Using drama techniques for the teaching of early years science : a case study

This paper investigates the effect of drama techniques when employed to facilitate teaching and learning early years science. The focus is a lesson intervention designed for a group of children aged between four and five years old. A number of different drama techniques, such as teacher in role, hot seating and miming, were employed for the teaching of the water cycle. The techniques were implemented based on their nature and on what they can offer to young children considering their previous experiences. Before the beginning of the intervention, six children were randomly selected from the whole class, who were interviewed, aiming to identify their initial ideas in regards to the water cycle. The same children were interviewed after the end of the intervention in an attempt to identify the ways in which their initial ideas were changed. The results appear to be promising in terms of facilitating children���s scientific understanding and show an improvement in the children���s use of vocabulary in relation to the specific topic.

Performing right: legal constraints and Beckett���s plays on BBC television

Drawing on BBC archival documentation, this article outlines how BBC television versions of Beckett���s plays were affected by copyright. Rights to record and broadcast original drama for the screen differ from those governing adaptations of existing theatre plays. Rights can be assigned for specific territories and periods of time, and are negotiated and traded via complex contractual agreements. Examining how Beckett���s agents and the BBC dealt with rights sheds new light on the history of his work on television.

Introduction: entire hands and main fingers

The ten-volume edition of The Collected Works of Thomas Heywood, forthcoming from Oxford University Press from 2015 to 2022, will attempt to place Heywood���s plays, poetry, and prose back where they belong: at the centre of the study of early modern English literature, drama, and theatre history. Especially as an actor, playwright, reviser, editor, and historical chronicler, Heywood had the longest and widest-ranging career of his contemporaries and thus can reveal how sixteenth- and seventeenth-century authors and theatrical and literary audiences came to see the practice and production of drama.

Introducing children with special educational needs to theatre through ���Relaxed Performances���

This short chapter explains how a growing number of theatres are beginning to offer families living with autism and other disabilities opportunities to attend without fear of alienation or rejection by other audience members. Using one small theatre as a case study, the chapter illustrates the sort of adaptations that are made to the performance and front of house arrangements.

Widening participation in theatre through ���relaxed performances���

This paper what 'relaxed performances' are and how a growing number of theatres are beginning to offer them to families living with autism and other disabilities opportunities to attend without fear of alienation or rejection by other audience members. Using one small theatre as a case study, the chapter illustrates the sort of adaptations that are made to the performance and front of house arrangements and reports on the positive effects one particular relaxed performance had on some of those who attended.

Reforming theatre in Farnese Parma: the case of the Accademia degli Innominati (1574-1608)

The essay explores the socio-cultural role of the main academy in Parma, the Innominati (1574-1608), which flourished in the years when the Farnese dynasty was beginning to assert more forcefully its political control over the new state of Parma and Piacenza. The Innominati was from the start associated with the ruling dynasty, who must have recognized the importance of its cultural activities to strengthening their regime, particularly in the absence of a strong local university. This essay explores the institution���s contested position within the cultural landscape ��� as reflected also in its membership of courtiers, clergymen, and feudal aristocrats with more ambivalent relations with the Farnese. In particular, the focus falls on the theatrical activities of the group during the 1580s, a decade which saw the establishment of the Parma Index (1580) and the succession of the internationally celebrated Duke Alessandro Farnese (1587). Based on the little surviving evidence it is argued that the Academy in the 1580s became a creative hub for theatrical experimentation ��� through theoretical debate and composition, and possibly even performance. However, as relations between the Farnese and the local elites, especially feudal aristocrats, became more contested the Academy���s theatrical production and the public memory of this became increasingly controlled.

Harold Pinter: A Night Out : A Study in the Political ConnotationsAnd the Abuse of Power

Harold Pinter���s A Night Out is a significant but rarely produced piece of drama. Therefore, there is very little criticism to support or contradict my argument. The reason why I chose to do my essay on this particular play is to open doors for academic research and to try and make it an equal to its sister plays. I will raise questions and topics to prove the play is worth the readers��� time and effort and that A Night Out is a sharp piece of political theatre. Although at first glance it is a simple enough story, a straightforward tale of the nasty consequences of motherly love when it is pushed to the limit, on deeper inspection, a more far reaching and complex analysis of the abuse of power can be observed. The play offers a variety of themes, including: interpersonal power struggles, failed attempts at communication, antagonistic relationships, the threat of impending or past violence, the struggle for survival or identity, domination and submission, politics, lies and verbal, physical, psychological and sexual abuse. The prevailing theme in the play is the abuse of power: powerful parties oppressing weaker ones, and the results of the oppressed party looking for a vent in someone even weaker than themselves.

Lost in mistranslation : A case study of Japanese TV-drama fansubs

���Fansubs������������������������������������������������������������������������������ ������������������������������������������������������Fansubs���������������������������������3��������������������������������������� ��������������������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������9������������������������������������������������������������ ��������������������������������������������������������������������������������������������������������������������������������� ���Fansubs���������������������������������DVD��������������������������������������������������������������������������������� ��������������

Learning in and through drama : The necessity to use multiple theoretical perspectives in order to understand how learning takes place in drama

The complexity of learning implies that learning seldom is about just one thing. It can be said that learning processes are interdisciplinary. Within educational contexts, learning is not limited to constructed school subjects. In drama education, learning is simultaneously about drama as aesthetic expression and content because drama always is about something. The mainly focus can be on form, content or social aspects. The different aspects are always present, but may be more or less foreground or the background depending on the purpose of education. How do development concerning understanding of form, content, and social interaction, interact in a learning process in drama? My research is based on the view that learning at the same time takes place as an individual, internal process and a socially situated, inter-subjective process. Can learning in drama imply learning that can be transferred between different situations, a transformative learning and if so, how? Transformative learning includes cognitive, affective and corporal and social action aspects and means that the individual's frames of reference are transformed, evolved, to become more insightful and flexible which implies a change of personality. It leads to an integrated knowledge that can be applied in different contexts. �� In the paper that will be presented at the conference, theories about how we learn in drama will be discussed in relation to my empirical research concerning drama and learning.