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Journal articles on the topic 'Drama collaboration'

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Published: 4 June 2021
Last updated: 2 February 2022

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1

Hallsworth, Djuna. "National broadcasting, international audiences: How cultural difference is represented in the Danish television dramas Ride upon the Storm, Liberty and Greyzone." Journal of Scandinavian Cinema 10, no. 2 (June 1, 2020): 121–36. http://dx.doi.org/10.1386/jsca_00018_1.

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Denmark represents a noteworthy ‐ and rather successful ‐ example of where state-funded public service broadcasters have retained strong branding locally while asserting an online streaming presence and negotiating sustainable transnational partnerships for future collaboration, thus consolidating domestic and international markets. This article analyses the impact of the shift away from national broadcasting towards transnational production cultures on the Danish domestic market, historically dominated by local public service broadcasters: Danmarks Radio and TV2. Using the television dramas Ride upon the Storm, Liberty and Greyzone as case studies, the article examines the idea that trends towards harnessing global audiences and fostering transnational production collaborations may partially undermine the distinctive cultural and linguistic features of Danish television drama.
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Simatupang, Togar M., and Ramaswami Sridharan. "A drama theory analysis of supply chain collaboration." International Journal of Collaborative Enterprise 2, no. 2/3 (2011): 129. http://dx.doi.org/10.1504/ijcent.2011.042964.

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3

Dean, Paul. "Shakespeare and Manuscript Drama: Canon, Collaboration and Text." English Studies 98, no. 6 (May 17, 2017): 649–50. http://dx.doi.org/10.1080/0013838x.2017.1322392.

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4

Appleby, Ellen. "Mrs Blue Gum, Some Puppets and a Remnant Forest: Towards Sustainability Education through Drama Pedagogy." Australian Journal of Environmental Education 21 (2005): 1–10. http://dx.doi.org/10.1017/s0814062600000902.

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AbstractThis paper focuses on a case study of the collaborative development of an environmental education unit involving the use of puppetry and drama. The collaboration was between an experienced classroom teacher beginning to use drama, and a drama/environmental educator and researcher. The critical lens for the analysis was sustainability education, including how this aligns with some recent theory on multiplist and evaluativist meaning-making. It is argued that these modes of meaning-making are necessary pedagogical goals of an eco-connected pedagogy. This case study showed that collaborative planning, implementation and reflection of drama pedagogy was not only a catalyst for more complex and deeper levels of meaning-making for the classroom teacher, but also prompted discussion about other important issues such as the quality of student engagement, classroom power dynamics and authentic assessment. In addition the teacher observed a range of outcomes achieved by her students that align with sustainability education as they became immersed in a dramatic world. In particular she observed that the students, through role-playing and writing about points of view not necessarily their own, developed deeper understandings demonstrating multiplist and evaluativist meaning creation.
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Siopsi, Anastasia. "Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk." Muzikologija, no. 5 (2005): 257–67. http://dx.doi.org/10.2298/muz0505257s.

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The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.
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MacLean, Sally-Beth. "Records of Early English Drama: A Retrospective." Renaissance and Reformation 37, no. 4 (April 30, 2015): 235–51. http://dx.doi.org/10.33137/rr.v37i4.22649.

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The Records of Early English Drama, founded in 1976, remains a productive humanities research project, with thirty-three volumes in print and two open access research and educational websites to date. This retrospective essay reflects on the individuals who contributed to its founding and evolution; the establishment of systematic research and editorial principles for an international team of contributors; the challenges of funding a collaborative enterprise with long term goals; some of its key contributions to the field of theatre history; and the transition from a print-based series to REED Online, a multi-faceted digital enterprise. In summary, while the re-envisioning of REED as an interoperable research and educational online resource represents a major shift in editorial and publication processes, the core values of the project remain intact: to work together in interdisciplinary collaboration with like-minded partners to deliver the results of systematic research in early theatre to as wide an audience as possible in the twenty-first century. Le Records of Early English Drama, fondé en 1976, consiste toujours en un projet fructueux de recherche en sciences humaines, totalisant à ce jour 33 volumes imprimés et deux sites web ouverts de recherche et d’éducation. Cet article rétrospectif se penche sur les personnes ayant contribué à sa fondation et son évolution, l’établissement d’une systématique de recherche et de principes éditoriaux à l’intention d’une équipe internationale de contributeurs, les défis de financer un projet collectif avec des objectifs à long terme, quelques unes de ses principales contributions dans le domaine de l’histoire du théâtre, et la transition d’une publication imprimée vers le format REED Online, un projet numérique polyvalent. En effet, bien que la transformation du projet en une ressource collaborative REED de recherche et d’enseignement en ligne représente un changement majeur dans les processus éditoriaux et de publication, les valeurs centrales du projet demeurent inchangées : le projet vise toujours la collaboration interdisciplinaire avec des partenaires ayant la même approche afin d’obtenir des résultats de recherche systématique en histoire du théâtre, et à les rendre disponibles à un public aussi large que possible en ce vingt-et-unième siècle.
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Aspinall, Dana E., and Jeffrey Masten. "Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama." Sixteenth Century Journal 29, no. 3 (1998): 816. http://dx.doi.org/10.2307/2543705.

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8

Zhang, Hao, Wu-Yuin Hwang, Shih-Ying Tseng, and Holly S. L. Chen. "Collaborative Drama-Based EFL Learning in Familiar Contexts." Journal of Educational Computing Research 57, no. 3 (April 9, 2018): 697–722. http://dx.doi.org/10.1177/0735633118757731.

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Contextual learning has been recognized as an important method for English as a Foreign Language (EFL) learning and drama was also usually employed to be a good activity for EFL learning which guided learners to interact and use body language to practice English. However, there were few studies to consider both drama and authentic contexts together with mobile devices to facilitate EFL learning. In this research, we developed a contextual drama (CD) system in mobile devices for EFL learning. Students can use CD system to prepare, make, and conduct drama with voices, photos, and texts in authentic contexts to improve English learning. Our goal is to examine how CD system and collaborative CD influences students' learning behaviors and achievement. One quasi-experiment design was conducted with 78 participants, who were the fifth-grade elementary school students during a 5-week experimental period. The results demonstrated that drama-based learning in authentic contexts resulted in better learning achievements than traditional methods. Moreover, we found that collaboration, as key in drama-based EFL learning, could promote peer discussion and therefore help students improve students' storytelling and writing abilities. Students' improved abilities were demonstrated in their sentence complexity and diversity. Additional analysis results derived from the interviews and observations also revealed that students' body languages usage and their engagement in drama activities have significant effect on their learning achievement.
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Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (December 10, 2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.

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This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes which were implemented longitudinally over two academic terms (20 weeks): self-standing play excerpts combined with drama games in the second term followed by a full-scale performance of a single play in the third term. Data were collected through a semi-structured questionnaire, follow-up interviews and researcher’s field notes. Findings revealed that learners perceived that collaboration and interaction through drama were important elements for promoting a positive attitude towards learning a foreign language and their oral production despite the challenges that a full-scale production may pose when subjected to the various constraints of time and the syllabus requirements of a compulsory curriculum.
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Coleman, Claire Marie, and Tim Lind. "Calculating for creativity: Maths joins the circus." Waikato Journal of Education 25 (November 24, 2020): 85–99. http://dx.doi.org/10.15663/wje.v25i0.717.

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Following recent increases in the diversity of students, technologies, pedagogies and environments, New Zealand classrooms are sites of growing complexity. Tasked with covering a broad range of disciplines within each school day, opportunities for subject integration are of increasing value to busy teachers. Developing upon a previous piece of research (Coleman & Davies, 2018), this project sought to gain student engagement in mathematics through a dramatic framework. A key factor in developing adaptable, responsive and capable learners, creativity is an area of intense educational interest and yet substantial confusion (Jefferson & Anderson, 2017). Focusing upon the activation of students’ creative capacities through drama, this project offers suggestions for future praxis and the development of classrooms that invite creativity. We began by establishing a fictional pre-text closely related to their earlier studies of insects. Recruited to assist Professor Lee—a flea circus owner, with the redesign of her circus, this pretext deliberately offered opportunities for mathematics integration. When planning we predicted the need for students to engage with numbers and measurement, yet remained responsive to opportunities arising from the drama or instigated by the students themselves. Over the five drama-maths sessions, we collaborated with students both in and out of role, to design, plan and prepare a new cockroach circus extravaganza. We generated data for the research through reflective journal entries, student work, drama based research and focus groups. Our findings indicate an enthusiasm for the use of drama to engage students and make mathematics meaningful and highlight the vital elements for collaboration and creativity. Three distinct elements appear crucial to engaging in an effective drama-maths unit: a sense of unity in pursuing a common goal, the value of the affective and embodied elements associated with drama, and cultivation of skills for collaboration. While this project bolsters existing rhetoric surrounding STEAM integration, it advocates for further development around existing notions of collaboration for 21st century learning.
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11

Toivanen, Tapio, and Laura Halkilahti. "Investigating pupils’ group creativity in drama - Teacher trainees fostering a creative classroom environment." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION METHODOLOGY 5, no. 3 (December 30, 2014): 757–66. http://dx.doi.org/10.24297/ijrem.v5i3.3901.

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The use of drama in education can be seen as a method to support pupils’ creativity. Drama work offers possibilities for creative group processes and aims for deeper conceptual understanding by preparing students to create new knowledge. Having said this, it is difficult to determine whether this is true, and in what way if it is true. This article seeks to answer the following research questions: Can the principles of theatrical improvisation be used as an analytic tool to examine the collaboration and emergence of creative ideas between pupils during drama work? To what degree do teacher trainees succeed in supporting pupils’ group creativity in drama lessons? The potential complexity and diversity of creative group processes in drama education is challenging for teacher trainees and novice teachers at the beginning of their careers. In this study teacher trainees specializing in drama were observed. Eight lessons were recorded and analyzed using the core principles of improvisation as an analytic tool. The scenes were then interpreted to recognize the characteristics of group creativity (improvisation, collaboration and emergence) defined by Sawyer (2003, 2006, 2012). Both authors analyzed and made their interpretations separately. The findings were compared and the few situations where the authors’ opinions differed were reconciled by discussion. The research results show that the analysis method based on the principles of improvisation was moderately usable for both exact and more general analysis. Within the restrictions of the case studies, our conclusion is that drama teaching supports pupils’ group creativity.
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12

Massai, Sonia. "JAMES PURKIS. Shakespeare and Manuscript Drama: Canon, Collaboration and Text." Review of English Studies 68, no. 286 (February 17, 2017): 806–8. http://dx.doi.org/10.1093/res/hgx012.

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13

Radel, Nicholas F. "Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama (review)." Shakespeare Quarterly 52, no. 4 (2001): 524–27. http://dx.doi.org/10.1353/shq.2001.0065.

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14

Merriam, Thomas. "James Purkis, Shakespeare and Manuscript Drama: Canon, Collaboration and Text." Notes and Queries 66, no. 1 (January 23, 2019): 143–44. http://dx.doi.org/10.1093/notesj/gjy230.

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15

Dellenborg, Lisen, and Margret Lepp. "The Development of Ethnographic Drama to Support Healthcare Professionals." Anthropology in Action 25, no. 1 (March 1, 2018): 1–14. http://dx.doi.org/10.3167/aia.2018.250102.

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AbstractThis article describes the development of ethnographic drama in an action research project involving healthcare professionals in a Swedish medical ward. Ethnographic drama is the result of collaboration between anthropology and drama. As a method, it is suited to illuminating, addressing and studying professional relationships and organisational cultures. It can help healthcare professionals cope with inter-professional conflicts, which have been shown to have serious implications for individual well-being, organisational culture, quality of care and patient safety. Ethnographic drama emerges out of participants’ own experiences and offers them a chance to learn about the unspoken and embodied aspects of their working situation. In the project, ethnographic drama gave participants insight into the impact that structures might have on their actions in everyday encounters on the ward.
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Sari Famularsih. "The Implementation of Classical Puppet Drama Performance to Improve English Speaking Skill for International Class Program Students." IJORER : International Journal of Recent Educational Research 1, no. 2 (July 31, 2020): 116–23. http://dx.doi.org/10.46245/ijorer.v1i2.41.

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This study analysed the implementation of classical puppet drama performance to improve students’ speaking skill in International Class Program of one of universities in Salatiga. The teaching and learning processes in drama class were(1 ) asking the students with the question, (2) designing drama project plan, (3) creating drama preparation schedules, (4) monitoring the students in preparing the drama, (5) assessing the outcome, and (6) evaluating students’ drama performance. This study was qualitative research in the form of case study. To collect the data the researcher used observation, interview, documentation, and questionnaire. The results showed that by using drama performance, students can improve their pronunciation, fluency, accuracy, handle the voice, and body language to improve their self-confidence to speak in English. Moreover, the used of 4Cs skills activities namely critical thinking, communication, collaboration, and creativity skills in the classroom can stimulate students to improve their group work and interaction among students.
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Piazzoli, Erika. "Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 28–46. http://dx.doi.org/10.33178/scenario.6.2.5.

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This paper was presented at the conference ‘Plot me no plots: Theatre for University Language teaching’ held at the University of Padua in October 2011. The presentation included a practical demonstration of the teacher-in-role strategy and a discussion. Process drama is an experiential approach that has been gaining momentum in the field of language teaching; it is a genre of applied theatre in which the participants, together with the facilitator, engage in the co-construction of a story. As an improvised dramatic form, it encourages negotiation of meaning through the process of experience and reflection. In this article, I reflect on the nature of the collaborative process between teacher and participants in process drama, drawing on my doctoral research on the aesthetics of process drama for teaching additional languages. In this research, I worked with three cohorts of adult language learners, studying Italian as a Second Language (L2), and three cohorts of teachers of Italian (L2) new to drama. I draw on classroom data to illustrate two of the main dramatic strategies of the form: ‘teacher-in-role’ and ‘mantle of the expert’. I introduce these strategies, situate them in a theoretical context and discuss issues and implications when teaching to engage, rather than to entertain.
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Stinson, Madonna. "Speaking up about oracy: the contribution of drama pedagogy to enhanced oral communication." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 303–13. http://dx.doi.org/10.1108/etpc-07-2015-0055.

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Purpose – The purpose of this paper is to consider the growing interest in oracy and to propose the pedagogy of process drama as an ideal model for the dialogic classroom. Design/methodology/approach – This paper takes the form of an explanatory case study where the author draws on a successful drama/oracy project in a primary school in Brisbane, Australia, to illustrate the connections between Alexander’s five indicators of a dialogic classroom and the process drama in which the students participated. Findings – The application of this process drama as pedagogy for the teaching and learning of oracy has contributed positively to students’ oral communication skills and intercultural awareness. In addition, parents provide positive feedback about student engagement in school and developing self-confidence because “they have something to say”. Research limitations/implications – There was no formal pre-post test for the oral communication skills on this study, instead the researchers developed a draft “oracy” checklist which deserves further interrogation and development. Practical implications – There are implications for the use of process drama as a means of creating and sustaining the dialogic classroom. Teacher professional development would be required to assist the planning and delivery of dramas that allow for the deep and complex learning evidenced in this study. Social implications – This is an ideal vehicle for assisting in the development of empathy, collaboration, emotional intelligence and intercultural understanding. Originality/value – This is an example of an extremely high-quality curriculum plan and implementation. The importance of engaging in implicit and explicit instruction of oral communication for the twenty-first century should not be underestimated. The process drama allows oral language to be foregrounded, with additional learning opportunities from a range of other learning areas, brought together in a coherent and complex model of practice.
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Stefanova, Kalina. "When drama theatre meets puppetry: How a unique symbiosis brought about distinctive changes in Bulgaria’s theatre." Maska 31, no. 181 (December 1, 2016): 120–28. http://dx.doi.org/10.1386/maska.31.181-182.120_1.

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The text outlines the unique symbiosis between drama and puppetry that started taking shape on Bulgarian theatre stages in the mid-1990s and gradually became a distinctive new theatre reality that changed the face of Bulgarian theatre. It was created by Alexander Morfov, CREDO Theatre and Stefan Moskov, along with a number of actors – all of them puppet theatre graduates – in their collaboration with the Bulgarian National (and other drama) Theater(s).
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Borge, Sheree. "The use of drama activities in teaching German in a third-level classroom." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 1–24. http://dx.doi.org/10.33178/scenario.1.1.1.

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This article discusses the use of drama activities in teaching German to various groups of students at Cork Institute of Technology in the academic year 2003/2004. The findings are based on action research and reflective practice. It describes the outcomes of the use of drama activities in the first-year classroom, and analyses what might have been done differently in order to achieve a more positive result. It also describes the more successful outcomes of the enactment of two dramatic activities by a second-year German class, and the use of a third drama activity with both second- and third-year students. The latter activity was created in collaboration with a colleague, and the latter’s participation and observations, as well as the students’ observations, formed an integral part of the analysis. The concluding part of the article makes suggestions for further research, and offers some advice to third-level teachers or lecturers who are interested in using drama in similar language classroom environments. This article discusses the use of drama activities in teaching German to various groups of students at Cork Institute of Technology in the academic year 2003/2004. The findings are based on action research and reflective practice. It describes the outcomes of the use of drama activities in the first-year classroom, and analyses what might have been done differently in order to achieve a more positive result. It also describes the more successful outcomes of the enactment of two dramatic activities by a second-year German class, and the use of a third drama activity with both second- and third-year students. The latter activity was created in collaboration with a colleague, and the latter’s participation and observations, as well as the students’ observations, formed an integral part of the analysis. The concluding part of the article makes suggestions for further research, and offers some advice to third-level teachers or lecturers who are interested in using drama in similar language classroom environments.
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Masten, Jeffrey A. "Beaumont and/or Fletcher: Collaboration and the Interpretation of Renaissance Drama." ELH 59, no. 2 (1992): 337. http://dx.doi.org/10.2307/2873346.

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Tuomola, Mika. "Drama in the Digital Domain: Commedia dell'Arte, Characterisation, Collaboration and Computers." Digital Creativity 10, no. 3 (September 1999): 167–79. http://dx.doi.org/10.1076/digc.10.3.167.3239.

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23

Presotto, Marco. "Shakespeare and Manuscript Drama: Canon, Collaboration and Text by James Purkis." Bulletin of the Comediantes 69, no. 1 (2017): 159–62. http://dx.doi.org/10.1353/boc.2017.0014.

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Beaven, Ana, and Inma Alvarez. "Non-Formal Drama Training For In-Service Language Teachers." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (January 1, 2014): 5–18. http://dx.doi.org/10.33178/scenario.8.1.2.

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Research on the connections between drama and language learning is not new, and interest in the potential collaboration between these fields has increased in the last four decades. However, studies have mostly focused on students’ experiences and the type of drama activities that could be incorporated in their language class, neglecting key aspects of the specific skills language teachers might need and how these could be developed. Most language teachers have no training in drama, and often the inclusion of drama activities in the language classroom is dependent on the specific interest and experience of the individual teacher, rather than an expected component of the foreign language training programme. This paper will be reporting on an experimental approach to training in-service language teachers through drama for professional and personal development. As part of a Grundtvig Lifelong Learning European project entitled “Performing languages”, experienced language teachers at Higher Education were invited to engage in a series of non-formal activities, including visits to three European countries where they engaged in drama workshops for local amateur groups, reflective methods, and open educational practices.
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Stoate, Gaenor. "Developing learning partnerships through Mantle of the Expert at NCEA Drama Level 2." Set: Research Information for Teachers, no. 3 (November 1, 2014): 45–51. http://dx.doi.org/10.18296/set.0326.

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Shared learning underpins learning communities and partnerships. This article draws on case study data generated from shared perceptions of the use of inquiry pedagogy, Mantle of the Expert, applied to a drama-devising process at NCEA Level 2. Students, teacher, and researcher were positioned together as members of THEATRON, a fictional professional theatre company commissioned to develop original, devised drama for festival audiences. Reflective discourse observed while the company was working in role is seen to have had a positive effect on the development of effective collaboration between teacher and learners.
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Charalambous, Chryso, and Maria Yerosimou. "Drama, Music and Media in Heritage Language Learning." Journal of Education Culture and Society 6, no. 2 (January 2, 2020): 370–81. http://dx.doi.org/10.15503/jecs20152.370.381.

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This paper discusses the role that drama, music and media can play in heritage language learning. The authors will present findings from a project that took place in a community Greek school in London and explore how creative approaches can enhance students' heritage language learning, by bringing together different disciplines as well as different environments such as school, home and community. The project was part of Critical Connections: Multilingual Digital Storytelling Project, a collaboration between Goldsmiths, University of London and different community and mainstream schools in four countries.
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Carlson, Susan. "Process and Product: Contemporary British Theatre and its Communities of Women." Theatre Research International 13, no. 3 (1988): 249–63. http://dx.doi.org/10.1017/s0307883300005812.

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Most of Great Britain's active women dramatists have found crucial support and encouragement for their work from communities of women in the theatre. Off stage, during the process of planning, writing, and rehearsing, collaborations have changed the standard theatrical work pattern and modified the way women writers conceive of drama. On stage, the products – the plays – reflect their communal generation in their focus on groups. In short, the collaborations, collectives, and groups which have encouraged and advanced women's theatrical work account for its particular verve. And while the position of women's theatre communities is now aesthetically and politically much more complicated than it was in the early 70s, playwright Sue Townsend can still proclaim, albeit more optimistically than most, that collaboration with a group ‘is the only way to work’.
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Handayati, Yuanita, Togar M. Simatupang, and Ramaswami Sridharan. "An analysis of collaboration between Coca-Cola and Carrefour using drama theory." International Journal of Value Chain Management 5, no. 1 (2011): 1. http://dx.doi.org/10.1504/ijvcm.2011.041165.

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Carter, E. Vincent. "Delivering Virtual Ethnicity Drama: A Pedagogical Design For Bridging Digital And Diversity Barriers." American Journal of Business Education (AJBE) 8, no. 4 (October 1, 2015): 327–48. http://dx.doi.org/10.19030/ajbe.v8i4.9425.

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This study examines an original dramaturgical method for creating virtual world experience called virtual world drama. The instructional focus is improving students aptitude for analyzing ethnic identity by instilling both conceptual and multicultural competency. An exploratory research method is used, relying on observation (disguised and non-disguised) and survey information collected from a student sample spanning four academic quarters. Findings suggest that virtual world drama deepens the specificity of ethnic culture analysis and broadens the spectrum of ethnic culture awareness. In addition learning outcomes are evaluated based on improvements in ethnic aptitude collaboration, competence, and community.
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Miller Gottlieb, Lynette. "Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine." Canadian University Music Review 22, no. 1 (March 4, 2013): 86–104. http://dx.doi.org/10.7202/1014500ar.

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Forty years after his previous collaboration with his former mentor Jean Cocteau, Francis Poulenc embarked on another joint work with the playwright, the opera La Voix humaine (1958). The sole character is a woman known as Elle, who converses with her former lover on the telephone, a device representative of the negative side of technological progress made during the first few decades of the twentieth century. This study considers the nature of the collaboration between Cocteau and Poulenc, then employs narrative theory to interpret the telephone's power in this drama.
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Williams, Britton. "The R-RAP revisited: Current conceptualizations and applications." Drama Therapy Review 6, no. 2 (October 1, 2020): 183–201. http://dx.doi.org/10.1386/dtr_00027_1.

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Existing research finds that how the client feels towards the therapist and the therapist towards the client will have a direct impact on the therapeutic relationship. Yet little has been written about how to understand and process the therapist‐client relationship in drama therapy. Therefore, the purpose of this article is to illustrate how a relational perspective and use of the Relational-Roles Assessment Protocol (R-RAP) may be implemented in the therapist’s embodied supervision and collaborative therapeutic processes. This article extends the existing R-RAP by providing how-to steps and case illustrations for applying the R-RAP to supervisory settings and in collaboration with clients. The article ends with emergent ideas and considerations for future applications.
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Paik, Yongwook, Yujin Kim, and Evan Rawley. "Vertical Collaboration and Performance of Knowledge-Based Products: Evidence from Korean TV Drama." Academy of Management Proceedings 2019, no. 1 (August 1, 2019): 16745. http://dx.doi.org/10.5465/ambpp.2019.16745abstract.

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Storey, Taryn. "Devine Intervention: Collaboration and Conspiracy in the History of the Royal Court." New Theatre Quarterly 28, no. 4 (November 2012): 363–78. http://dx.doi.org/10.1017/s0266464x12000668.

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Taryn Storey believes that a series of letters recently discovered in the archive of the Arts Council of Great Britain (ACGB) makes it important that we reassess the genesis of the English Stage Company at the Royal Court. Dating from November 1952, the correspondence between George Devine and William Emrys Williams, the Secretary General of the ACGB, offers an insight into a professional and personal relationship that was to have a profound influence on the emerging Arts Council policy for drama. Storey makes the case that in 1953 Devine not only shaped his Royal Court proposal to fit the priorities of the ACGB Drama Panel, but that Devine and senior members of the ACGB then collaborated to ensure that the proposal became a key part of Arts Council strategic planning. Furthermore, she puts forward the argument that the relationship between Devine and Williams was instrumental to new writing and innovation becoming central to the future rationale for state subsidy to the theatre. Taryn Storey is a doctoral student at the University of Reading. Her PhD thesis examines the relationship between practice and policy in the development of new writing in post-war British theatre, and forms part of the AHRC-funded project ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945–1995’, a collaboration between the University of Reading and the Victoria and Albert Museum.
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Mavroudis, Nick, and Pagona Bournelli. "The Contribution of Drama in Education to the Development of Skills Improving the Interpersonal Relations of Multicultural Classroom Students." Journal of Educational Issues 5, no. 2 (August 28, 2019): 42. http://dx.doi.org/10.5296/jei.v5i2.15025.

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The aim of this study is to demonstrate the contribution of a drama in education programme, implemented among students of a multicultural elementary school, to advance skills promoting personal empowerment, develop empathy and collaboration, and to improve their interpersonal relationships. The research is a case study, the tools of which are interviews, observation, researcher’s log, as well as the assessments and self-assessments of students who participated in the processes. The participants are 21 children with various cultural origins, from the lowest financial strata of Greece. The results of this study highlight drama in education as a valuable pedagogical tool that develops a series of qualitative skills necessary in many aspects of everyday life.
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Perdana, Tomy, Mahra Arari H., Fernianda Rahayu H., Tetep Ginanjar, and Ajeng Sesy N.P. "Development of collaboration in sustainable agribusiness cluster." MATEC Web of Conferences 159 (2018): 01045. http://dx.doi.org/10.1051/matecconf/201815901045.

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There is tendency towards sustainable agricultural production to fulfill food security. It ensures that agricultural production is carried out in a sustainable way. Indonesia as developing country has rapid growing population. It will impact to the food security and food demand. That condition is challenging to develop sustainable agricultural production. Meanwhile, the sustainable agricultural production needs interaction and collaboration throughout the agricultural supply chain that involve multi-stakeholders. This study was conducted in Gemah Ripah 2 farmer group in Kuningan District which has collaboration activities with multi-stakeholders (i.e. Universitas Padjadjaran, Bank Indonesia region Cirebon, local government in Kuningan District, and Universitas Kuningan) in the development of sustainable agribusiness cluster. The sustainable agribusiness is a combination between animals (cattle, sheep, and fish), and plants (rice, shallot, chili, and secondary plants). Each subject on sustainable agribusiness (livestock and plants) is linkage and complement for each other. This study was aimed to analyze the potential of collaboration process in sustainable agribusiness cluster. Drama theory approach can illustrate the episodes that showed the dilemmas in the collaboration of sustainable agribusiness cluster, whereas a collaboration framework is used to initiatives for resolving dilemmas
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Utari, Eny Sri. "Efforts to Improve Indonesian Learning Achievements by Applying The Collaboration Teaching Model on Fifth Grade Student SD Negeri 01 Semitau Lesson Year 2015/2016." JP2D (Jurnal Penelitian Pendidikan Dasar) UNTAN 1, no. 1 (May 23, 2018): 54. http://dx.doi.org/10.26418/jp2d.v1i2.24.

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The purpose of this research is to know: (1) The influence of collaboration methods on the learning outcomes of Indonesian class V students of State Elementary School 01 Semitau. (2) The benefits of collaborative methods in an effort to facilitate the understanding of students of Class V Elementary School 01 Semitau of Kapuas Hulu Regency on reading the main idea of drama text.This research uses action research for three rounds, each round consists of four stages: design, activity and observation, reflection, and revision. Target of this research Elementary School Semarang 01 Semitau District Semitau Kapuas Hulu Year 2015-2016. Data obtained in the form of observation, observation sheet of teaching and learning activities. From the analysis result, it is found that the school administration service has increased from cycle I to cycle III, that is cycle I (26%), cycle II (56%), cycle III (100%). The conclusions of this study are, (1) Daily test result after using learning method of Collaboration has increased significantly that is 85,83 whereas previously only 56,23. (2) Implementation of class action obtained data that student interest increase after held PTK in cycle I percentage of student interest is 68,45% after held PTK in cycle II become 100%. (3) After the classroom action research (PTK) using the Collaboration learning model in cycle I the percentage of students' activity is 68.45% in cycle II to 100%
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Karyawati, Alif, and Ashadi Ashadi. "Innovation in the classroom: Engaging English as a foreign learning students using project-based learning." LingTera 5, no. 1 (May 17, 2018): 61–67. http://dx.doi.org/10.21831/lt.v5i1.17067.

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Project based learning (PBL) is an instructional approach that focuses on student centre learning, learning process, and students’ autonomy. This study was conducted at International Class Program in one of universities in Salatiga. Furthermore, this study explained the teaching strategies by using project based learning in English drama class. The researcher used a case study as the design and collected the data by using interview and observation. The participants of this study were an English drama lecturer and 20 students of International Class Program (ICP). The findings indicate that ICP students dominated the class especially to improve their speaking skill and the lecturer provided new learning atmosphere in teaching English by giving some activities which contains communication, critical thinking, collaboration, and creativity or 4Cs skills.
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Plastow, Jane. "Theatre of Conflict in the Eritrean Independence Struggle." New Theatre Quarterly 13, no. 50 (May 1997): 144–54. http://dx.doi.org/10.1017/s0266464x00011003.

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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political role drama played from the outset in Eritrea's struggle towards independence and the effort to mould this alien performance form into a public voice at least for urban Eritreans. Later articles will look at the cultural troupes of the Eritrean liberation forces and at post-independence work on developing community-based theatre. The research took place as part of the continuing Eritrea Community Based Theatre Project, which is involved with practical theatre development as well as theatre research. Although this opening article is written by Jane Plastow, she wishes to stress that it is the upshot of a collaborative research exercise, for which Elias Lucas and Jonathan Stephanus were research trainees. Most of the information used here is the result of interviews they conducted and of translations of articles in Tigrinya or Amharic which they located. Training in interview techniques and collaboration over translation of material into English was conducted by the project research assistant, Paul Warwick. Jane Plastow is the director of the Eritrea Community Based Theatre Project and a lecturer at Leeds University. She initiated the project at the invitation of the Eritrean government, after working in theatre for some years in a number of African countries, notably Ethiopia. She supervised the research for this project, and used her experience of African theatre and of the politics and history of the region to draw the available material into its present state as a preliminary history of Eritrean drama.
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Browder, Laura. "Sheep Hill Memories, Carver Dreams: Creating a Living Newspaper Today." Public Historian 26, no. 2 (2004): 73–80. http://dx.doi.org/10.1525/tph.2004.26.2.73.

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In November 2000, the living newspaper drama Sheep Hill Memories, Carver Dreams premiered to packed houses at Virginia Commonwealth University (VCU) in Richmond. This documentary play concerns the history and survival of Carver, a historically African- American working-class community bordering VCU which was being threatened by the university’s planned expansion. Performed by a Carver-based theater group with a twenty-seven-year history, in collaboration with TheatreVCU, Sheep Hill Memories, Carver Dreams was the outcome of a two-year collaboration between a grass-roots community organization and the university. As playwright and co-director of the two-year Carver Living Newspaper Project, I present the development of the project, its outcomes, and the challenges we faced along the way in creating the play.
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Sztandara, Magdalena, and Grzegorz Niziołek. "Dramatizing Ethnographic Fieldwork. Collaborative Laboratory and the Act of Intervening." Teaching Anthropology 9, no. 2 (April 16, 2020): 17–27. http://dx.doi.org/10.22582/ta.v9i2.522.

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What does it mean when an ethnographer intervenes in the public sphere or when a dramaturgist or theatre director conducts ethnographic research? What are the possibilities and values of such collaboration, and how it might be turned into engaged activities? In the following article, we attempt to answer these questions drawing from our pedagogical experience resulted from a joint effort of running and supervising a collaborative laboratory. For a year, groups of students (anthropologists, dramaturgists and theatre directors) jointly conceptualised, problematised and worked on the project about different masculinities. Throughout the project, all of us have been discussing, negotiating and exchanging our research methods, strategies and ways of exploring social practices by combining ethnography and performative. The outcome included thirteen interventions, understood as immediate social actions performed in the public space. The article aim is to engage with our teaching experiences and collaborative research efforts critically, as well as to problematise the real potential of the drama-based approach to ethnographic research. We argue that the form of collaboration between ethnography and performative arts opens not only new possibilities in methodological and pedagogical approach but also has transformative potential. The interventions performed in the public sphere might be understood as new modalities for disseminating research findings, which distort rather static and normative protocols of academic research presentations in Poland. They also allow reaching broader audiences and enabling more critical, intimate and involved understanding of different social and cultural practices.
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Hochscherf, Tobias. "Narrative Complexity and Cultural Relevance in the Name of Public Service Broadcasting: The Cases of Borgen and Herrens Veje." European Journal of Scandinavian Studies 49, no. 1 (April 24, 2019): 156–77. http://dx.doi.org/10.1515/ejss-2019-0010.

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Abstract Danish television has been able to produce a remarkable number of successful primetime dramas over the last years from Forbrydelsen (The Killing, DR 2007-12) to Herrens Veje (Ride upon the Storm, DR 2017-). Many of them are Nordic Noir crime dramas, yet the list also includes political thrillers and family dramas. This article briefly summarizes main reasons for the prolific production environment at public service broadcaster Danmarks Radio (DR). Some of the exceptional circumstances of Danish television demonstrate why the relatively small country was able to produce shows that found devoted audiences around the world. While the DR production framework has received much attention, this article takes a closer look at narrative composition, issues of characterization and the presentation of themes. Analyzing the first episodes of Borgen (DR 2010-13) and Herrens Veje, the article proposes that it is specifically the combination of multiperspectivity of the leading protagonists and how their life is linked to wider cultural, social and political debates, that can be identified as one main outcome of the fruitful collaboration between DR and various creative personnel. While both shows adhere to the main characteristics of complex serial drama as identified by Jason Mittel and Trisha Dunleavy, there are also some noticeable differences, including their strong public service ethos, their unusual Danish settings, the avoidance of transgressive protagonists, character-centred storylines and their slow, indulgent pace.
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Clark, Patricia, and Eleanor Kane. "TELECOLLABORATION VERSUS FACE-TO-FACE INTERACTION: A CLIL 4Cs PERSPECTIVE ON COLLABORATION IN DRAMA AND EFL." Pedagogical Education in Russia, no. 4 (2016): 25–30. http://dx.doi.org/10.26170/po16-04-05.

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Lev-Aladgem, Shulamith. "Public Theatre, Community Theatre, and Collaboration: Two Case Studies." New Theatre Quarterly 26, no. 4 (November 2010): 369–82. http://dx.doi.org/10.1017/s0266464x10000679.

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In 1986 professional theatre practitioners working in two underprivileged neighbourhoods in greater Tel Aviv in Israel created in collaboration with the local residents two large-scale productions. In this article Shulamith Lev-Aladgem studies these rare encounters between professional public theatre and amateur, community-based theatre in Israel, employing a method similar to that of the historian who employs micro-history in order to reveal the excluded past of muted groups in a given society. Both productions – including the intentions of their creators and participants, the power struggles, and the results – serve as an historical record rich in information regarding Israeli society; and through the micro-history presented here the social and cultural role of the institutional theatre in general, and in Israel in particular, is also explored. Shulamith Lev-Aladgem is a senior lecturer, researcher, and practitioner, chair of the Faculty MA Program of Expressivity and Creativity in the Arts, and Head of Community-Based Theatre Studies in the Theatre Department of Tel Aviv University. She is also a community-based theatre facilitator/director and a trained actress who uses her acting experience in her research and teaching. Her recent publications include articles in Theatre Research International, Theory and Criticism, Social Identities, Israeli Sociology, and Research in Drama Education, and the full-length studies, Standing Front Stage: Resistance, Celebration and Subversion in Israeli Community-Based Theatre (Haifa University Press, 2010) and Theatre in Co-Communities: Articulating Power (Palgrave Macmillan, 2010).
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Mavroudis, Nick. "Drama in Education as an Educational Tool for the Management of Cultural Diversity in Primary Schools." International Journal of Learning and Development 10, no. 4 (December 31, 2020): 95. http://dx.doi.org/10.5296/ijld.v10i4.18136.

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This paper is focused on the manner drama in education may be applied efficiently for the management of cultural inhomogeneity in the classroom and in groups of children. Research shows that this specific educational methodology has a positive contribution to the development of a wide range of skills of social-emotional development. In an era when cultural diversity in classrooms is more intense than ever, this article proposes theatre-pedagogy practices that establish a collaboration culture in the group and contribute to the acceptance and respect of different religious, national, linguistic and racial identities at school.
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Larkin Koushki, Alison. "Engaging English Learners Through Literature, Fairy Tales, and Drama." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 138. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.138.

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Use of literature in the English language classroom deepens student engagement, and fairy tales add magic to the mix. This article details the benefits of engaging English learners in literature and fairy tales, and explores how drama can be enlisted to further mine their riches. An educator’s case studies of language teaching through literature and drama projects are described, and the research question driving them highlighted: What is the impact of dramatizing literature on students’ engagement in novels and second language acquisition? Research on the effects of literature, drama, and the fairy tale genre on second language education is reviewed. Reading and acting out literature and fairy tales hones all four language skills while also enhancing the Seven Cs life skills: communication, creativity, critical thinking, collaboration, commitment, compromise, and confidence. Adding the frame of project-based learning to the instructional strengths of literature and drama forms a strong pedagogical triangle for second language learning. Fairy tales are easily enacted. English educators and learners can download free fairy tale scripts and spice them with creative twists of their own creation or adapted from film and cartoon versions. Providing maximum student engagement, tales can be portrayed with minimum preparation. Using a few simple props and a short script, English learners can dramatize The Three Bears, Little Red Riding Hood, Cinderella, or Snow White in class with little practice. Engagement increases when teams act out tales on stage for an audience of family, friends, classmates, and educators. In fairy tale enactment projects, whether in class or on stage, students apply their multiple intelligences when choosing team roles: script-writing, acting, backstage, costumes, make-up, sound and lights, reporter, advertising, usher, writer’s corner, or stage managing. The article concludes with a list of engaging language activities for use with fairy tales, and a summary of the benefits of fairy tale enactments for English learners.
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Lundén, M., S. M. Lundgren, M. Morrison-Helme, and M. Lepp. "Professional development for radiographers and post graduate nurses in radiological interventions: Building teamwork and collaboration through drama." Radiography 23, no. 4 (November 2017): 330–36. http://dx.doi.org/10.1016/j.radi.2017.06.005.

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Gudyanga, Denford, Tamaryn Palmer, Nicola Wright, Eileen O'Regan, Charity Shonai, Nefasi Mlambo, Melody Maremera, and Walter Mangezi. "Z Factor: Drama as a tool to tackle mental health stigma: study design and protocol for community and public engagement in rural Zimbabwe." Wellcome Open Research 6 (February 8, 2021): 26. http://dx.doi.org/10.12688/wellcomeopenres.16262.1.

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Background: Mental health is slowly gaining global significance as a key health issue, yet the stigma attached to psychosis is still a major problem. There has been little in-depth exploration of sustainable, cost-effective, and replicable community engagement strategies that address mental health myths and stigma, which are major barriers to early health-seeking behaviours. In low-income countries such as Zimbabwe, cultural and spiritual beliefs are at the centre of most mental health explanatory models, perpetuating an environment where mental health conversations are a cultural taboo. Mental health interventions should be accompanied by creative, evidence-based community engagement, ensuring that interventions are suitable for local settings and giving communities a voice in directing their health initiatives. Methods: Z Factor aimed to engage young adults and their support networks across a variety of socioeconomic groups in a rural district of Zimbabwe through their participation in an inter-ward five-staged drama competition. The focus was on psychosis, with subcategories of initial presentation/detection, seeking help/pathway to care, and the road to recovery/treatment. Each drama group’s composition included a young adult and a typical support network seeking treatment from the service provider of choice. Dramas were to act as discussion starters, paving the way toward broader and deeper psychosis treatment discussions among rural communities and gaining insight into service user expectations from health research. Conclusions: Outcomes of the pilot community engagement project will be instrumental in improving understanding community perceptions about psychosis treatment and recovery in rural Zimbabwe and increasing community awareness about psychosis, as well as paving the way for initiating service provider collaboration to promote early detection and encouraging early health-seeking behaviours. The above outcomes will also inform the design of models for more responsive community and public engagement initiatives in similar low resource settings in Zimbabwe and beyond.
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Bazzi, May, Solveig M. Lundgren, Mikael Hellström, Isabell Fridh, Karin Ahlberg, and Ingegerd Bergbom. "The drama in the hybrid OR: video observations of work processes and staff collaboration during endovascular aortic repair." Journal of Multidisciplinary Healthcare Volume 12 (June 2019): 453–64. http://dx.doi.org/10.2147/jmdh.s197727.

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Razali, Nurul Fasheha, Harrinni Md Noor, and Farhana Wan Yunus. "Emotional Intelligence in Creative Process: Enhancing Values in KOMSAS Drama." Sains Insani 6, no. 1 (June 1, 2021): 155–61. http://dx.doi.org/10.33102/sainsinsani.vol6no1.268.

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Emotional intelligence (EI) is the ability to control and manage oneself and others in terms of feelings, emotions and behaviour (Goleman,1998). Malaysian National Health and Morbidity Survey (2015) showed that 600,000 children aged between 5 to 16 in Malaysia were diagnosed with mental health problems. Symptoms of mental illness if not treated early can lead to chronic mental illness. Changes in the way of learning in 21st-century learning require the current generation to equip themselves with EI to control feelings in a more challenging learning process (Mohd Faizul, 2017). Therefore, Malaysian Ministry of Education (MoE) is currently encouraging educators to incorporate these values into the teaching process to build a better future generation. In line with the 21st century learning skills communication, collaboration, critical thinking and creativity skills, along with values and ethic will be the focus in education. The purpose of this study is to explores the possibility of incorporating EI into the education syllabus through drama activities in Malay Literature Component known as KOMSAS (Komponen Sastera) for secondary school students. A survey was conducted among 20 experts who have been teaching Malay Language subject for more than 10 years. This preliminary study is aims to identify the understanding of teachers on the application of emotional values ​​and the process of creativity in learning. Moreover, it aims to identify how current educators apply these elements of value into their teaching and learning activities. The findings of this study showed that the teachers are aware of the EI as well as creativity in learning activities. However, the process of applying values ​​and activities happen unplanned and there is a need to design and develop a teaching module that incorporates creative process (CP) and EI in KOMSAS drama.
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Handayaningrum, Warih. "Science-Based Thematic Cultural Art Learning in Primary School (2013 Curriculum)." Harmonia: Journal of Arts Research and Education 16, no. 1 (December 26, 2016): 14. http://dx.doi.org/10.15294/harmonia.v16i1.6766.

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<p>This study is aimed at discussing the development result of thematic cultural art subject’s learning material based on science for primary school (2013 curriculum). This study is expected to inspire teacher to develop learning material that may explore artworks exist in our living environment (based on the context of children’s environment). This study applies steps in developmental research collaboration by Borg &amp; Gall (1989) and Puslitjaknov (2008) to create the product. The development stages comprise observation in several primary schools in Surabaya, Gresik, and Sidoarjo that has implemented 2013 curriculum that is followed up by stages of development. Furthermore, prototype of cultural and art thematic learning material development results are verified by learning material experts, material expert, primary school teacher, and revised afterwards. The result of this research development is a set of teacher and student books. Science-based cultural art here means cultural art learning as the main medium to introduce local culture products (music, drawing, dance, and drama) by integrating mathematics, sciences, Bahasa Indonesia, and local language subjects. Cultural art products in the form of dance, music, drawing, dramas) will help children to understand a simple mathematical concept, such as: two-dimensional figure, geometry, comparing or estimating longer-shorter, smaller-bigger, or more-less.</p>
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