Academic literature on the topic 'Drama Didactic drama'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Drama Didactic drama.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Drama Didactic drama"
1
Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.
Full textAbstract:
The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.
2
Knight, Sarah. "Enriching the Judgement: Fulke Greville and Didactic Drama." Parergon 33, no. 3 (2016): 145–60. http://dx.doi.org/10.1353/pgn.2016.0134.
Full text
3
Sikošek, Darinka. "HOW TO STILL RECOGNIZE THE PERIODIC TABLE OF ELEMENTS: THE PROPOSALS OF DIDACTIC AND METHODOLOGICAL PLANNING." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 17, no. 2 (December 15, 2020): 124–38. http://dx.doi.org/10.48127/gu-nse/20.17.124.
Full textAbstract:
The methodical approach presents the proposals of didactic-methodological planning of curriculum password "Fields in the periodic system" for the needs of the key components of teaching & learning process. The didactic-methodological proposal of each of the current macro-didactic components of the learning process includes the following didactic elements: chemical terms, method / method’s password, didactic tool, didactic material. For each macro-didactic component, it is planned to use one of the methods from the author's "methodic hexaplet", defined by the didactic formula ADDGPS: Analogy-Drama-Dance-Game-Pantomime-Socratic dialogue. The dance method is used to acquire the concepts of atomic orbitals and electronic configurations of the elements. The macro-component repeating involves the role-play method used to implement the Expeditionary Visit of PTE by using the Identity card of the element. Both methods of quiz conversation method according to Socrates and the Small PTE cells are used for evaluation. The use of all the mentioned methods is evaluated in terms of the competencies that must be mastered by the teacher, as well as the competencies that the student acquires when performing an individual method. Keywords: Periodic table of elements; chemical terms; ADDGPS methods (Analogy-Drama–Dance-Game-Pantomime-Socratic dialogue)
4
Gojic, Jelena. "DRUŠTVENO-POLITIČKI PREOBRAŽAJ PELAGEE VLASOVE U DRAMI „MAJKA“ BERTOLTA BREHTA." Lipar, no. 71 (April 2020): 83–99. http://dx.doi.org/10.46793/lipar71.083g.
Full textAbstract:
Brecht was one of the most influential theatre practitioners, playwrights, poets and filmmakers of the 20th century. In this paper we deal with one of his dramas, which was one of his early dramatic writings and which transparently portrays Brecht’s social engagement and his affection for the Communist Party. This drama shows the basic postulates of Marxist ideology and it has received little attention in Serbian scientific literature. This paper points to Brecht’s engagement in this didactic piece, with the support of the theoretical postulates of Shaw, Sartre, Foucault and Adrienne Rich. The aim of the paper is to show the development of the main character, Pelagea Wlassowa, who is undergoing such a transformation, which is inevitably accompanied by her activation in current socio-political events
5
Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
Full textAbstract:
Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
6
Light, Ivan. "The Lenin-Hobson Theory of Imperialism: A Didactic Drama in Five Acts." Teaching Sociology 14, no. 4 (October 1986): 281. http://dx.doi.org/10.2307/1318390.
Full text
7
Taylor, Barnaby. "RATIONALISM AND THE THEATRE IN LUCRETIUS." Classical Quarterly 66, no. 1 (April 5, 2016): 140–54. http://dx.doi.org/10.1017/s0009838816000161.
Full textAbstract:
Lucretius' primary didactic aim in De Rerum Natura (DRN) is to teach his readers to interpret the world around them in such a way as to avoid the formation of false beliefs. The price of failure is extremely high. Someone who possesses false beliefs is liable to experience fear (of the gods, or of death, or both), and so will not be able to attain the state of tranquillity that, for Epicureans, constitutes the moral end. Equipping readers with sufficient knowledge always to form true beliefs about the phenomena they encounter thus serves no less a purpose than the enabling of their future happiness. This paper is concerned with how Lucretian intertextuality contributes to this primary didactic aim. For reasons to be explained below, I will focus on Lucretian engagement with the texts of Greek and Roman drama. I will show that allusions to drama in DRN, rather than functioning simply as ‘honey on the rim of the cup’, make a direct contribution to Lucretius' ethical project, teaching readers how to respond rationally to the full variety of their cultural experience.
8
Potter, Robert. "Abraham and Human Sacrifice: the Exfoliation of Medieval Drama in Aztec Mexico." New Theatre Quarterly 2, no. 8 (November 1986): 306–12. http://dx.doi.org/10.1017/s0266464x00002311.
Full textAbstract:
Among the least expected (and least examined) aspects of the Spanish conquest of the Aztec empire in Mexico was its ‘export’ of a neo-medieval form of religious drama. The devastation wrought by the conquistadores upon an ancient civilization should not, however, blind us to the extreme cruelty involved in Aztec forms of worship; and in the following article, Robert Potter both outlines the ‘dramatic’ qualities of such sacrificial spectacles, and shows how the Spaniards, in their attempts to convert the Aztecs to Christianity, employed their own forms of ‘sacrificial drama’ for the purpose – utilizing, for example. The Sacrifice of Abraham for their didactic ends, while also assimilating some elements from the supplanted cultural forms. Robert Potter, who teaches in the Department of Dramatic Art in the University of California, Santa Barbara, is author of The English Morality Play (1975), and of many articles on medieval and renaissance drama. He prepared the present paper for the colloquium of the Societe Internationale pour I'Etude du Théâtre Médiéval at Perpignan in July 1986.
9
Gielata, Ireneusz. "Literature as an Auxiliary Science in Teaching Geography." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 6 (September 22, 2021): 93–103. http://dx.doi.org/10.17951/en.2021.6.93-103.
Full textAbstract:
The article discusses the status of literature in teaching geography. Like cartography, literature maps the space and assigns proper names which allow us to see the places of “condensed, multiplied time” (Claudio Magris). Literary maps bind topography with history and thus realise a geopolitical project of “thinking of place, time and action as coherent unity” (Karl Schlögel). Such literary names as Conrad’s “heart of darkness” or mare nostrum, mare monstrum from Dariusz Czaja’s essay, in geography didactics can reveal the drama of “building up of land and history” (Magris) and thanks to this, a map used in the didactic process can lead to cathartic experience, i.e. it can sharpen, activate and sensitize the pupils’ eye.
10
Gonçalves, Amanda Diniz, and Juliano Casimiro De Camargo Sampaio. "A CORPOREIDADE NO ENSINO DE TEATRO: para onde apontam os PPCs das licenciaturas em teatro das universidades federais brasileiras?" Cadernos de Pesquisa 23, no. 1 (April 29, 2016): 95. http://dx.doi.org/10.18764/2178-2229.v23n1p95-106.
Full textAbstract:
Nesta pesquisa analisamos a natureza das referências bibliográficas básicas e complementares das licenciaturas em teatro das universidades federais brasileiras, bem como a presença de indicações sobre o trabalho do ator e sobre o ensino de teatro nos ementários das disciplinas que tomam o corpo como foco. Realizamos análise quantitativa e qualitativa de documentos (Projetos Pedagógicos de Curso). Resultou que tanto as bibliografias quanto as ementas das disciplinas analisadas estão consideravelmente mais voltadas para as práticas do ator do que para o ensino de teatro, bem como evidenciamos a ausência textual das palavras experiência, metodologia e didática no todo das ementas analisadas.Palavras-chave: Licenciatura. Teatro. Ensino. Ementário. CORPORALITY IN THE DRAMA TEACHING: the Educational Program of Course of the drama degree of the brazilian federal universities point to where?Abstract: In this paper we analyze the nature of the references of the degree in drama of the brazilian federal universities. We analyze too the presence of the indications about both the actor’s work and the teaching of drama in the programs of the courses that take the body as focus. The methodology used was documental research with both quantitative and qualitative analyzes of the Educational Program of Course (EPC). Resulted that the references and the programs of studies of the analyzed courses are considerable more focused in the actor’s work than in teaching drama. We noted too the absence of the following words: experience, methodology and didactic, in the analyzed programs of studies.Keywords: Degree. Drama. Teaching. Program of course. LA CORPOREIDAD EN LA ENSEÑANZA DE TEATRO: Para dónde apuntan los Proyectos Pedagógicos de las Licenciaturas en Teatro de las Universidades FederalesResumen: En esta investigación analizamos la naturaleza de las referencias bibliográficas básicas y complementarias de las licenciaturas en teatro de las universidades federales brasileñas, así como, la presencia de indicaciones sobre el trabajo del actor y sobre la enseñanza de teatro en los programas educacionales de las asignaturas que toman el cuerpo como foco. Realizamos análisis cuantitativo y cualitativo de los documentos (Proyectos Pedagógicos de Curso). Resultó que tanto las bibliografías cuanto los programas educacionales de las disciplinas analizadas están considerablemente más direccionados para las prácticas del actor que para la enseñanza de teatro, así como, evidenciamos la ausencia textual de las palabras experiencia, metodología y didáctica en el total de los programas de los cursos analizados. Palabras Clave: Licenciatura. Teatro. Enseñanza. Programa de Curso.
Dissertations / Theses on the topic "Drama Didactic drama"
1
Janzen, Richard G. "The didactic demons of drama, moral instruction on magic in the plays of Greene and Gryphius." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ60058.pdf.
Full text
2
Hultgren, Clara. "Creating Character: Romeo, Juliet and didactic challenges with improvised modern scenes." Thesis, Stockholms universitet, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182778.
Full textAbstract:
This essay describes an action research project conducted twice in the same high school with second year students within the subject English. Students are often unwilling or unable to relate to Shakespeare and his language. It is boring, they say. It is difficult, inaccessible and has nothing to do with us, they say. But how is falling in love unrelatable and boring? How are gangs and families far away from today's society? Romeo and Juliet is relatable and as current today as it was 400 years ago. The subject English in the Swedish curriculum requires different literary time periods and dramatic text as well as living conditions, attitudes, values, traditions, social issues as well as history, politics and culture from the world where English is used should be integrated into the teaching. Which means that Shakespeare is perfect. Teaching English using drama is a challenge with students who do not see themselves as ‘actors’, the didactic challenges themselves being of interest in this essay. Students are asked to create a modern devised version of William Shakespeare’s Romeo and Juliet where they work on character using for example Stanislavsky’s methods and improvisation. The aim is to see which didactic changes need to be made for character work and performance to be effective, run smoothly and be fun. The aim is also to better understand how it feels for the students to take on a character. The results show the importance of relevance for the students, leading them slowly into using drama as a method. The play has to be relatable and have a connection to the students own lives. In conclusion, in-depth character work linked to improvisation and devising is important for the development of character.
3
Doyle, Anne-Marie. "Shakespeare and the genre of comedy." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/177.
Full textAbstract:
Traditionally in the field of aesthetics the genres of tragedy and comedy have been depicted in antithetical opposition to one another. Setting out from the hypothesis that antitheses are aspects of a deeper unity where one informs the construction of the other’s image this thesis questions the hierarchy of genre through a form of ludic postmodernism that interrogates aesthetics in the same way as comedy interrogates ethics and the law of genre. Tracing the chain of signification as laid out by Derrida between theatre as pharmakon and the thaumaturgical influence of the pharmakeus or dramatist, early modern comedy can be identified as re-enacting Renaissance versions of the rite of the pharmakos, where a scapegoat for the ills attendant upon society is chosen and exorcised. Recognisable pharmakoi are scapegoat figures such as Shakespeare’s Shylock, Malvolio, Falstaff and Parolles but the city comedies of this period also depict prostitutes and the unmarried as necessary comic sacrifices for the reordering of society. Throughout this thesis an attempt has been made to position Shakespeare’s comic drama in the specific historical location of early modern London by not only placing his plays in the company of his contemporaries but by forging a strong theoretical engagement with questions of law in relation to issues of genre. The connection Shakespearean comedy makes with the laws of early modern England is highly visible in The Merchant of Venice, Measure for Measure and The Taming of the Shrew and the laws which they scrutinise are peculiar to the regulation of gendered interaction, namely marital union and the power and authority imposed upon both men and women in patriarchal society. Thus, a pivotal section on marriage is required to pinion the argument that the libidinized economy of the early modern stage perpetuates the principle of an excluded middle, comic u-topia, or Derridean ‘non-place’, where implicit contradictions are made explicit. The conclusion that comic denouements are disappointing in their resolution of seemingly insurmountable dilemmas can therefore be reappraised as the outcome of a dialectical movement, where the possibility of alternatives is presented and assessed. Advancing Hegel’s theory that the whole of history is dialectic comedy can therefore be identified as the way in which a society sees itself, dramatically representing the hopes and fears of an entire community.
4
Danckwardt-Lillieström, Kerstin. "Drama i kemisalen : En designbaserad studie av hur kreativt drama kan stödja gymnasieelevers lärande av kemisk bindning." Licentiate thesis, Stockholms universitet, Institutionen för matematikämnets och naturvetenskapsämnenas didaktik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-173777.
Full textAbstract:
A major challenge for chemistry education is to develop the students' understanding of chemical bonding. In upper-secondary school, the challenges are commonly expressed as difficulties for students to distinguish between intra and intermolecular bonding and to understand chemical bonding in terms of electronegativity. The aim of this thesis is to investigate in what ways creative drama can support the students' learning of non-spontaneous chemical concepts related to electronegativity and chemical bonding. Drama has previously been suggested to support science learning, but studies in science education are limited and the potential of using drama to afford student theoretical reasoning in chemistry needs further scrutiny and design development. In the study which forms the basis of the thesis, socio-cultural theory of learning is combined with multimodal social semiotic analysis. The study was conducted as a design-based study with interventions in three cycles in two schools. The interventions, including the drama activity and students group discussions before and after, were video-and audiotaped. In Article 1, data from cycle 2 was analyzed with respect to what kind of semiotic work students were engaged in. In Article 2, the data from cycles 1, 2 and 3 were analyzed on the basis of thematic content analysis resulting in themes regarding in what ways the students explored electronegativity and chemical bonding and in what ways creative drama afforded collective student agency. The main findings point to the importance of meaning-making through transduction to develop students' conceptual understanding of chemical bonding. In the students' semiotic work, it was possible to create relations between electronegativity and the polarity of molecules and to link the polarity of the molecules to intermolecular bonding in the collective whole class interaction, which in turn is a prerequisite for understanding phase changes. The interaction between the student groups was pivotal for linking the chemistry's sub-micro and macro levels. Further, the results show that the students' bodily formations of molecules in certain groups prompted semiotic work in other groups, which got consequences for the students’ collective agency. The visualization of the students' bodily formations created opportunities for students to pay attention to differences in representations of chemical bonding. A notion called epistemic dissonance is introduced to account for the emergent epistemic tensions/contradictions that become recognized by the students in the creative drama. Emergent epistemic dissonances constitute opportunities for collective work concerning the conceptual relations where students act as learning resources for oneanother. This thesis points to the importance of designing creative drama in such ways that both the material and social structure may support the students' collective agency.En stor utmaning för kemiutbildning är att utveckla elevernas förståelse för kemisk bindning. I gymnasieskolan uttrycks utmaningarna som svårigheter för elever att skilja mellan intra och intermolekylär bindning och att förstå kemisk bindning utifrån elektronegativitet. Syftet med den här avhandlingen är att undersöka på vilka sätt kreativt drama kan stödja elevernas lärande av icke-spontana kemiska begrepp relaterade till elektronegativitet och kemisk bindning. Drama är ett sätt att undervisa som har visat sig stödja lärande, men studier inom kemiutbildningen är begränsade och möjligheten att använda drama behöver ytterligare granskning och designutveckling. I studien som ligger till grund för avhandlingen kombineras sociokulturell teori om lärande med multimodal socialsemiotisk analys. En designbaserad studie i tre cykler av interventioner har genomförts i två skolor, vilka inkluderade drama aktiviteter och elevers diskussioner i grupper före och efter dramaaktiviteten. Interaktionerna i klassrummet video och ljudinspelades. I artikel 1 analyserades datamaterialet från cykel 2, utifrån vilken typ av semiotiskt arbete eleverna engagerade sig i när de fick möjlighet att använda sina egna kroppar som semiotiska resurser. I artikel 2 analyserades datamaterialet från cykel 1, 2 och 3, utifrån tematisk innehållsanalys som genererade teman som visade på vilka sätt eleverna undersökte elektronegativitet och kemisk bindning samt på vilka sätt kreativt drama öppnade upp för elevernas kollektiva agens. Huvudresultaten pekar på betydelsen av meningsskapande genom transduktion för att öka elevernas begreppsliga förståelse av kemisk bindning, vilket kan främjas av att eleverna får kombinera artefaktskapande med kroppslig gestaltning. I elevernas semiotiska arbete möjliggjordes att skapa relationer mellan elektronegativitet och molekylers polaritet samt att i den kollektiva helklassinteraktion länka molekylernas polaritet till intermolekylär bindning, vilket i sin tur är en förutsättning för att förstå fasändringar på makronivå. Interaktionen mellan elevgrupperna var avgörande för eleverna att koppla ihop kemins submikro och makronivåer med varandra. Vidare visar resultaten att gruppernas kroppsliga formationer av molekyler i vissa grupper drev på semiotiskt arbete i andra grupper, vilket fick betydelse för den kollektiva agensen. Vid alla observerade lektionstillfällen uppstod ett behov "att veta varför". I dramat skapades möjligheter för eleverna att själva uppmärksamma sådant som inte stämde överens mellan olika gestalningar av kemisk binding. Vi har valt att benämna detta som epistemisk dissonans. Epistemisk dissonans som uppstår i det kreativa dramat hanteras kollektivt av eleverna som fungerar som läroresurser för varandra. Avhandlingens resultat pekar på vikten av att designa kreativt drama så att både den materiella och sociala strukturen kan gynna elevernas kollektiva agens.
5
Bång, Olivia. "Drama as a pedagogical tool in technology education : A study of teachers’ perceptions of drama exercises when teaching ethics in technology." Thesis, KTH, Skolan för teknikvetenskaplig kommunikation och lärande (ECE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-207940.
Full textAbstract:
According to the National Agency of Education in Sweden, ethics should be a part of technology education in compulsory school (Skolverket, 2011), though research shows that technology teachers struggle with how they should teach ethics in technology (Kåreklint, 2007). The National Agency of Education also states that although drama does not have its’ own syllabus in Swedish grade school, it is encouraged that it is integrated in other subjects. The purpose of this study was to inquire how drama can contribute to the teaching of ethics in technology education in secondary schools. This was attempted to be fulfilled by answering the question " How do teachers view the usage of drama as a pedagogical tool when teaching ethics in technology education?" The inquiry was answered conducting three semi structured interviews with three different technology teachers from three secondary schools in Sweden. All teachers had previous to the interview received and conducted a lesson plan with their pupils, specifically developed for this study, where ethics in technology could be taught with a drama exercise. The interview was largely based on the teachers’ impression of this lesson. The result of the study shows that all participating teachers were very positive to the idea of using drama as a tool when teaching ethics in technology education. All teachers expressed that the lesson had gone well and they all answered that they could see themselves use drama as a tool again. The conclusion being that drama could be a viable option for teaching ethics in technology education.I läroplanen för grundskolan ska tekniketik vara en del av teknikundervisningen (Skolverket, 2011). Dock har forskning visat att lärare i Sverige har svårt att inkorporera detta i sin teknikundervisning (Kåreklint, 2007). I läroplanen för den svenska grundskolan så är drama inget eget ämne, men uppmanas av Skolverket (2016) att integreras i andra ämnen. Syftet med denna studie var att undersöka hur drama kan bidra till undervisningen av tekniketik genom att besvara frågeställningen "Hur ser lärare på användningen av drama som ett didaktiskt verktyg i teknikundervisningen kring etik?" Frågeställningen besvarades genom att intervjua tre tekniklärare från tre olika svenska grundskolor. Innan den semi-strukturerade intervjun hölls hade lärarna mottagit och utfört en för denna studie designad lektionsplanering där tekniketik lärdes ut genom en dramaövning. Intervjuerna vilade till största del på den uppfattning lärarna fått kring lektionen i fråga. Resultatet av studien visade att alla medverkande lärare såg positivt på att använda drama som ett didaktiskt verktyg för att lära ut tekniketik. Samtliga lärare uttryckte att lektionen hade fungerat bra och att de planerade att fortsätta använda dramaövningar i framtiden. Slutsatsen var att dramaövningar kan vara ett alternativ för undervisning av tekniketik.
6
Jörtsjö, Cassandra, and Sara Landqvist. "Drama i förskolan : Förskollärares erfarenheter av dramaundervisning med inriktning språk och kommunikation." Thesis, Högskolan i Gävle, Avdelningen för utbildningsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35310.
Full text
7
Håkanson, Hanna. "Teater/drama - en del av kulturskolan? : En diskursanalytisk studie." Thesis, Stockholms universitet, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182800.
Full textAbstract:
Studiens övergripande syfte är att undersöka förutsättningarna för ämnet teater/drama inom kulturskolan. Till grund för uppsatsen ligger tre fokusgruppsamtal med lärare i teater/drama i kulturskolan i en svensk stad samt ett stödjande dokument för kulturskolorna i samma stad och ett styrdokument för Norges kulturskola. Allt material har bearbetats och granskats utifrån en socialkonstruktivistisk ansats genom diskursanalytiska glasögon. Informanterna är eniga om att ämnet teater/drama i kulturskolan i Staden inte betraktas som en konstform, utan huvudsakligen som verktyg och metod. De beskriver en verksamhet som har knappa resurser att nå konstnärlig höjd och beskriver ett ämne som på grund av okunskap kring praktikens tidskrävande processer är marginaliserat i kulturskolans verksamhet. Det framgår att ämnet är i stort behov av att formuleras verbalt. Det tycks nödvändigt att skapa en gemensam terminologi för att möjliggöra en konstruktiv kommunikation mellan lärare i teater/drama och chefer i syfte att utveckla en hållbar verksamhet.
8
Castro, Lizares Juana Dennis Paola. "Drama como complemento didáctico en la enseñanza de lenguas : Experiencias y opiniones de alumnos suecos." Thesis, Stockholms universitet, Institutionen för språkdidaktik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-170476.
Full textAbstract:
Det här är en studie om drama som ett didaktiskt komplement i språkundervisningen. Denna studie bygger på erfarenheter och åsikter från gymnasieelever. Dessa studenter har lektioner på moderna språk med drama som ett didaktiskt komplement. Syftet med denna studie är att undersöka hos gymnasieelever hur accepterat det är att använda drama i moderna språkundervisning. Till skillnad från andra studier, har dessa gymnasieelever redan drama i undervisningen. För att undersöka ämnet har jag använt mig av följande frågor i studien: Är det möjligt att inkludera drama som ett didaktiskt komplement i språkundervisning? Vilka fördelar och nackdelar finns det för eleverna med denna form av undervisning? Metoden för denna studie bygger på en enkät som kombinerar kvantitativa och kvalitativa frågor. Undersökningen är genomförd med en webbaserad enkät som innehåller tolv frågor. Utifrån resultatet av den här studien drar jag slutsatsen att drama som en del i moderna språkundervisning är möjligt, eftersom detta har stor acceptans hos våra studenter. Dessutom visade det sig att studenterna tycker att drama bidrar till att öva den muntliga delen. Det ökar motivationen för lärande, förstärker förmågan och självförtroendet hos studenterna när de ska prata det främmande språket.
9
Georgiadou, Vassilia, and Maria Mylona. "Hur förskollärare ser på arbetet med estetiska uttrycksformer såsom bild, musik och drama i samband med barnens språkutveckling och kommunikation : En kvalitativ studie i Stockholms län." Thesis, Stockholms universitet, Barn- och ungdomsvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-195513.
Full text
10
Edström, Tobias, and Regina Näslund. "Glosor i rampljuset : en studie av ordinlärning i engelska via läromedel och Readers Theatre." Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-19217.
Full textAbstract:
Andraspråksinlärning förutsätter att elever lär sig nya ord och därmed förutsätter ett välfungerande minne och undervisningsmetoder som utnyttjar hur minnet lagrar och återkallar ord. I svenska grundskoloranvänds ofta den traditionella metoden, där elever får bekanta sig med nya ord och fraser (det vill säga glosor) genom att ta del av olika läromedelsbaserade texter och inspelningar i samband med en gloslista som ska instuderas till ett kommande glosförhör. I vår undersökninghar vi jämfört ordinlärning bland mellanstadieelever som har tagit del av den traditionella metoden kontraelever som har deltagit ien pedagogisk dramaaktivitet: Readers Theatre(lästeater). Vår undersökning var begränsad och dess validitet och reliabilitet kan ifrågasättas ur flera aspekter, men våra studieresultat stödjer premissen att elever som deltar i lästeater kan lära sig och minnas nya engelskglosor lika bra och även bättre än elever som lär sig dem genom traditionella undervisningsmetoder. Vår undersökningsresultatantyder att den traditionella metoden är bättre för att behärska stavning och översättning av några utvalda glosor, åtminstone kortsiktigt, medan lästeatermetoden gereleverna en bättre och mer minnesvärd uppfattning om glosornas betydelser och användning i kontext. Våra studieresultat pekar på att inga av metoderna ärfullständiga, då elevernas minne för orden och fraserna som de exponerades försämrades efter en vecka. Att kombinera metoderna skulle möjligtvis ha lett till mer avsiktlig repetition av orden och ännu bättre ordminneSecond language learning requires that pupilslearn new words and thus requires a well-functioning memory and teaching methods that utilize how the memory stores and recalls words. In Swedish gradeschools, the traditional method used to acquaint pupils with new words and phrases (i.e.vocabulary) isthrough various textbook-based texts and recordings in connection with a vocabularylist that is to be studied for an upcoming vocabulary text. In our study, we compared word learning among pupilswho were taught by the traditional methodversus pupils who participated in an educational drama activity: Readers Theatre. Our study was limited, and its validity and reliability can be questioned from several aspects, but our results support the premise that pupilswho participate in Readers Theatrecan learn and remember new English vocabularyjust as well and even better than pupilswho learn them through traditional teaching methods. Our survey results suggest that the traditional method is better for mastering spelling and translation of selected vocabulary,at least in the short-term, while Readers Theatregivespupilsa better and more memorable understandingof the meaning and use of the vocabularyin context. Our results indicate that neitherof the methods isinfallible, as pupils’memory for the words and phrases they were exposed to deteriorated after a week. Combining the methods might have led to more deliberate repetition of the vocabularyand even better vocabularymemory
Books on the topic "Drama Didactic drama"
3
Burnham, Yvette. Everywoman: A modern morality play. Boston (100 Chauncy St., Boston 02111): Baker's Plays, 1994.
Find full text
4
Adejoba, Adebayo. The benefits of education: A play. Ibadan: Dynasty Educational Publications, 2002.
Find full text
5
Wharton, T. F. Moral experiment in Jacobean drama. New York: St. Martin's Press, 1988.
Find full text
6
To instruct and delight: Didactic method in five Tudor dramas. New York: Garland Pub., 1988.
Find full text
7
Mecca, Judy Truesdell. Plays that teach: Plays, activities, & songs with a message. Nashville, Tenn: Incentive Publications, 1992.
Find full text
9
Mandel, Oscar. The Kukkurrik fables: 44 mini-plays for all media. 2nd ed. Los Angeles: Spectrum Productions, 2004.
Find full text
10
Mandel, Oscar. The Kukkurrik fables: 43 mini-plays for all media. Los Angeles, Calif: Spectrum Productions, 1987.
Find full textBook chapters on the topic "Drama Didactic drama"
1
Leach, Robert. "Didactic drama." In An Illustrated History of British Theatre and Performance, 36–39. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-7.
Full text
2
Richardson, Christine, and Jackie Johnston. "Didactic Drama: ‘Everyman’ and other Morality Plays." In Medieval Drama, 97–107. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21180-7_7.
Full text
3
Wheatley, Christopher J. "‘Who Vices Dare Explode’: Thomas Shadwell, Thomas Durfey and Didactic Drama of the Restoration." In A Companion to Restoration Drama, 340–54. Carlton, Victoria, Australia: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118663400.ch20.
Full text
4
von Blanckenburg, Max. "When Didactic Drama Meets the Comical: Two Views on the Victorian Family." In Transfers and Transmutations, 145–81. Göttingen: Göttingen University Press, 2015. http://dx.doi.org/10.17875/gup2021-1735.
Full text
5
Wilson, Kathryn. "READING AND PERFORMING DIDACTIC POETRY IN THE HELLENISTIC PERIOD." In Drama and Performance in Hellenistic Poetry, 317–32. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26zmw.16.
Full text
6
Jouve Martín, José R. "Religious Drama and the Polemics of Conversion in Madrid." In Performing Conversion, 110–39. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474482721.003.0006.
Full textAbstract:
16th- and 17th- century Spanish theatre became a vehicle through which to explore the politics and polemics of conversion in a multicultural empire that presented itself as the champion of Catholic orthodoxy. As the chapter suggests, the appeal of many of these works was not their didactic nature, but rather their playful recreation of the fundamental tensions that surrounded the idea of religious and social conversion in early modern Spain.
7
McKeever, Gerard Lee. "‘The Great Moral Object’ in Joanna Baillie’s Drama." In Dialectics of Improvement, 112–48. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441674.003.0004.
Full textAbstract:
This chapter offers a new reading of Joanna Baillie’s path-breaking drama and dramatic theory, suggesting that it is working through the dialectical logic of improvement. Baillie attempts to counter what she finds to be pernicious aspects of commercial modernisation and politeness with an alternative vision of moral improvement. She presents the drama as uniquely placed to engender moral growth because of its capacity to invoke ‘sympathetick curiosity’ in reader or audience. This volatile force is explored in Count Basil (1798), read as a model example of historical dialectic; in The Family Legend (1810), an important approach to the ‘primitive’ past; and in The Alienated Manor (finally published in 1836), a satire of improvement’s pitfalls. With roots in the Enlightenment science of man, Baillie’s writings sustain a powerful sense of the individual’s contribution to networks of social power and the involvement of this contribution in grand narratives of improvement. Yet, while Baillie seeks to repurpose the enlarged patent theatres into instruments of moral improvement, the pessimism of her social diagnosis threatens to infect her didactic project.
8
Willie, Rachel. "Inscribing Textuality." In Making Milton, 92–107. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198821892.003.0008.
Full textAbstract:
In The Preface to Gondibert (1650), William Davenant proposes a new literary aesthetic predicated upon philosophical and scientific learning. Like Milton, he was concerned with poetic form, though, unlike Milton, Davenant wrote numerous plays. Milton’s minimal engagement with dramatic form could be construed as representative of him positioning himself in opposition to the aesthetics of drama and the politics of the Restoration stage. This chapter addresses how Davenant’s notions of aesthetics and how Milton’s engagement with the theatricality of ink informed their ideas of drama. By placing these two authors in dialogue with one another, we are presented with a rich cultural poetics that is underpinned by questions of authorship and continued anxieties regarding the moral and didactic space of the stage and of the page.
9
Dickason, Kathryn. "Dance of the Hours." In Ringleaders of Redemption, 77–102. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.003.0004.
Full textAbstract:
This chapter demonstrates the formative role dance played in the Christianization of the liturgy and the sacralization of time. Using evidence from liturgical manuals, musical notation, and rituals, it traces how devotional choreography recuperated pagan motifs, impressed itself onto the regular rhythms of the liturgical calendar, and partook in the dance of the cosmos. In church dramas, dance exerted a didactic function, reinforcing the theme of Christian salvation alongside anti-Judaic rhetoric. The first section traces the authorization of liturgical dance in the Western Middle Ages. Through its ritualization of dance, the Western Church reinvented ancient rites within the discipline of the Latin liturgy. The second section illuminates the use of dance in liturgical drama. On the liturgical stage, the reenactment of Christian history offered a space for the ambivalence of dance to be worked out and re-signified. The third section offers a close reading of one specific liturgical dance ritual in Auxerre. This rite reconciled a pre-Christian myth with medieval eschatology and the Christian ordo.
10
Jug, Kristina. "Zagorac kao lik periferije u kontekstu kajkavske dopreporodne svjetovne književnosti i hrvatskoga književnog kanona 20. stoljeća." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 248–71. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.17.
Full textAbstract:
Kajkavian literature of the pre-Illyrian movement was often seen as a less valuable segment of national literature and for that reason was already placed in a peripheral literary phenomenon. That literature often was underestimated because of religious character, utilitarianism and didactics. In the 20th century, when the dialectical literature emerged, Kajkavian literature was recognised as equal in Croatian literature. The main purpose of the paper is the analysis of peripheral literary characters who were appearing in the Enlightenment period in Kajkavian literature at the end of the 18th and beginning of the 19th century. In that period secular topics were included in the Kajkavian literature and reached its culmination, especially in the drama. The paper will explore which literature types are represented by these literary characters and which civic values they represent. The analysis will cover several titles from the secular Kajkavian prose and drama from the late 18th and beginning of the 19th centuries, a work entitled Adolf iliti kakvi su ljudi by Jakob Lovrenčić and Kajkavian drama adaptations performed on the stage of the school theatre at Kaptol Roman-Catholic Preparatory. The Illyrian movement forcefully and deliberately stopped Kajkavian literary production. Immediately after the Illyrian movement Kajkavian language was used to characterize a type of literary character whose purpose was mocking and creating a comic effect. The work will explore at which moment the literary characters of Kajkavian peripheries become inspirational to Croatian writers as representatives of a certain milieu and worldview. Particularly interesting will be the analysis of literary characters from the collection of stories Croatian God Mars by Miroslav Krleža and the paper will answer the question on the universal values of the literary characters of Kajkavian periphery and their purpose in the national literature.
Conference papers on the topic "Drama Didactic drama"
1
Vidulin, Sabina. "MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.
Full textAbstract:
Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.