. Chapter Six concludes the thesis by tracking my progression in the playwriting program over the past three years. It includes my writing growth in terms of structure and developing my artistic voice. It also discusses my professional development over the time in the program, as well as the evolution of my teaching practice. I have also included in the thesis the production script of The Thread That Snapped.
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Aaltonen, Heli. "Intercultural bridges in teenagers' theatrical events : performing self and constructing cultural identity through a creative drama process /". Abo : Abo akademi university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40981712v.
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Zanelli, Rabines Caterina. "Proceso de venta de una idea o historia latinoamericana de género drama para la plataforma streaming Netflix". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657671.
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Está investigación busca identificar y analizar el proceso de venta de una idea o historia latinoamericana de género drama para la plataforma streaming Netflix, el cual es un tema que genera interés entre los creadores de contenido latinoamericanos. Además se contextualiza cómo surge Netflix y cómo se posiciona en el mercado actual.
Asimismo, la investigación también aborda el origen de la creación de contenido original por parte de esta plataforma y su impacto en el mercado hispanohablante y latinoamericano. Por último, se complementará la propuesta, analizando cómo la venta del proyecto o idea lleva a este a formar parte del catálogo de Netflix y/o ser producida como contenido original.This investigation analyzes the process of selling an idea or a Latin American story in the drama genre for the Netflix streaming platform, which is a topic that generates interest among Latin American content creators, but at the same time raises doubts about the process to be carried out. First of all, we contextualize how Netflix arises and how it is positioned in the current market. Also, the origin of the creation of original content by the platform and the impact of this decision on the Spanish and Latin American markets. Finally, it analyzes the sales process through which a project or idea must pass in order to become part of the Netflix catalog and/or be produced as original content.
Trabajo de investigación
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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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Duarte, Amanda. "E se nós decidirmos juntos?: uma proposta de criação teatral compartilhada dentro da educação formal". Escola de Teatro, 2018. http://repositorio.ufba.br/ri/handle/ri/27288.
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CAPES
Fruto do mestrado acadêmico realizado no Programa de Pós-graduação em Artes Cênicas da Universidade Federal da Bahia, a dissertação apresenta uma pesquisa-ação que se empenha em aproximar duas instâncias diferentes da prática teatral: o Process drama - método de ensino de origem inglesa, especializada no trabalho com crianças e adolescentes - e os processos de criação compartilhada - modelos organizacionais utilizados, prioritariamente, nas companhias profissionais. Para começarmos a discussão, nos dedicamos a entender a evolução histórica de cada procedimento, a analisar as ferramentas de que fazem uso para tornar possível suas visões e a explicar para o leitor qual, dentre todas as abordagens possíveis em cada método, é aquela que melhor se adequa à prática que propomos. Por isso, dialogamos com alguns dos principais autores que refletiram sobre as estratégias antes de nós: Beatriz Cabral (2006), Gavin Bolton (2007), David Hornbrook (1991), Flávio Desgranges (2006), Heloise Vidor (2010), Antônio Araújo (2009), Evill Rebouças (2009), Vicente Concílio (2010), Stela Fischer (2003), Rafael Ary (2015), Hamilton Vaz Pereira (2009), Valéria Maria de Oliveira (2005). Ao colocá-los lado a lado, abrimos a oportunidade de olhar para as características que os aproximam e as características que os afastam, podendo vislumbrar uma associação entre ambos que nos permita projetar uma abordagem do ensino de teatro, dentro da educação básica e pública, que se aproxime da prática cênica realizada no meio profissional. Considerando que essa imersão não estaria completa se estivesse limitada apenas a uma aproximação teórica, realizamos uma oficina de oito meses, no contra turno das aulas regulares, com estudantes de 11 e 12 anos, na Escola Municipal São Braz, localizada na cidade de Salvador. Durante 22 encontros, realizamos um mergulho no fazer coletivo ao criarmos, com o máximo de horizontalidade possível nesse contexto, uma apresentação pública, com produção de dramaturgia e de encenação próprias, baseada no romance Mar Morto, do escritor baiano Jorge Amado. Nesse percurso, pudemos abrir questionamentos acerca das potencialidades e das dificuldades de se realizar um processo criativo em compartilhamento, por meio dos dispositivos que selecionamos, no interior de uma estrutura escolar ainda hierarquizada.
As a result of the academic master's degree in the Postgraduate Program in Performing Arts of the Federal University of Bahia, this dissertation presents an action research that strives to approach two different instances of theatrical practice: Process drama - specialized in working with children and adolescents - and the processes of shared creation - organizational models used, as a priority, in professional companies. To begin the discussion, we set out to understand the historical evolution of each procedure, to analyze the tools they use to make their views possible, and to explain to the reader which of all possible approaches in each method is the one that is best appropriate to the practice that we propose. For this reason, we have dialogues with some of the main authors that reflected on the strategies before us: Beatriz Cabral (2006), Gavin Bolton (2007), David Hornbrook (1991), Flávio Desgranges (2006), Heloise Vidor (2005), Stella Fischer (2003), Rafael Ary (2015), Hamilton Vaz Pereira (2009), Valéria Maria de Oliveira (2005) and Evill Rebouças (2009). By putting them side by side, we have the opportunity to look at the characteristics that approach them and the characteristics that keep them apart and can see an association between both that allows us to design an approach to theater teaching, within basic and public education, that approach the scenic practice performed in the professional environment. Considering that this immersion would not be complete if it were only limited to a theoretical approach, we carried out an eight-month workshop in the evening of regular classes with students aged 11 and 12 at the São Braz Municipal School, located in the city of Salvador. During the 22 meetings, we took a dip in collective making by creating, with the maximum of horizontality possible in this context, a public presentation, with the production of own dramaturgy and staging, based on the novel Mar Morto, by the Bahian writer Jorge Amado. In this course, we were able to open questions about the potentialities and difficulties of performing a creative process in sharing, through the devices that we have selected, within a hierarchical school structure.
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Lau, Pui-yi, i 劉佩兒. "Exploring the effects of integrating process drama in life education on enhancing students' empathy in school bullying situations". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/209694.
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The current study aimed at exploring the potential benefits of integrating process drama, an interactive teaching methodology, into Life Education curriculum on anti-school bullying. The program effectiveness was evaluated through the enhancement in students’ empathy, including both cognitive and affective empathy, helping behavior and tendency as well as their knowledge on the basic concepts of bullying. Data was collected through self-reports. 141 S.2 students were recruited and randomly assigned to two groups, experiencing an anti-bullying intervention program through process drama (experimental) or conventional teaching methods (control). The study found that students in both groups showed enhancement in all three aspects, while the increase in affective empathy and helping tendency of the experimental group was significantly larger than the control group.published_or_final_version
Educational Psychology
Master
Master of Social Sciences
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Melragon, Meredith A. "Negotiating texts, spaces and voices : response to literature, process drama and hypertext technology in a middle school classroom /". The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109867636.
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Sensarma, Suman Ranjan. "Modeling and Analysis of the Process of Resolving Regional Conflicts under Disaster and Development Risks: Case Studies from Japan and India". 京都大学 (Kyoto University), 2007. http://hdl.handle.net/2433/49137.
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学位授与大学：京都大学 ; 取得学位: 博士(工学) ; 学位授与年月日: 2007-09-25 ; 学位の種類: 新制・課程博士 ; 学位記番号: 工博第2847号 ; 請求記号: 新制/工/1419 ; 整理番号: 25532Kyoto University (京都大学)
0048
新制・課程博士
博士(工学)
甲第13376号
工博第2847号
新制||工||1419(附属図書館)
25532
UT51-2007-Q777
京都大学大学院工学研究科都市社会工学専攻
(主査)教授 岡田 憲夫, 教授 小林 潔司, 教授 多々納 裕一
学位規則第4条第1項該当
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Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
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Thesis (MDram)--Stellenbosch University, 2003.ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.