Fruits of the vine : reflection on performance-making through blogs

In 2006 Drama Australian launched the VINE Project, bringing together groups of drama students within schools, universities and the broader community to make group performances based on a common theme. Using the VINE Project's multi-user blogging environment, group or individuals maintained blogs of their performance-making processes. This allowed the work to be shared within the VINE Project community and potentially a world-wide audience.

This paper contributes to the discussion on the applications of information and communication technologies (ICT) in drama and theatre education. It considers the blog, emerging from web-culture, as a space for groups and individuals to reflect upon performance-making processes. A range of VINE Project participants was asked to reflect and comment upon the performance-making and blogging experience. This paper presents emerging understandings of the role of blogs in encouraging reflection, in creating a sense of group identity and significance, in validating performance-making processes and in building a sense of connection and community among student performance-makers.

Story as a vehicle for learning in online role play : a case study

In online role plays, students are asked to engage with a story that serves as a metaphor for real-life experience as they learn and develop skills. However, practitioners rarely examine the characteristics and management of this story as factors in the students' engagement in and learning from the activity. In this paper I present findings from a recent case study which examines these factors in an online role play that has been named as an exemplar and has been run for 19 years in Australian and international universities to teach Middle East politics and journalism. Online role plays are increasingly popular in tertiary education, in forms ranging from simple text-based role plays to virtual learning environment activities and e-simulations. The role play I studied required students to communicate in role via simulated email messages and draw on real-life resources and daily simulated online newspaper publications produced by the journalism students rather than rely on information or automated interactions built into an interface. This relatively simple format enabled me to observe clearly the impact of the technique's basic design elements. I studied both the story elements of plot, character and setting and the non-story elements of assessment, group work and online format. The data collection methods include analysis of student emails in the role play, a questionnaire, a focus group, interviews and the journal I kept as a participant-observer in the role play. In evaluating the qualities and impact of story elements I drew upon established aesthetic principles for drama and poststructuralist drama education.

O teatro, a educação e a experiência de si

Pós-graduação em Artes - IA

A expressão e educação dramática : uma área transversal no pré-escolar e no 1º ciclo do ensino básico

Relatório final apresentado para a obtenção do grau de mestre em Educação pré-escolar e 1º ciclo do ensino básico.

A expressão e educação dramática : uma área transversal no pré-escolar e no 1º ciclo do ensino básico

Relatório final apresentado para a obtenção do grau de mestre em Educação pré-escolar e 1º ciclo do ensino básico.

Dramatic teaching : focussing on drama, theatre, and performance in higher education

This 90 minute panel session is designed to explore issues relating to the teaching of drama, performance studies, and theatre studies within Higher Education. Some of the issues that will be raised include: developing an understanding of the learning that students believe they are experiencing through performance; contemporary models for teaching; and the suggestion that the body can be an important site for acquiring a variety of different knowledges. Paul Makeham will present a general position paper to commence the session (15 minutes). Maryrose Casey, Gillian Kehoul, and Delyse Ryan will each speak briefly (15 minutes) about aspects of their research into Higher Education teaching before opening the floor for a round-table discussion of issues affecting the teaching of these disciplines.

Drama and languages education : authentic assessment through process drama

In this chapter I explore the ways process drama can enrich and enliven the assessment regime of a middle school beginner language program. The chapter draws on five months’ language teaching which I did to collect data during my doctoral research. I taught a secondary co-educational class of 12-13 year olds (first year secondary school) for their German lessons while the teacher who had invited me in observed the lessons. Throughout the project there was an emphasis on student participation through questionnaire, discussion and interview...

Life Drama : an arts education response to social and cultural challenges in Papua New Guinea

The Life Drama program is a theatre-based experiential learning program developed in Papua New Guinea over the past seven years. The Life Drama team recognises that a significant proportion of “education” for learners of all ages takes place outside formal education systems, particularly in developing nations such as Papua New Guinea. If arts education principles and practices are to contribute meaningfully and powerfully to resolving social and cultural challenges, it is important to recognise that many learners and educators will encounter and use these principles and practices outside of school or university settings. This paper briefly describes the Life Drama program and its context, highlights its two streams of operation (community educators and teacher educators) and indicates some ways in which an arts-based education initiative like Life Drama contributes to Goal 3 of the Seoul Agenda:“Apply arts education principles and practices to contribute to resolving the social and cultural challenges facing today‟s world.” In particular, the project addresses sub-goal 3b:“Recognize and develop the social and cultural well-being dimensions of arts education”.

Ethnomathematical research and drama in education techniques: developing a dialogue in a geometry class of 10th grade students

Ethnomathematical research, together with digital technologies (WebQuest) and Drama-in- Education (DiE) techniques, can create a fruitful learning environment in a mathematics classroom—a hybrid/third space—enabling increased student participation and higher levels of cognitive engagement. This article examines how ethnomathematical ideas processed within the experiential environment established by the Drama-in-Education techniques challenged students‘ conceptions of the nature of mathematics, the ways in which students engaged with mathematics learning using mind and body, and the ̳dialogue‘ that was developed between the Discourse situated in a particular practice and the classroom Discourse of mathematics teaching. The analysis focuses on an interdisciplinary project based on an ethnomathematical study of a designing tradition carried out by the researchers themselves, involving a search for informal mathematics and the connections with context and culture; 10th grade students in a public school in Athens were introduced to the mathematics content via an original WebQuest based on this previous ethnomathematical study; Geometry content was further introduced and mediated using the Drama-in-Education (DiE) techniques. Students contributed in an unfolding dialogue between formal and informal knowledge, renegotiating both mathematical concepts and their perception of mathematics as a discipline.

The status of drama in education in an Ontario school board

Drama in education has been describea- as a valuable pedagogical medium and methodology, enriching child development in the cognitive, skill, affective, and aesthetic domains, and spanning all areas of curriculum ~ oontent. However, despite its considerable versatility and cost-effectiveness, drama appears to maintain low status within the education system of ontario. This thesis investigated teacher perceptions of both the value and status of drama in education in one ontario school board. Data were gathered in the form of an attitude questionnaire, which was devised for the purpose of this research and administered to a stratified cluster sample of 126 teachers employed in the board's elementary schools. These data were then used to examine teacher perceptions based on their knowledge, attitudes, and self-reported behaviour in the classroom. Teacher characteristics of gender, teaching assignment, years experience, and courses taken in drama were also analyzed as potential determinants of teacher attitudes towards drama in education. Results of the study confirmed apparent discrepancy between teacher perceptions of the value of drama and its current educational status. It was indicated that what teachers value most about drama is its capacity to enhance creativity, social skills, empathy, personal growth, and problem-solving ability among students. Teachers attribute its low status both to school and board priorities of time and resources, and to deficiencies in their knowledge and confidence in the planning, implementation, and evaluation of drama in the classroom. Teacher subgroup analysis revealed no significant differences in attitudes towards the status of drama in education; it did, however, suggest that both teachers who have studied drama and teachers with between ten and twenty years experience are most likely to value drama more highly than their colleagues. Recommendations proposed by the study include the provision of increased - time and resource allotment for drama within the elementary curriculum as well as increased teacher training at both faculty of education and board inservice levels.

Drama in education : deconstructing the role of movement in text

The purpose of this study was to conduct a comparative textual analysis on the role of movement in 3 texts in Drama in Education in Canada. As the subject is holistic and encourages creative, active participation, movement was expected to appear, even inadvertently, in both theory and practice. It was hoped that guidelines for the use of movement within Drama in Education would emerge from the texts and that these guidelines would serve as models for others to use. A total of 26 Drama in Education experts in Canada were each asked to list the 10 most important texts in the field. Those who answered were assigned numbers and charted according to age, gender, and geography. An objective colleague helped narrow the group to 16 participants. A frequency count was used, assigning 10 points to the first text on each list, and descending to 1 point for the tenth text listed. Based on the highest number of points calculated, the 5 most frequently used texts were identified. These were compared to ascertain the widest representation ofthe authors' geographic location and gender, as well as differences in theory and practice. The final selection included 3 texts that represented differing approaches in their presentation and discussion of Drama in Education theories and practices. Analysis involved applying 5 levels of commitment to determine if,how, why, when, and with what results movement was explicitly or implicitly addressed in the 3 texts. Analysis resulted in several unexpected surprises around each of the 3 texts. The study also provided suggestions for extending and clarifying the role of movement in teaching and learning in general, as well as for Drama in Education in particular.

Theatre in education (TIE) in the context of educational drama.

La autora analiza las aplicaciones del teatro en la educación. Para ello se centra en el desarrollo durante el siglo XX de las tendencias teatrales, las líneas del movimiento 'Theatre in Education' (TIE) y las aplicaciones del drama educacional.