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Journal articles on the topic 'Drama as a subject'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Foreman, Kathleen, and David Hornbrook. "On the Subject of Drama." Canadian Journal of Education / Revue canadienne de l'éducation 24, no. 1 (1999): 112. http://dx.doi.org/10.2307/1585783.

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2

Zimmerman Nilsson, Marie-Helene, and Colette Murphy. "Synergies in subject parallels: Coteaching “music-drama”." Hungarian Educational Research Journal 11, no. 1 (2021): 1–13. http://dx.doi.org/10.1556/063.2021.00019.

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AbstractThis case study contributes with a new coteaching design, in which experienced teachers from two different aesthetic subjects are planning, teaching and evaluating together in higher education, more specifically in general preschool teacher education. The aim of the study is to analyse how two drama teachers and a music teacher reflect on their coteaching. Coteaching, when teachers teach together with shared responsibility to meet their students’ learning needs, is a pedagogical approach to enable an active learning process. Research and practice in coteaching have emerged, mostly desi

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3

Bradburd, D. C. "On Drama as a Peripheral Subject." English Journal 84, no. 7 (1995): 27. http://dx.doi.org/10.2307/820579.

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4

Spivack, Charlotte. "Self as Subject in the Morality Drama." Cahiers Élisabéthains: A Journal of English Renaissance Studies 59, no. 1 (2001): 1–7. http://dx.doi.org/10.7227/ce.59.1.2.

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5

Latif, Jawaria, Subha Malik, and Madiha Nadeem. "Perception and Effects of Dramas on University Students." Journal of Research in Social Sciences 9, no. 2 (2021): 81–99. http://dx.doi.org/10.52015/jrss.9i2.120.

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Drama as an important mean of the media can impact the lives of people and consequently influence the whole society. This study conducted to understand the perception of students and the effects of Hum TV dramas on university students of Lahore. For this, mixed method research design was applied. Focus groups and self-constructed questionnaire were used for data collection from conveniently selected male and female students of public and private universities. Qualitative results revealed that subject selection and features of dramas determined the students’ attitude towards watching trends. Si

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Cooke, Lez. "A ‘New Wave’ in British Television Drama." Media International Australia 115, no. 1 (2005): 23–32. http://dx.doi.org/10.1177/1329878x0511500104.

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In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave

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7

Zeller, Claudia. "Kleverig drama." Internationale Neerlandistiek 59, no. 1 (2021): 51–68. http://dx.doi.org/10.5117/in2021.1.003.zell.

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Abstract This article investigates new perspectives on ecocriticism through the works of the Flemish poet Dominique De Groen. Taking Timothy Morton’s notion of ‘dark ecology’ as a starting point, it argues that De Groen’s poetry represents a form of anthropocenic writing that exceeds the scope of traditional ecocriticism. Read through the lens of the Anthropocene as both a geological era and an episteme, her writing can shed light on the entanglement between the human subject and its environment that is central to the conceptualisation of the Anthropocene as discourse. It is argued that the di

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8

Kastleman, Rebecca. "16Performance, Theater, Drama." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 303–23. http://dx.doi.org/10.1093/ywcct/mbz016.

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Abstract The year 2018 was an especially fruitful and wide-ranging one for theater and performance studies. Several major monographs deepened discussion in established subject areas within the field, while new methodological approaches emerged, opening fresh directions in scholarship. This review focuses on four major areas of conversation that shaped the field in 2018: 1. Expanding Performance Aesthetics; 2. Economic and Material Contexts of Performance; 3. Enacting Public Justice; and 4. Performance on the Move.

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9

McDonald, Janet. "Boys at Gender-Play inside the Muscular Christian Ideal." Boyhood Studies 1, no. 1 (2007): 84–94. http://dx.doi.org/10.3149/thy.0101.84.

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In elite boys’ schools there is a level of anxiety about the perceived place of the curricular subject drama and how it might interact or interfere with the ironclad essentialist and homogenous masculinity promoted by elite all-boys’ schools. The feminization of the drama and the suspicion of males who “do drama” create a duplicitous tension for boys who take the subject as they walk the gendered tightrope between the expected public display of the “muscular Christian” and the tantalizing “drama faggot.” This paper offers some reflections about observations on and interviews with boys who “do

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10

Strejčková, Hana. "Possibilities of theatrical pedagogy in solving problems of social sphere." SHS Web of Conferences 98 (2021): 02008. http://dx.doi.org/10.1051/shsconf/20219802008.

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In my article I focus on the connection between the artistic and social spheres, the transcendence of art education into therapy and I will briefly mention the structure of art education with a focus on theatrical pedagogy in the Czech Republic. I divided the article into theatrical pedagogy in practice for younger school age, teenage and youth, adults and seniors, and the following areas: a) Theatrical pedagogy in the structure of the Czech educational system and as a part of leisure activities and Drama education as a subject for future teachers. In this part I shortly present what drama edu

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Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama." Theatre Survey 38, no. 2 (1997): 49–88. http://dx.doi.org/10.1017/s0040557400002076.

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As the most critically lauded dramatist of her time, Joanna Baillie recently has received considerable attention from critics interested in arguing that our neglect of Romantic drama has arisen from “conventional and mistaken assumptions about its strategies and principles.” In a recent issue of Wordsworth Circle devoted exclusively to Romantic drama, Baillie figures in three of its seven articles as a central dramatist of the period, while Jeffrey Cox devotes an entire section of his introduction in Seven Gothic Dramas 1789—1825 (1992) to her work. Even more recently, she has been the subject

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Yudha, Kiki Devista, and Jagar Lumbantoruan. "HUBUNGAN HASIL BELAJAR TEORI MUSIK DASAR DAN PRAKTEK INSTRUMEN PERKUSI DI JURUSAN SENDRATASIK." Jurnal Sendratasik 9, no. 3 (2020): 37. http://dx.doi.org/10.24036/jsu.v9i1.109303.

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Abstract This study aims at finding out the correlation between learning outcomes in music theory subject and percussion instrument practice subject in the Department of Drama, Dnace and Music Arts. This quantitative research used a correlational method involving two variables, i.e. the learning outcomes of music theory subject and the learning outcomes percussion instrument practice subject. The population in this study was the students of Department of Drama, Dance and Music Arts, Faculty of Languages and Arts, Universitas Negeri Padang whi took Music Theory subject in the even semester of 2

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13

Hornbrook, David. "Drama, Education, and the Politics of Change: Part One." New Theatre Quarterly 1, no. 4 (1985): 346–58. http://dx.doi.org/10.1017/s0266464x00001767.

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Drama-in-education is a subject – or a set of theories – which became an educational discipline almost by historical accident, and about which strong feelings can still be aroused. That the arguments are too often confined to educationalists is symptomatic of the way the problems raised have seldom been shared with or considered by people working in professional theatre – and this in turn reflects the way that the subject has tended to be taught, with the emphasis strongly on its ‘educational’ rather than its ‘theatrical’ potential. Back in 1973. David Clegg's article ‘The Dilemma of Drama in

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Wijayanti, Okto. "Multiple Intelligences in Learning Musical Dramas for Prospective Primary School Teachers." JOURNAL OF TEACHING AND LEARNING IN ELEMENTARY EDUCATION (JTLEE) 4, no. 1 (2021): 98. http://dx.doi.org/10.33578/jtlee.v4i1.7872.

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Prospective teachers who get the 7th semester of Drama and Dance Education courses must have competence, one of which is that the teacher can present interesting learning for children with a drama approach, as a multidisciplinary knowledge that can be taught using role playing methods that are taught more interesting, fun, meaningful, interactive and rich experience. As a student, you can develop multiple intelligence in this subject. Programmed and scheduled musical drama training systems are indeed interesting, because each student is given the freedom to give assessments, provide reinforcem

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Hanani, Iva, and Suray Agung Nugroho. "Tingkat Tutur Pengisi Fungsi Subjek Bahasa Korea dan Bahasa Jawa." JLA (Jurnal Lingua Applicata) 3, no. 2 (2020): 71. http://dx.doi.org/10.22146/jla.57392.

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The aim of this study is to explain Korean and Javanese subject honorific and identify its similarities and differences. To accomplish it, this research was conducted using literature review method. Data related to the Javanese language were taken from two Javanese drama scripts, namely Mak Ana Asu Mlebu Ngomah and Bantul Sangsaya Pinunjul, and Javanese drama titled Sri Ngilang by George Quinn. Korean language data was taken from television drama, Misaeng and Fight for My Way. Based on the analysis that has been carried out, despite the difference of the honorific system of Korean dan Javanese

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Tri Widyahening, Christiana Evy, and Ulupi Sitoresmi. "INTEGRATED LEARNING IN DRAMA COURSE USING YOUTUBE." RESEARCH FAIR UNISRI 5, no. 1 (2021): 92. http://dx.doi.org/10.33061/rsfu.v5i1.4571.

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The purpose of this study was to explain and describe the application of integrated learning in digital-based Drama learning to 6th semester students at Slamet Riyadi University, Surakarta. This research is a qualitative descriptive study with a single case study type which only examines one research subject. The research subjects were students in semester VI in the English Education Study Program, Unisri Surakarta. This study uses the steps proposed by Miles and Huberman. The research location is in semester VI of the English Language Education Study Program, FKIP, Slamet Riyadi University Su

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Dewi, Puspita, Riyana Rizki Yuliatin, Hilda Hastuti, and Abdul Muhid. "Drama in Enhancing Motivation of Non-English Department Students: Computer Science Students." Metathesis: Journal of English Language, Literature, and Teaching 4, no. 2 (2020): 118. http://dx.doi.org/10.31002/metathesis.v4i2.2279.

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<p>Teaching English for the non-English Department has a huge challenge. Most of the students are in low motivation to learn a foreign language including English because they are more interested in their main subject than the supported subject. They assumed that English is difficult and complicated so that they have a low desire to learn the subject. It affects their competences and performances, therefore another creative method is crucial to be implemented in the classroom. One of the solutions is creating a fun learning of English final project. This research aims to identify whether

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18

Brisson, Ulrike. "Sansibar oder der wirkliche Grund." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (2007): 92–106. http://dx.doi.org/10.33178/scenario.1.1.5.

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The subject of the investigation is a drama-in-education approach to improve students’ access to German language, literature, and culture. It is based on an action research project carried out at a fourth-year German language class at a US university. This essay constitutes a critical exploration of the drama activities as suggested in Manfred Schewe’s and Heinz Wilms’ book Sansibar. Texte lesen und inszenieren (1995). From the results of the project, the paper addresses questions regarding project-oriented or process-oriented drama, it offers hints and caveats for teachers using drama activit

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19

Fajria, Astry. "Persepsi Mahasiswa PBI terhadap Penerapan Pembelajaran Aktif Menggunakan Model Pembelajaran Kooperatif pada Mata Kuliah Drama, Prose, Poetry." JLA (Jurnal Lingua Applicata) 2, no. 1 (2019): 91. http://dx.doi.org/10.22146/jla.37485.

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Literary subjects are usually presented through lecturing the students in the classroom, leading them into a stage of boredom. In fact, the learning method has shifted from teacher-centered to student-centered. This way, active learning becomes necessary. The study aims to know the students’ perception on the use of active learning, especially cooperative learning, in Drama Prose Poetry subject. The research belongs to descriptive qualitative study, using closed and open questionnaires to obtain qualitative and quantitative data. The participants are 83 students taking Drama Prose Poetry subje

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20

Tompkins, Joanne. "Breaching the Body's Boundaries: Abjected Subject Positions in Postcolonial Drama." Modern Drama 40, no. 4 (1997): 502–13. http://dx.doi.org/10.3138/md.40.4.502.

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21

Kehler, Dorothea, and Catherine Belsey. "The Subject of Tragedy: Identity and Difference in Renaissance Drama." Rocky Mountain Review of Language and Literature 41, no. 1/2 (1987): 83. http://dx.doi.org/10.2307/1347586.

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22

Handanović, Merima. "IRONIJSKI MODUS HEROJA U DRAMAMA A. P. ČEHOVA / THE IRONIC MODE OF HEROES IN PLAYS BY A. P. CHEKHOV." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 23 (November 10, 2020): 305–17. http://dx.doi.org/10.46352/23036990.2020.305.

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The aim of this paper is to investigate the model of the figure of the hero in the plays of Anton Pavlovich Chekhov. In analyzing the model of the figure of the hero, four of the most significant plays by A. P. Chekhov were analyzed in consultation with the literature on the poetics of 20th century drama in order to gain a clearer understanding of how the dramatic world of characters was constructed. Specifically, the focus is on four dramas in four acts: "Three Sisters", "Ivanov", "Seagull" and "Uncle Vanya". For the sake of placing love in the key context of this work, the subject of researc

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23

van Vuuren, Eurika Jansen, and Caroline van Niekerk. "Music in the Life Skills classroom." British Journal of Music Education 32, no. 3 (2015): 273–89. http://dx.doi.org/10.1017/s0265051715000340.

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Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject advisors, often have had no music training. The twofold purpose of this study was to determine the extent of challenges experienced in the music component of Life Skills and Creative Arts in South Africa and how this can best be dealt with. In the curr

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Lee, Yeonsim, Seohyeon Hong, and Se-Kon Oh. "Exploration on PCK for Drama Subject-Matter Education(D-PCK) to firmly Establish Professionality of Drama Teachers." Journal of Korean Theatre Education 35 (December 31, 2019): 119–64. http://dx.doi.org/10.46262/kte.35.2.3.

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Kim, Byoung Joo. "Education Meets Drama : A Speculation on the Installation of Drama/Theatre Unit in Elementary Korean Education Subject." Journal of Korea Association for Drama/Theatre and Education 10, no. 1 (2018): 95–112. http://dx.doi.org/10.31342/jkadte.2018.10.1.05.

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26

Goody, Alex. "Radio at Home: BBC Drama and the Domestic Listener, 1935–1942." Modernist Cultures 10, no. 1 (2015): 62–82. http://dx.doi.org/10.3366/mod.2015.0098.

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In the years before, and at the outbreak of, the Second World War radio drama on the BBC emerged as a genre through which particular questions about nation, home, decency and morality were articulated. At the same time listener research developed, under the auspices of Reith's BBC, as a vehicle for understanding the preferences, habits and situations of the radio audience. Drama and Features were the first areas of radio output subject to targeted research. The reports that were produced by the BBC Listener Research Section provide an invaluable picture both of the nature and responses of spec

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Yang, XiaoMing, and XiangMin Hu. "The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes." Asian Social Science 16, no. 3 (2020): 43. http://dx.doi.org/10.5539/ass.v16n3p43.

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The main research subject of this paper is the costume of Shanxi ancient drama, which is used to decorate the role in the form of drama performing art that spread in Ancient Shanxi. Drama costume is a kind of special performance costume which combines decoration, acting and symbolism. It is quite different from the traditional costume in aesthetic and functional aspects. The social and cultural factors that influence the costume of Shanxi ancient drama mainly include the system and rules of Chinese ancient costume, the subtle influence of Buddhist culture and Taoist culture, as well as the pro

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Putro, Agung Prayitno, Herman J. Waluyo, and Nugraheni Eko Wardhani. "Values of character education in the Opera Kecoa drama script by N. Riantiarno." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, no. 2 (2019): 146–53. http://dx.doi.org/10.30998/jh.v1i2.49.

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This study aims to describe the values of character education contained in a drama script. This research uses descriptive qualitative method with the subject of research is drama Opera Kecoa by N. Riantiarno. Data sources are obtained from places and events, informants, drama script, and documents. Data collection using document analysis techniques. As one form of literary work, Opera Kecoa drama script contains character education values. The values of character education in this drama script are shown through characterizations and the flow of events in each round. Based on the results of the

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Hallgren, Eva, and Eva Österlind. "Process Drama in Civic Education: Balancing Student Input and Learning Outcomes in a Playful Format." Education Sciences 9, no. 3 (2019): 231. http://dx.doi.org/10.3390/educsci9030231.

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The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity

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Lee, Yeon Sim, Yu Jeong Seol, and Se Kon Oh. "Exploration on Drama Teacher Education Program to Promote PCK for Drama Subject-Matter Education (D-PCK) - Focusing on." Journal of Korean Theatre Education 36 (June 30, 2020): 177–250. http://dx.doi.org/10.46262/kte.36.1.6.

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31

Kempe, Andy. "Resilience or resistance? The value of subject knowledge for drama teachers." Research in Drama Education: The Journal of Applied Theatre and Performance 14, no. 3 (2009): 411–28. http://dx.doi.org/10.1080/13569780903072224.

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Alliot, Julien. "The Uncomely Comedy: Celebrating the Divided Subject in Contemporary British Drama." Études anglaises 69, no. 4 (2016): 463. http://dx.doi.org/10.3917/etan.694.0463.

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Hsu, Pi-Fang, and Hua-Lin Yang. "Developing a Decision Model for Selecting the Scripts of Trendy Taiwanese Dramas." International Journal of Innovation in the Digital Economy 11, no. 4 (2020): 39–51. http://dx.doi.org/10.4018/ijide.2020100103.

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The script of a drama is key to achieving an outstanding performance. This study develops a new model for selecting the scripts of Taiwanese dramas based on the production manager's perceptions. First, the proposed model adopts the modified delphi method to determine suitable evaluative criteria for the scripts of contemporary Taiwanese dramas. Next, the model applies the analytic hierarchy process (AHP) to determine the relative weights of evaluative criteria, thereafter rating the alternatives and selecting the best script. Additionally, a Taiwanese company is used how the scripts of Taiwane

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McDonald, Jan. "New Women in the New Drama." New Theatre Quarterly 6, no. 21 (1990): 31–42. http://dx.doi.org/10.1017/s0266464x0000395x.

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While considerable attention has been paid in recent years to the work of women dramatists during the wave of proto-feminist activity in the early years of the present century, the way in which women characters – whether created by male or female writers – were presented has been less adequately investigated. Here, Jan McDonald, Head of the Department of Theatre, Film, and Television Studies in the University of Glasgow, explores the work of well-known and largely-forgotten playwrights alike, discussing the ways in which the ‘new drama’ – the subject of Jan McDonald's recent book for the ‘Macm

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Al-Joulan, Nayef Ali. "Political Christianity in Renaissance Drama." Advances in Language and Literary Studies 8, no. 4 (2017): 65. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.65.

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Examining the following selected Renaissance dramas: Marlowe’s The Jew of Malta (1585), Shakespeare’s The Merchant of Venice (1596), Massinger’s The Renegado (1624), Daborne’s A Christian Turn'd Turk (1612), and Goffe’s The Raging Turk (1656), this research investigates Renaissance dramatists' portrayal of biased Christian standpoints that govern the relation with the non-Christian to uncover whether that dramatization represents the playwrights' participation in validating those attitudes or their critique of politicizing the Christian faith, in both ways underscoring the existence of an ideo

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Göksel, Eva. "Playing with possibilities." Scenario: A journal for performative teaching, learning, research XIII, no. 1 (2019): 1–20. http://dx.doi.org/10.33178/scenario.13.1.1.

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French as a Second Language (FSL) is not often a popular subject among Canadian elementary and high school students. Negative attitudes and low motivation for learning French contribute to attrition at the high school level. In this article, an alternative teaching approach is applied to the Canadian FSL context at the elementary school level in the province of British Columbia. This action research study conducted in 2010 investigated the outcomes of using a drama-based approach to instruct Core French to 12 year-old students at a Montessori elementary (public) school in British Columbia, Can

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Jihan and Hendriwanto. "University Students' Reflection on Learning English through Drama." Borneo Educational Journal (Borju) 3, no. 1 (2021): 1–7. http://dx.doi.org/10.24903/bej.v3i1.705.

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Speaking skills is common in higher education and can be a significant source of anxiety and stress. This study was designed to measure the student's experience and self-esteem of speaking skills through drama performance. The research was conducted a qualitative interviewing method and analyzed using narrative inquiry. This study participants were English department students who have completed the drama subject in the fifth semester. The instrument used for collecting the data was an interview guide. This study revealed that drama makes students feel confident and self-esteem, freedom of expr

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Hornbrook, David. "Drama, Education, and the Politics of Change: Part Two." New Theatre Quarterly 2, no. 5 (1986): 16–25. http://dx.doi.org/10.1017/s0266464x00001871.

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Following his analysis in NTQ 4 of the origins and effects of the ‘philosophy’ of drama-in-education which prevails in most schools. David Hornbrook here complements his critique with specific proposals for a positive future approach – building upon existing teaching strengths, but also giving the subject a greater curricular authority in the present educational climate, while correcting the ‘romantic fallacies’ from which current practice is too often derived. David Hornbrook has himself taught drama in a large comprehensive school, and is currently Head of Performing Arts at the City of Bath

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Stanivukovic, Goran. "Lupić, Ivan. Subject of Advice: Drama and Counsel from More to Shakespeare." Renaissance and Reformation 43, no. 3 (2020): 327–29. http://dx.doi.org/10.33137/rr.v43i3.35340.

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KAWATA, Koh. "Dynamics of Psycho-Historical Subject Formation in Early Modern Japanese Popular Drama." Japanese Sociological Review 52, no. 2 (2001): 233–49. http://dx.doi.org/10.4057/jsr.52.233.

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Lacey, Stephen, and Brian Woolland. "Educational Drama and Radical Theatre Practice." New Theatre Quarterly 8, no. 29 (1992): 81–91. http://dx.doi.org/10.1017/s0266464x00006357.

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In the early issues ofNew Theatre Quarterly, David Hornbrook initiated a debate on the role and techniques of drama-in-education to which several other notable practitioners subsequently contributed. Since then, the continuing need to defend the very existence of drama within a curriculum-oriented system has perhaps disinclined drama-in-education workers from a theoretical exploration of their methods and purposes. But the argument that the subject should be concerned with theatre practice has, suggest Stephen Lacey and Brian Woolland, overlooked the reality that drama-in-education, in importa

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UHLIG, ANNA. "SEEING SLAVES IN AESCHYLEAN SATYR DRAMA." Bulletin of the Institute of Classical Studies 62, no. 2 (2019): 81–95. http://dx.doi.org/10.1111/2041-5370.12108.

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Abstract This article explores the thematization of the satyrs’ proverbial slave status with specific reference to Aeschylean satyr play. A survey of the extant fragments reveals only one explicit mention of the satyrs’ slavery, suggesting a stark contrast with the relatively frequent references in the satyr plays of Sophocles and Euripides. Situating Aeschylus’ often enigmatic satyr fragments within the broader historical framework of fifth-century Athenian slavery, it is possible to see that the chorus’ servitude is nonetheless obliquely figured in many of our extant passages. At the same ti

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Dewi, Ratna Sari, and Diani Syahputri. "Development of Teaching Materials Drama for Web-Based to Improve the Students’ Skill for Digital Literacy and English Language for Students at FKIP UMSU." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (2020): 2750–58. http://dx.doi.org/10.33258/birci.v3i4.1285.

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The purpose of this research is to develop instructional materials web-based for drama subject who is feasible and valid at Teacher Training and Education Department (FKIP) at Muhammadiyah University of Sumatera Utara and effectively to improve the students’ achievement in Digital Literacy as well as English Language. The research and development model used 4 D (Define, Design, Develop and Disseminate). The instrument of this research is questionnaires given to the seventh grade students. To test the quality of instructional drama material and tested the validity and practicality assessed by e

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McLauchlan, Debra. "Keeping the Kids in School: What the drama class tells us." Encounters in Theory and History of Education 11 (November 24, 2010): 135–54. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2407.

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This study used questionnaires and interviews to discover senior secondary students’ perceptions of their drama class experiences in three different schools from an Ontario public board of education. Questionnaire results from entire classes supported interview results from four students in each class. No notable differences in student perceptions emerged, either between boys and girls, or among the three schools. Findings uncovered student attitudes about scholastic motivation, retention, and success that might be applicable across subject areas. For example, they enjoyed opportunities for ph

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Hanif, Huzefah. "Keep Calm, I Take Latin as a Subject." Journal of Classics Teaching 20, no. 39 (2019): 109–10. http://dx.doi.org/10.1017/s2058631019000205.

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‘Why would you choose Latin?’ I have been asked an overwhelming amount of times, to which, over time, my simplified answer became ‘because I didn't want to do drama’. I realised that my initial wearisome and somewhat preprepared speech wasn't able to effectively communicate my admiration for the intricate and sophisticated subject. Not only for how it enriches the mind in school but also how studying the history that comes with it leads to the understanding of the impact the classical times has had on our society, from the way it works to the way it doesn't. For these reasons, I firmly believe

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Purnama, Yogi, Kartono Kartono, and Sohibul Anwar. "THE MAIN CHARACTER INNER CONFLICT ELEMENT IN DRAMA MANUSCRIPT NYANYIAN ANGSA CREATION BY ANTON CHEKOV AND THE IMPLICATIONS TOWARD LITERATURE TEACHING." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 4, no. 1 (2020): 73–85. http://dx.doi.org/10.30998/jh.v4i1.320.

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Abstract: The inner conflict element which happen to main character in the drama script nyanyian angsa creation by Anton Chekov. The research method which using for analysis the script is qualitative method that description analysis. Research focus internal conflict element in drama script nyanyian angsa creation by Anton Chekov with subject focus element Id >< Ego, Id >< Eros and Superego >< Thanatos. The research instruments analyze scene that have an element of inner conflict in the script nyanyian angsa creation by Anton Chekov. To get the results the writer using present

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Hidayat, Otan, and Sigit Apriyanto. "Drama Excerpt: Tool in Enhancing Speaking Ability for Junior High School." IJECA (International Journal of Education and Curriculum Application) 2, no. 3 (2019): 1. http://dx.doi.org/10.31764/ijeca.v2i3.2029.

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The study aims to analyze drama excerpts as a tool in teaching speaking for Junior High School at the University of Saint Anthony. It also aims to determine the following: 1. Speaking ability, of the students before exposure on drama excerpt 2. The speaking ability after exposure on drama excerpt 3. The observed improvement among students along with body language, eye contact, introduction and closure, pacing, poise, and voice. 4. Develop Oral communication guide for effective speaking material based on the findings of the study. A descriptive survey is used as a method of this study. The stud

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Creeber, Glen. "It’s not TV, it’s online drama: The return of the intimate screen." International Journal of Cultural Studies 14, no. 6 (2011): 591–606. http://dx.doi.org/10.1177/1367877911402589.

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This article will focus on the subject of ‘online drama’, i.e. drama made specifically to be viewed on the Internet. It aims to investigate and account for this new and unique form of serialized drama, explain and clarify its historical origins, locate its generic characteristics and account for and understand its role in the contemporary media landscape. In particular, it will argue that online drama reveals much about the future of broadcasting as a whole and points the direction towards many of the fundamental changes that are taking place in the very aesthetics of contemporary ‘television’

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Vaughan, R. "Die dramatiese discours in Pas de deux van Hugo Claus." Literator 11, no. 2 (1990): 109–20. http://dx.doi.org/10.4102/lit.v11i2.805.

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Drama is action, verbal drama is speech action, and the dramatic text is subject to a similar set of rules as that governing the extra-literary communication situation. Dramatic irony, the very essence of drama itself, is generated by a dual, mutually interactive process of communication, whereby the audience is “written into” the text in a way distinguishing it from other literary genres, and by a systematic flouting of the rules governing communication. Pas de deux demonstrates the peculiar duality of dramatic discourse by its complex exploitation of the breakdown/non-breakdown of Grice’s Co

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Greenwood, Janinka. "Road Blocks, Road Works and Continuing Explorations of the Terrain: An examination of drama in education in New Zealand in relation to the UNESCO Road Map." Encounters in Theory and History of Education 11 (September 29, 2010): 67–79. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2527.

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This article examines the current state of drama in education in New Zealand. It takes as a basis the principles of the UNESCO Road Map, but also recognises that education is a complex human agency that does not readily follow map directions. It acknowledges the factors that cause frustration for drama teachers, and tracks the development of a strong role in national curriculum. It examines the complex relationship between the agency of teachers and the external constraints that impact upon them. Finally it explores the opportunities offered by having drama in the curriculum, noting particular

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