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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Orengwu Okatahi, Angela, Hosea Abalaka Apeh, and Omolara Ayoka Iyiegbuniwe. "Effect of Brain-Based Learning Strategies on Secondary School Students’ Academic Achievement in Federal Capital Territory, Abuja, Nigeria." EAST AFRICAN JOURNAL OF EDUCATION AND SOCIAL SCIENCES 1, no. 3 (December 27, 2020): 145–56. http://dx.doi.org/10.46606/eajess2020v01i03.0053.
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The study was on the effect Brain-Based Learning Strategies on the academic achievement of secondary school students in Abuja, Nigeria. The pretest post-test Quasi Experimental Research design was used with a sample of 142 Senior Secondary School Students drawn from two schools. Two intact classes were randomly selected from each school. Data for the study was sourced using the Economics Achievement Test (EAT). The hypothesis was tested at a significant level of 0.05 using ANCOVA. The findings revealed a significant difference in the academic achievement with mean difference of 15.82 in favor of the Experimental Group. The study concluded that Brain-based learning strategies have significant effect on students’ academic achievement as the result indicated that the effect of the treatment, (brain-based learning strategy) was significantly positive on students’ academic achievement in Economics. The study recommended that teachers should adopt the Brain-based learning strategies in teaching Economics by providing a relaxed environment with low threat, good nutrition, physical exercise, movement, drama, drinking of water before and during lessons.
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Çıldır, Sema. "Opinions of teacher candidates upon the use of effective communication skills when teaching sciences." SHS Web of Conferences 66 (2019): 01038. http://dx.doi.org/10.1051/shsconf/20196601038.
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While teaching sciences which takes up a huge place in today's technological world, effective communication among teachers and students is especially required in order to increase the enthusiasm of students about sciences. The study is aimed to support teacher candidates in acquiring effective interaction abilities, which are some of the 21st century foreground skills, and foster them to make use of these abilities in the process of teaching sciences. The research has been conducted in accordance with qualitative research techniques which include observation and semi- structured interviewing techniques. 17 teacher candidates have taken part in the research as volunteers. The result of the observations made show that these teacher candidates have used oral communication in the activities mostly. The subject of hand and facial movements (mimics) and drama technique in teaching have drawn attention of teacher candidates heavily. According to the results of interviews made, it can be deducted that it is an important improvement for them to learn effective listening is also a medium for communication. At the end of the research, the teacher candidates have been observed to have found a chance to get to know themselves in the use of communication skills; therefore, it has been detected these people have been using some of the communication channels without realizing it, whether they are positive or negative, in their relations with friends, family members, school life and so on. The realization of teacher candidates upon the importance of communication skills in education and turning their ideas into skills through their knowledge in the issue reveal the fact that this study has fulfilled its aims.
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Sudrajat, Unggul. "TRANSFORMASI PENDIDIKAN SENI DI TAMAN SISWA." Jurnal Ilmiah Mimbar Demokrasi 18, no. 1 (October 1, 2018): 46–58. http://dx.doi.org/10.21009/jimd.v18i1.9252.
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The art paradigm that uses the Kancil story as a method of introducing moral values certainly has its own uniqueness and purpose. These two different views of the KPK and Tamansiswa are very contradictive, the same source gets the opposite interpretation. Therefore, the story of Kancil is interesting to study regarding its feasibility as one of the teaching materials in school. This paper will reveal the view of education in Taman Siswa about the Kancil story, specifically about Sendratari composed by Ki Hadi Sukatno which was studied through qualitative research with a discussion of descriptive analysis approach. The results of the study revealed the art transformation in Taman Siswa by explaining how educational facilities must be dynamic along with the development of the child's nature. Through dance, music, and drama movements collected in Sendratari “Mouse deer stealing Cucumbers", Ki Hadi Sukatno was able to implement the concept of the Among System created by Ki Hadjar Dewantara. The use of Kancil stories as a means of education must be sorted out which matches the basic or secondary level.Therefore, it is necessary to have a method that matches the character so that it finds the moral value implied through the fabric of the story.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Seniarika, Seniarika. "Investigating Drama in Teaching Practice." Edukasi Lingua Sastra 15, no. 2 (January 11, 2018): 92–100. http://dx.doi.org/10.47637/elsa.v15i2.71.
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Drama is widely used in English class inasmuch as drama is considered as a way to learn English effectively. A lot of researcher conducted studies on drama either aimed to find out the benefits obtained through drama or aimed to find out the difficulties that might be found by the learners in drama. This article reviews five articles in relation with drama. The researcher in those studies investigated drama from different perspective. The result found in this study is expected to be consideration in implementing drama in teaching practice.
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Wilkinson, Nicola, Siva Srikumar, Karen Shaw, and Martin Orrell. "Drama and movement therapy in dementia: a pilot study." Arts in Psychotherapy 25, no. 3 (August 1998): 195–201. http://dx.doi.org/10.1016/s0197-4556(97)00102-0.
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Yoon, Ji-Young. "The Effect of Music Drama Play Performing Program on movement teaching anxiety and movement teaching efficacy belief for Pre-Service Early-Childhood Teachers." Korean Association For Learner-Centered Curriculum And Instruction 19, no. 4 (February 28, 2019): 145–61. http://dx.doi.org/10.22251/jlcci.2019.19.4.145.
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Han, Dabin. "A Study of Teaching Picture Books through Story Drama." Journal of Korea Association for Drama/Theatre and Education 11, no. 1 (March 31, 2019): 69–91. http://dx.doi.org/10.31342/jkadte.2019.11.1.04.
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Hietz, Kristina. "(No) drama with grammar." Scenario: A Journal for Performative Teaching, Learning, Research XV, no. 1 (August 15, 2021): 128–35. http://dx.doi.org/10.33178/scenario.15.1.9.
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This Window-of-Practice contribution is based on my Master’s thesis written in the Department of Foreign Language Education in Innsbruck, Austria. It discusses a performative approach to teaching grammar in EfL contexts. “Performative” is used as an umbrella term to describe different forms of language teaching that derive from the performing arts (Schewe, 2013). The motivation behind this topic lies in my enthusiasm for drama and the conviction that a drama-based approach applied to language learning is efficient, motivating and sustainable. The contribution provides insights into the methodology and procedure of a case study that investigates effects of drama-based teaching. The case study was performed in 2017 at an upper secondary school in Austria, where English learners were taught English conditional clauses via a drama-based approach. The study, including a control group, a mixed-method, pre-and post-test design, yields quantitative and qualitative data on effects of drama-based teaching. Despite the lack of significant differences in test results between treatment and control groups, the study provides evidence that a performative approach applied to grammar teaching is successful and related to fun, increased motivation and positive group dynamics.
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Namundjebo, Elizabeth, Jairos Kangira, and Elizabeth Morgan. "The role of drama in teaching English." JULACE: Journal of the University of Namibia Language Centre 3, no. 1 (December 31, 2018): 1–8. http://dx.doi.org/10.32642/julace.v3i1.1371.
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The purpose of this study was to explore the role of drama in teaching English to enhance students’ communicative skills at the University of Namibia. The discussions of the research focused on assessing the benefits of using drama in the teaching of English to increase students’ motivation and self-confidence, as well as to enhance their communicative skills. Research findings revealed the effectiveness of drama oriented English lessons to the benefits of students’ speaking skills, motivation, self-esteem and confidence in their abilities to communicate in English. In addition, the findings revealed that drama activities aided students develop a community and foster group cohesiveness, which helped in building students’ confidence when speaking English in front of their classmates. Moreover, the study results revealed that motivation is linked to self-confidence as the drama activities accorded students the opportunity to use the target language in real life situations.
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Kovács, Gabriella. "Applied Drama and Theatre – Drama Techniques in Teaching English for Specific Purposes." Acta Universitatis Sapientiae, Philologica 6, no. 3 (December 1, 2014): 391–409. http://dx.doi.org/10.1515/ausp-2015-0026.
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AbstractTheatre is a source to which teachers often turn for fresh ideas and methods. This study tries to unfold and follow the path which leads from theatre and drama to institutional education, and reveal the complex interdisciplinary connections and relations which have made it possible to use some of the experiences and methods accumulated in the field of actor training and applied drama and theatre in teaching English for specific purposes.
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Barahmeh, Mosaddaq, and Tahani Bsharat. "The Influence of Applying the Principles of Experiential Coyote Drama (ECD) Methods in Teaching English Language from the English language supervisor’s perspectives in Jenin city (case study)." Advances in Social Sciences Research Journal 8, no. 4 (May 6, 2021): 662–84. http://dx.doi.org/10.14738/assrj.84.10026.
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This paper sheds light on the importance of applying the Principles of Experiential Coyote Drama (ECD) Methods in Teaching English Language from the English language supervisor’s perspectives in Jenin city (case study). First of all, this paper discloses the Coyote teaching method. Later, this paper also explains the importance of Experiential learning in teaching English as a Foreign Language. It also explains the educational drama and its techniques in teaching-learning the English language. Finally, this paper suggests a new teaching-learning method which is Experiential Coyote Drama (ECD). All in all, from the previous studies and researches the researchers found that mixing educational drama with Experiential learning and Coyote method will bring a full package of new methods and activities for the teachers, learners and future researchers in teaching English as a Foreign Language.
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J. Sosulski, Michael. "Workshop in German Drama." Scenario: A Journal of Performative Teaching, Learning, Research II, no. 1 (January 1, 2008): 7–16. http://dx.doi.org/10.33178/scenario.2.1.2.
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This article presents a model for teaching a true four-skills second language course in German using student drama performance as the primary vehicle of instruction. Students in this workshop-style course learn to closely read literary German drama while enacting key scenes using authentic period acting techniques. Both the study of literary drama and the historical acting techniques with which they were performed offer students special access to important elements of German culture during notable eras while sharpening their mastery of advanced vocabulary and linguistic structure in German. The value of teaching drama through active learning, as well as the use of reflection in assessment are among the topics explored in this article. This article presents a model for teaching a true four-skills second language course in German using student drama performance as the primary vehicle of instruction. Students in this workshop-style course learn to closely read literary German drama while enacting key scenes using authentic period acting techniques. Both the study of literary drama and the historical acting techniques with which they were performed offer students special access to important elements of German culture during notable eras while sharpening their mastery of advanced vocabulary and linguistic structure in German. The value of teaching drama through active learning, as well as the use of reflection in assessment are among the topics explored in this article.
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Budiarto. "THE IMPORTANCE OF THE IMPLEMENTATION OF DRAMA ANDCULTUREIN SPEAKING CLASS (AN ETHNOGRAPHY STUDY AT STIBA IEC, JAKARTA)." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 4, no. 2 (December 31, 2018): 162–67. http://dx.doi.org/10.21009/ijlecr.052.20.
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The traditional routines in speaking class are often based on learning materials from a handbook. It is practical because a teacher does not need to think about the syllabus, as it is described clearly in front pages in the book. In addition, by referring to the syllabus in the book, the teacher can easily prepare a lessonplan. When it comes to the implementation of teaching speaking skill, the teacher can just train students based on the topics given with certain grammar points and vocabulary coverage. However, it does not normally give more opportunity for the students to use theauthentic language and culture. Too much guiding students with certain patterns and vocabulary seems to be artificial although vocabulary and grammar are not taught explicitly in a speaking class. Furthermore, without freedom in choosing a topic, students’ ideas are too restricted and they tend to memorize language patternsaccording to the topic covered in the book.Nowadays, more and more teachers realize the importance of the implementation of drama and culture in teaching English speaking skill. However, there should be further study to see how a teacher applies drama and culture while teaching speaking skill.
A research conductedat STIBA IEC Jakarta investigated the importance of the implementation of drama and culture in Speaking Class of students from the second semester in 2018.It was intended to see how the phenomena of teaching English speaking skill through drama and culture was implemented. The findings indicated that drama and culture were able to help the students use English more naturally or authentically. The students were able to see whether their English was authentic and culturally acceptable by relating to their experience or knowledge they got from drama. It showed that the more topics in drama the students practiced, the more knowledge about culture they learnt, and the more authentic or natural the language they acquired. Therefore, both teacher and students think that the implementation of drama and culture in teaching speaking skill is important.
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Loney, Glenn. "The American Actor Prepares: Scene-Study for Oblivion?" New Theatre Quarterly 5, no. 20 (November 1989): 315–20. http://dx.doi.org/10.1017/s0266464x00003638.
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Never mind the theory, face the facts: is there room in the American theatre for all the performers graduating as drama majors from American universities? Glenn Loney, who has himself been teaching drama since 1960 as well as writing widely on theatrical subjects, sketches in the background to the American system, looks at the limited horizons for the newly qualified actor, and suggests a shift in the aims and orientation of academic drama – and the expectations of those who pursue it.
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Rahman, Ahmad Syaeful. "PENINGKATAN KEMAMPUAN MENULIS NASKAH DRAMA DENGAN PENDEKATAN CONTEXTUAL TEACHING LEARNING (CTL)." LITERASI : Jurnal Ilmiah Pendidikan Bahasa, Sastra Indonesia dan Daerah 7, no. 1 (March 31, 2017): 32. http://dx.doi.org/10.23969/literasi.v7i1.276.
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The study is title “The Increased to Write Drama Manuscript With Contextual teaching Learning (CTL) Approach” which alms to develop students ability to write drama manuscript for MTs. eight grade with approach of contextual teaching learning (CTL). This research was carried out on eight grade student one of MTs. Mathla’ul Anwar 2 Bogor, as many as 47 students.
The method research used is action research method. The instrument used in this study include: 1) observation sheet, 2) interview guide, 3) free essays for test writing drama manuscript, 4) documentation. The result showed that there increased ability to write drama manuscript with approach of contextual teaching learning (CTL) in eight grade student MTs. it is characterized by an increase in the average value of the test’s ability to write a drama manuscript. The increase in the average value of the pretest to cycle 1 was 15% and from cycle 1 to cycle 2 increased 4%. The mayor influence of the contextual teaching learning application the use of video impressions drama performances and discussion of video impressions drama performances and the use of media drama.
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Yavuz, Fatih. "The effect of drama in the teaching of listening skills." Global Journal of Foreign Language Teaching 7, no. 4 (January 7, 2018): 132–36. http://dx.doi.org/10.18844/gjflt.v7i4.3001.
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Phonetics is the study of sounds to read letters correctly. It can also be defined as the ease of communication, if theory and practice both agree about the communicative function when learning a foreign language. Drama has been used in language teaching as a creative tool that motivates and lowers the anxiety level of the learners. This paper seeks the effectiveness of using drama in the teaching of phonetics in an EFL setting. After using drama in education in the teaching of pronunciation, the results show that students are more successful in acquiring the sound system compared with traditional teaching.
Keywords: Phonetics, EFL, ELT, drama, learning through drama.
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김지미 and Um,Hae-Young. "A Study on Teaching Methods for Reading Discussion through Drama Activities." Korean Journal of Elementary Education 28, no. 1 (March 2017): 143–56. http://dx.doi.org/10.20972/kjee.28.1.201703.143.
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이미연. "The Study of Educational methods for teaching Hwangjoga using Creative Drama." Classical Literature and Education ll, no. 22 (August 2011): 183–215. http://dx.doi.org/10.17319/cle.2011..22.183.
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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy." European Journal of Social Science Education and Research 5, no. 3 (December 1, 2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.
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Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.
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Rosa, Silvia, Ivonne Olivia, Satya Gayatri, Tira Nur Fitria, and Ahmad Ridho Rojabi. "Increasing youth awareness of local culture through active learning." Cypriot Journal of Educational Sciences 16, no. 4 (August 31, 2021): 1582–601. http://dx.doi.org/10.18844/cjes.v16i4.6014.
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This study aims to determine the influence of practice-based active learning on students' interest and response in learning local culture in drama classes. The research was conducted at public universities in Indonesia using two active learning strategies. Qualitative methods using participatory techniques, interviews, and observations were carried out in collecting data for this study. The sample of this research is fifty drama class students. The analysis of data was done after the drama classes ended, which was marked by the process of assessing student learning outcomes through stage performances. This study showed a statistically significant increase in students' interest and response to learning local culture through collaborative learning methods and role-play in drama classroom learning. This study recommends adopting an active learning strategy in teaching local cultural materials to students. Further research is recommended on designing different active learning strategies with other variables and in different locations.
Keywords: Scriptwriting; classroom drama teaching; teaching local culture; active learning.
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Wajdi, Fathullah. "IMPLEMENTASI PROJECT BASED LEARNING (PBL) DAN PENILAIAN AUTENTIK DALAM PEMBELAJARAN DRAMA INDONESIA." Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (June 8, 2017): 86. http://dx.doi.org/10.17509/bs_jpbsp.v17i1.6960.
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This study aims to explain the implementation of project learning model (PBL) and authentic assessment that can serve as a model for teachers in teaching drama and literature in general. The is a qualitative research study with the following stages: determine assumptions, determine the design, determine the rules of research, collect data, perform data recording, analyze data, verify the research stage, and describe the research results. This research generates several findings: (1) project based learning (PBL) and authentic assessment fit well with the teaching of drama; (2) the model in question is easy to implement in teaching drama; (3) the learning steps involved are simple yet stimulate the students to actively participate; and (4) this model leads to satisfactory student competence, with an average of 3.55 and 3.63 on a 1-4 scale with excellent qualifications. Competitiveness is measured through the authentic judgment with the rubric of the drama performance parameter. Based on the discussion, it can be concluded that (1) project based learning (PBL) and authentic assessment can be implemented well and easily; and (2) the result of model implementation in teaching drama indicates very satisfactory results.Keywords: PBL, authentic assessment, Indonesian drama
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Kosti, Katerina, and Theodora Papaioannou. "Drama-in-education for critical historical thinkers: A case study in the Greek context." Scenario: A Journal for Performative Teaching, Learning, Research XIV, no. 2 (December 31, 2020): 26–41. http://dx.doi.org/10.33178/scenario.14.2.2.
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The case study presented in this article refers to the connection of drama-in-education and critical thinking in history, in order to highlight the importance of drama for the teaching of history in primary schools in Greece. The research plan adopted is quantitative and qualitative, and the research strategy applied is that of case study. For the purposes of this study, four scenarios based on drama-in-education techniques were designed and applied on a sample of forty-three primary students. The analysis of the findings show that the students’ understanding of historical contexts and objectives of historically active subjects was encouraged by drama-based instruction.
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Farrah, Mohammed, Balsam Halahla, and Shahd Sider. "Using drama in the Palestinian EFL classroom: teachers’ attitudes, advantages, problems, and teaching techniques." Journal on English as a Foreign Language 11, no. 1 (March 7, 2021): 85–103. http://dx.doi.org/10.23971/jefl.v11i1.2270.
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The use of drama activities is a method that allows learners to improve their communication skills, think critically, learn new vocabulary, and increase their motivation for learning. This study investigates the attitudes of English language teachers, as well as the advantages, problems faced in, and teaching techniques of the English language learning process in Palestinian schools using drama activities. Using both qualitative and quantitative research methods, the researchers investigated the extent to which drama activities are used while teaching English as a second language in Palestinian schools using a questionnaire and interviews. In the questionnaire, the participating English language teachers were 39 females and 12 males. Two teachers were interviewed. The findings confirm the need to implement changes and improvements regarding the use of drama activities in the language classroom. Moreover, the findings suggest following specific drama usage recommendations to ensure satisfactory results for both teachers and students to improve the four language skills. The implication of this study calls for providing clear and sufficient materials for drama classes, as well as offering teachers training programs to enhance their abilities to use drama activities in an effective way.
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Dadük, Semih, and Hülya Dede. "Teaching Secondary School Science through Creative Drama Method: A case study approach." Educational Policy Analysis and Strategic Research 15, no. 4 (December 28, 2020): 107–26. http://dx.doi.org/10.29329/epasr.2020.323.6.
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Dervishaj, Adriana, and Migena Alimehmeti. "Drama techniques enable students to use language with a pragmatic intent." European Journal of Social Sciences Education and Research 1, no. 1 (May 1, 2014): 298. http://dx.doi.org/10.26417/ejser.v1i1.p298-301.
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With regard to creative teaching, the study brings forth arguments about the thesis that learning foreign languages by using drama techniques constitutes an innovative way in which the monotony can be broken and the lesson is made more real, more meaningful and purposeful. The use of drama techniques creates the right context for a meaningful language production, thus urging the students to use their linguistic resources and their language skills. Drama techniques enable the students to use language with a pragmatic intent. The study intends to meet an urgent need of the academic and educational staff of foreign languages for information about creative teaching, models and patterns for the development of creativity through drama techniques. It addresses specific issues related to drama as a teaching methodology. In short, it not only investigated reality in order to change it but, as Kemmis and Wilkinson (1998) suggest, it has changed reality in order to investigate it. A university teacher-educator may change her approach to her own teaching style and the learning outcomes of her students.
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Alasmari, Nasser, and Amal Alshae’el. "The Effect of Using Drama in English Language Learning among Young Learners: A Case Study of 6th Grade Female Pupils in Sakaka City." International Journal of Education and Literacy Studies 8, no. 1 (January 31, 2020): 61. http://dx.doi.org/10.7575/aiac.ijels.v.8n.1p.61.
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English is now the most frequently used language worldwide. In academia, English has become “a hyper central language” millions of students are learning for various reasons. As such, pedagogists, academicians, and language teachers seek new tools and teaching methods to help English language learners reach high proficiency levels. The use of drama as a teaching/learning tool in English language classrooms is one proposed method, justifying this study to investigate the effects of teaching English language through drama, thus deciphering the advantages of this experience and possible challenges it may pose. Data was gathered via an English language test and classroom observations. Results showed that the use of drama develops participants’ language skills, especially the communicative ones such as interactions and conversations, and yields higher proficiency levels as it motivates them to become more engaged in the learning process. These participants also displayed more responsibility and self-reliance; thus, much learning took place. These results confirmed the general claim that introducing drama activities in language classrooms positively supports language acquisition. However, introduction of such a tool presented a few challenges as well, such as the learners’ problems of L1 interference, embarrassment, and inhibition, as well as issues related to the unpredictable and open-ended nature of drama. This paper presents more implications of the findings that necessitate further research to gain a more comprehensive account of drama use in language classrooms and thus overcome the challenges presented.
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Wang, Ping. "The Use of Drama in English Teaching of Chinese Arts Colleges." Journal of Arts and Humanities 6, no. 7 (July 23, 2017): 48. http://dx.doi.org/10.18533/journal.v6i7.1222.
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<p>The study of English communication is not only a must to arts majors for international arts communication, but also a big challenge for them to master. The aim of the study is to explore the use of drama activities in English communication class in a Chinese arts college and to determine whether drama activities are beneficial to arts majors’ language proficiency and other cognitive skills. For this study, we employed a qualitative method by analyzing students’ reflective writing and observing participants’ activities. The findings show that drama in education is an effective way to teach college English in a Chinese arts college, so that a more elaborated curriculum design is urgently needed for better teaching and learning. </p>
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Wicaksono, Akbar Bagus, Ani Rakhmawati, and Raheni Suhita. "NASKAH DRAMA SENJA DENGAN DUA KELELAWAR KARYA KRIDJOMULYO: KAJIAN PSIKOLOGI SASTRA DAN RELEVANSINYA SEBAGAI BAHAN AJAR APRESIASI DRAMA DI SEKOLAH MENENGAH ATAS." Basastra: Jurnal Bahasa, Sastra, dan Pengajarannya 6, no. 1 (December 6, 2019): 1. http://dx.doi.org/10.20961/basastra.v6i1.37650.
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<em>This research aims to explain: (1) characters character in the drama script Senja Dengan Dua Kelelawar; (2) the inner conflicts experienced by the characters in the drama script Senja Dengan Dua Kelelawar; and (3) the relevance of the drama Senja Dengan Dua Kelelawar as a teaching material for drama appreciation at senior high school. This study uses a literature psychology study, which uses a psychological approach to knowing the character of the character through observation of behavioral characters. The results of this study are descriptions of: (1) the characterization of the characters in the Drama Senja Dengan Dua Kelelawar which differ from each character. This is done to build a storyline that matches the theme of the drama script; (2) the inner conflicts experienced by the characters in the drama drama Senja Dengan Dua Kelelawar are very complex. Every inner conflict experienced by a character can be described through psychoanalytic theory with a focus on the study of the id, ego, and superego; and (3) the relevance of the Drama of Senja Dengan Dua Kelelawar as a teaching material for drama appreciation in high schools by paying attention to aspects of language, students' psychological development, and cultural background.</em>
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Slamet Subiyantoro, Budi Waluyo, Andrik Purwasito, Warto,. "Women's Resistance in Indonesian Drama (A Gender Study)." Psychology and Education Journal 58, no. 2 (February 10, 2021): 4693–701. http://dx.doi.org/10.17762/pae.v58i2.2856.
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Gender injustice problems experienced by women have led to the emergence of the women's resistance movement. Not only today, women's resistance to gender injustice has existed even before Indonesia gained its independence. Nyai Ontosoroh is one of the characters in Bumi Manusia, a novel written by Pramoedya Ananta Toer which reflects women's resistance to gender injustice during the Dutch colonial period. Nyai Ontosoroh’s struggle in the novel was later adapted in a drama entitled “Nyai Ontosoroh” by R Giryadi. The main focus in the drama is Nyai Ontosoroh's resistance to various gender injustices she has received, including her resistance to the Dutch government. The figure of Nyai Ontosoroh is depicted as a Javanese woman who has gone far beyond her time. She fought for her destiny out of the colonialism of the mind and the occupation of freedom. She also has the courage to express her opinion openly and blatantly. This research aims to explain and describe forms of gender injustice and women’s resistance in “Nyai Ontosoroh” drama. The descriptive qualitative method with a feminist approach was applied in the analysis. The description includes forms of gender injustice and women's resistance found in the drama. The conclusion of this paper shows that there are still many gender injustices experienced by women, even in their homes. The large number of injustices that occur against women certainly creates various forms of resistance to combat these injustices. Women must fight to get gender justice properly.
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Pratikno, Ahmad Sudi, and Dewi Nurmasita. "Gerakan Sosial Melalui Sosio Drama Berbasis Kearifan Lokal Untuk Meningkatkan Nasionalisme Daerah Pedalaman." Proceeding of Community Development 1 (April 4, 2018): 36. http://dx.doi.org/10.30874/comdev.2017.6.
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Social movement is an effort to provide benefits to others. However, within the context of cultivating the character, research on social movement through socio-drama based on local wisdom is very limited. This study aims to examine the increasing character of nationalism through social movements in the form of socio-drama. Research subjects were elementary and secondary students residing in rural area. This research used qualitative and descriptive method. Data collection techniques were documentations, observations, and interviews. The results showed that the increased character of nationalism only arise when playing socio-drama only, they would return to the previous character. Cultivating the character values need a long time, so the change of character did not necessarily happen.
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곽한영. "A Study On the model of LRE teaching-learning method by Educational Drama." Journal of Law-Related Education 8, no. 2 (August 2013): 1–22. http://dx.doi.org/10.29175/klrea.8.2.201308.1.
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정미경. "A Case Study on Teaching English & American Drama Using D.I.E and Sociodrama." Journal of English Cultural Studies 11, no. 1 (April 2018): 237–58. http://dx.doi.org/10.15732/jecs.11.1.201804.237.
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전두리. "Study of Novel Teaching-Learning Method in Multicultural Society Context－Educational Drama Centered－." KOREAN EDUCATION ll, no. 96 (September 2013): 103–37. http://dx.doi.org/10.15734/koed..96.201309.103.
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Cleland, Frances E. "Young Children’s Divergent Movement Ability: Study II." Journal of Teaching in Physical Education 13, no. 3 (April 1994): 228–41. http://dx.doi.org/10.1123/jtpe.13.3.228.
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Young children’s (N = 50) divergent movement ability (DMA), which is one aspect of critical thinking in physical education, was examined in this study. Treatment Group A received 20 physical education lessons based on skill themes using indirect teaching styles (n = 16). Twenty lessons based on low-organized games content using direct teaching styles were provided to Treatment Group B (n = 17). No treatment was provided to the control subjects in Group C (n = 17). No significant DMA pretest differences were determined, and the independent variables (i.e., gender, intelligence, creativity, and background of movement experience) examined were not significantly related to subjects’ pretest DMA. A two-way ANOVA and post hoc Scheffe test revealed that Group A’s posttest DMA scores were significantly higher than those for either Group B or Group C, F(2, 47) = 11.7, p < .0001. Young children’s ability to generate different movement patterns (i.e., DMA), therefore, was significantly improved in response to employing critical thinking strategies in physical education.
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., Larlen, Agus Salim, and Liza Septa Wilyanti. "Pengembangan Bahan Ajar Video Berbasis Kearifan Lokal Pada Mata Kuliah Drama Di FKIP Universitas Jambi." Pena : Jurnal Pendidikan Bahasa dan Sastra 7, no. 2 (October 12, 2018): 60–70. http://dx.doi.org/10.22437/pena.v7i2.5701.
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Abstrak
Penelitian ini berjudul “Pengembangan Bahan Ajar Video Berbasis Kearifan Lokal pada Mata Kuliah Drama di FKIP Universitas Jambi”. Adapun tujuan dari penelitian ini dibagi menjadi dua aspek, (1) mendeskripsikan bentuk produk bahan ajar video berbasis kearifan lokal pada Mata Kuliah Drama di FKIP Universitas Jambi, (2) mendeskripsikan validitas, praktikalitas, dan efektivitas bahan ajar video berbasis kearifan lokal pada Mata Kuliah Drama di FKIP Universitas Jambi. Penelitian ini merupakan penelitian pengembangan yang mengikuti langkah ADDIE (analize, design, develop, implement, dan evaluate).Teknik pengumpulan data melalui observasi, kuesioner, dan tes. Data dianalisis menggunakan teknik analisis data deskriptif kualitatif dan kuantitatif. Berdasarkan hasil analisis data, hasil penelitian ini adalah sebagai berikut. (1) bentuk pengembangan bahan ajar video ber berbasis kearifan lokal pada Mata Kuliah Drama berisikan (a) pendahuluan atau teori pengantar oleh dosen pengampu, (b)video tampilan drama Orang Kayo Hitam: Asal-Usul Tanah Pilih Jambi karya Febrianiko Satria, (c) pembahasan teoretis tampilan drama Orang Kayo Hitam: Asal-Usul Tanah Pilih Jambi karya Febrianiko Satria yang telah disaksikan, (d) penugasan dan penutup oleh dosen pengampu. Setelah dilakukan uji validasi, dapat disimpulkan produk penelitian ini valid. Selanjutnya, produk penelitian juga telah diimplementasikan kepada mahasiswa dan dinyatakan praktis dan efektif.
Kata kunci: bahan ajar video, kearifan lokal, kursus drama
Abstrack
This research entitled "Development of Video Teaching Materials Based on Local Wisdom in Drama Courses at FKIP Jambi University". The purpose of this study is divided into two aspects, (1) describe the form of video teaching materials based on local wisdom in the Drama Course in FKIP Jambi University, (2) describe the validity, practicality, and effectiveness of video teaching materials based on local wisdom in the course Drama at FKIP Jambi University. This research is a development research that follows the steps of ADDIE (analize, design, develop, implement, and evaluate). Data collection techniques through observation, questionnaires, and tests. Data were analyzed using qualitative and quantitative descriptive data analysis techniques. Based on the results of data analysis, the results of this study are as follows. (1) the form of developing video teaching materials based on local wisdom in the Drama Course contains (a) introduction or introductory theory by lecturers, (b) video display of the drama Orang Kayo Hitam: Tanah Pilih Negeri Jambi,(c ) theoretical discussion on the drama appearance of Orang Kayo Hitam: Tanah Pilih Negeri Jambi which was witnessed, (d) assignment and closing by the lecturer. After validation testing, it can be concluded that this research product is valid. Furthermore, research products have also been implemented for students and declared practical and effective.
Keywords: video teaching materials, local wisdom, drama courses
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Abed, Osama H. "Drama-Based Science Teaching and Its Effect on Students’ Understanding of Scientific Concepts and Their Attitudes towards Science Learning." International Education Studies 9, no. 10 (September 28, 2016): 163. http://dx.doi.org/10.5539/ies.v9n10p163.
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<p class="apa">This study investigated the effect of drama-based science teaching on students’ understanding of scientific concepts and their attitudes towards science learning. The study also aimed to examine if there is an interaction between students’ achievement level in science and drama-based instruction. The sample consisted of (87) of 7<sup>th</sup> grade students from a public male school in Amman-Jordan; (46) in the experimental group and (41) in the control group. A pre-post Scientific Concepts Test (SCT) and Attitudes towards Science Learning Scale (ATSLS) were administered. The results indicate that there were statistically significant differences between the study groups in favour of students in the experimental group on both study variables, with no interaction between the teaching method and the students’ achievement level in science. The study recommends employing drama in teaching science.</p>
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Irugalbandara, Ayomi, Rebecca English, and Marilyn Campbell. "Classroom Space and Creative Student Engagement: A Focus on the Sri Lankan Drama Classroom." World Studies in Education 21, no. 2 (September 1, 2021): 45–57. http://dx.doi.org/10.7459/wse/21.2.04.
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Effective drama teaching and learning needs physical space: space for performance, expression, interaction and exploration. However, the Sri Lankan classroom environment remains largely unexplored in terms of investigating the relationship between the physical classroom environment and the teaching and learning of drama when process drama is the method of instruction. This article is based on the findings of a non-randomised control group intervention study, which involved forty classroom observations in secondary schools in Sri Lanka. The observations showed that students who were able to use the school’s open-air theatre for the entire intervention period engaged in far more collaborative, energetic, performative and creative behaviours than other classes who were in a confined classroom space with desks and chairs crammed closely together. Implications for the teaching of drama by different methods are discussed in the Sri Lankan context.
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Alvarado, Marisa, and April Cordero Maskiewicz. "Teaching High School Physiology Using a Popular TV Medical Drama." American Biology Teacher 73, no. 6 (August 1, 2011): 322–28. http://dx.doi.org/10.1525/abt.2011.73.6.4.
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Teachers know that educational experiences extend far beyond the classroom. With a wide variety of science-related programs on television, there is a need for more research into how these programs can be utilized in a classroom setting. In this mixed-methods study, we asked the question: Can student understanding of human physiology be improved through the use of multimedia resources, specifically through the use of popular television? Episodes of Fox's popular medical drama "House, M.D." were incorporated into high school biology curricula during instructional units on two body systems: the nervous system and the immune system. Through the use of integrated media and classroom discussions, students were exposed to the social aspect of learning as they worked together to analyze what they viewed on TV. This study was conducted over a traditional school year in a general biology class at a lower-socioeconomic urban high school.
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Hallgren, Eva, and Eva Österlind. "Process Drama in Civic Education: Balancing Student Input and Learning Outcomes in a Playful Format." Education Sciences 9, no. 3 (August 31, 2019): 231. http://dx.doi.org/10.3390/educsci9030231.
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The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity should have a playful format. The results show that the dialogical approach used by the drama pedagogue created a democratic opportunity and also established the playful format. The students’ engagement was notably high. However, it was obvious there were no challenging or probing questions being asked by the drama pedagogue or the civics teacher, neither in nor out of role. As a consequence, the full learning potential of process drama in civics education could not be achieved. We suggest a co-teaching approach between civic teachers and drama pedagogues, to overcome challenges in using process drama in civic education for learning objectives to be attained.
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Ndandara, Alfriani, and Erny S. N. Hambandima. "AN APPLICATION OF A CULTURALLY RESPONSIVE TEACHING (CRT) APPROACH TO DRAMA TEACHING BASED ON LOCAL WISDOM." Lire Journal (Journal of Linguistics and Literature) 5, no. 1 (March 19, 2021): 1–15. http://dx.doi.org/10.33019/lire.v5i1.99.
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The diversity of ethnicities and cultures characterizes the Indonesian nation as a multicultural nation. The peculiarities of each of these varieties can be found in the forms of social practice of social life. The values that are upheld in every social practice of social life also underlie the development direction of national development sectors. Especially in the field of education, it is stated in the National Education System Law of 2003 to organize National Education which is rooted in the religious values and national culture of Indonesia. The realization of the mandate of this law is stated that the content of the curriculum contains local potentials. These two mandates underlie curriculum principles and color educational practices to reflect the diversity existed in Indonesia. This research is entitled APPLICATION OF CULTURAL RESPONSIVE TEACHING (CRT) APPROACH TO DRAMA TEACHING: A Study Amidst the New Normal Conditions of the Covid-19 Pandemic. The approach was introduced by Geneva Gay (2011: 188-214) as an approach that emphasizes the importance of learning based on cultural backgrounds of students. Multicultural education is a concept that underlies this approach (Baker, 1996: 374). The research framework is the application of CRT approach to learning activities in Drama Course. This research used a qualitative descriptive approach. The results of this study resulted in several things discussed from the aspects of preparation, personal character, presentation, interaction between teachers and students and local story script products. It is hoped that this research will produce a learning framework that integrates elements of local culture for teaching drama. The results of this research will be published in scientific articles.
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Gürbüz, Nurten. "Teacher’s and Students’ Opinions on the Use of Drama Method in Distance Education and Drama Activity Proposals." Shanlax International Journal of Education 9, S1-May (May 10, 2021): 126–33. http://dx.doi.org/10.34293/education.v9is1-may.4008.
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The need for distance education due to the Covid-19 pandemic has led researchers to seek to increase the quality of distance education. It is obvious that the usage levels of different teaching methods in education should be changed. With the use of drama in education, it is aimed that children who participate in the learning process by having fun become self-actualized, creative, honest, open to communication and independent individuals. In this study, it was investigated whether the drama method, which is one of the effective teaching methods, can be applied in distance education, and drama activity proposals were created. In the study, three different drama activities were presented, which were prepared in accordance with the outcomes for the primary school 1st grade Life Science lesson and suitable for distance education, after the teaching with these activities, the opinions of the classroom teacher and students about the process were collected with a semi-structured interview form. According to the opinions received, it was concluded that technological problems can be a major obstacle to the application of the drama method in distance education, some students may have motivation problems. Better results can be obtained by increasing the frequency of using the drama method, this method can be used in almost every unit of the Life Science lesson, if the curriculum was revised according to distance education, appropriate drama activities should be included, the drama activities presented in this study were sufficient in terms of unit gains and implementation, and students found the lesson taught with this method enjoyable. The results obtained were evaluated in the light of the literature.
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Değirmenci Uysal, Nuriye, and Fatih Yavuz. "Language Learning Through Drama." International Journal of Learning and Teaching 10, no. 4 (October 30, 2018): 376–80. http://dx.doi.org/10.18844/ijlt.v10i4.766.
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This study presents a review of the literature regarding the impact of drama on dimensions of second/ foreign language learning. The paper first discusses the importance of integrating drama into the second/ foreign language learning process and the role of teachers and students in the learning process. Then, after introducing the pedagogical and linguistic aspects of using drama techniques in the language classroom in a broader perspective, it focuses on the drama-oriented verbal and nonverbal exercises. Next, the paper reviews the studies on the language learning through drama, and concludes that using drama in language teaching would facilitate emotional and social development in addition to language development of students while it points out that the number of studies on the issue is limited.
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Abu-Helu, Sahar Yacoub. "Teachers’ Perceptions on Drama’s Role in Enhancing Young Learners’ Developmental Domains." Modern Applied Science 13, no. 1 (December 15, 2018): 162. http://dx.doi.org/10.5539/mas.v13n1p162.
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The study aimed to investigate teachers’ perceptions on drama’s role in enhancing young learners’ developmental domains. The sample consisted of (133) cooperative- teachers chosen upon availability from the collaborating schools with the Classroom Teacher and the Early Childhood Education Practicum Courses in the University of Jordan. The cooperative-teachers’ perceptions data were collected through a questionnaire designed by the researcher based on the literature review related to drama as a teaching tool. The instrument included three main domains; the social-emotional, linguistic-communicative and cognitive domain. The findings revealed that drama highly enhanced young learners’ developmental domains, in which the social-emotional domain came as the highest score according to the teachers’ perceptions. The results also revealed that both the specialization and experience variables proved not to cause any statistical significant differences on the cooperative- teachers’ perceptions about the role of drama in teaching young learners. Further studies were recommended on investigating teachers’ actual practices in applying drama in their teaching actions.
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An, Yonce. "A Qualitative Case Study on Creative Drama Activities Applying Creative Movement for Elementary Students : Based on Laban’s Theory of Movement." Journal of Korea Association for Drama/Theatre and Education 12, no. 1 (March 31, 2020): 123–44. http://dx.doi.org/10.31342/jkadte.2020.12.1.06.
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Barnard, Dan. "Case Study 2." International Journal of Game-Based Learning 7, no. 3 (July 2017): 87–92. http://dx.doi.org/10.4018/ijgbl.2017070109.
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This case study draws on some experiments I have been doing in the use of dice in the ideas generation phase of a creative project. It draws on workshops I have run with creative technology students at Goldsmiths, with a range of adults at the Counterplay Conference in Aarhus (Denmark) and the Playful Learning Conference at Manchester Metropolitan University, in workshops for museum professionals I have co-led with Rachel Briscoe and in teaching Drama and Performance students at London South Bank University.
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Piazzoli, Erika, and Claire Kennedy. "Drama: Threat or Opportunity? Managing the ‘Dual Affect’ in Process Drama." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (January 1, 2014): 52–68. http://dx.doi.org/10.33178/scenario.8.1.5.
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In this paper we discuss the construct of ‘dual affect’ and its relevance to drama pedagogy in a foreign language teaching context. We draw on a research project involving a group of advanced learners of Italian using drama-based strategies. We begin with a theoretical discussion of dual affect, aesthetic distance, and protection mechanisms in the drama/language classroom. Next, we contextualise the research study and analyse student-participants’ responses in selected moments of the drama. The analysis suggests that, while some student-participants experienced the dual affect of drama as a threat, others found it a stimulus for reflection and a challenge. We argue that this may have had an impact on their perceived learning outcomes and on their willingness to communicate in the target language. We take this opportunity to reflect on the importance of managing dual affect in the process drama classroom, especially when working with advanced language students who have no prior experience in drama-based pedagogy.
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Uygun, Kamil, and Bilal Pektezel. "Sosyal Bilgiler Dersinde Yer Alan Tarih Konularının Öğretiminde Drama Kullanımı: Bir Eylem Araştırması / Using Drama While Teaching History Subjects in Social Studies Lesson: An Action Research." Journal of History Culture and Art Research 8, no. 2 (July 1, 2019): 347. http://dx.doi.org/10.7596/taksad.v8i2.1989.
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<p><strong>Abstract </strong></p><p>In recent years, concepts such as socialization of the learners, relating their knowledge to daily life, and organizing teaching activities according to individual differences have gained importance. The method of drama is regarded by many researchers as one of the most effective teaching methods that serve this purpose. It is seen that drama methods are frequently included in the curriculum and textbooks prepared by the Ministry of National Education. In the scope of the research, it was tried to determine the place, the importance and effectiveness of drama usage in the teaching of the history subjects in the 6th grade Social Studies lesson. In this study, action research was conducted in accordance with the use of drama. Since this research encompasses the teaching practices in the classroom environment, liberating / developmental / critical action research was preferred among 3 types of action research. The study group of the study is composed of 6th students from School located in Torbalı district of İzmir province. From time to time, students’ parents and other teachers of social studies at the school were included in the study group. The data were provided through Pre-perception survey-final perception survey, Evaluation forms of drama work, Student’s diary, Researcher's diary, Interview forms, Parent survey, Video, Voice recordings/photographs and student-made products. The lesson’s implementation process, productivity and the effects on the students were studied in this research. It has been seen that the method of drama is efficient and effective in the teaching of history subjects in social studies class and also it was seen that students and their parents showed a positive attitude towards to this technique.</p><p><strong>Öz</strong></p><p>Son yıllarda, öğrencilerin sosyalleşmesi, bilgilerini günlük yaşama bağlamaları ve öğretim etkinliklerini bireysel farklılıklara göre düzenleme gibi kavramlar önem kazanmıştır. Drama yöntemi, birçok araştırmacı tarafından bu amaca hizmet eden en etkili öğretim yöntemlerinden biri olarak kabul edilmektedir. Milli Eğitim Bakanlığı tarafından hazırlanan öğretim programı ve ders kitaplarında drama yöntemlerinin sıklıkla yer aldığı görülmektedir. Araştırma kapsamında, 6. Sınıf Sosyal Bilgiler dersinde tarih konularının öğretiminde dramanın kullanımı, önemi ve etkinliği belirlenmeye çalışılmıştır. Bu çalışmada, drama kullanımı doğrultusunda eylem araştırması yapılmıştır. Bu araştırma, sınıf ortamındaki öğretim uygulamalarını kapsadığından, 3 tür eylem araştırması arasında özgürleştirici / gelişimsel / eleştirel eylem araştırması tercih edilmiştir. Araştırmanın çalışma grubunu, İzmir ili Torbalı ilçesinde bulunan bir devlet okulunda öğrenim gören 6. sınıf öğrencileri oluşturmaktadır. Çalışma grubuna, öğrenci velileri ve okulun diğer sosyal bilgiler öğretmenleri de dâhil edilmiştir. Veriler, ön algı anketi - son algı anketi, drama çalışması değerlendirme formları, öğrenci günlüğü, araştırmacı günlüğü, görüşme formları, veli görüşme formu, video ve ses kayıtları / fotoğraflar ve öğrenci yapımı ürünler aracılığı ile temin edilmiştir. Araştırmada drama yöntemi ile işlenen derslerin uygulama süreci, verimliliği, öğrenci üzerindeki etkileri incelenmiştir. Araştırma sonucunda veriler ışığında drama yönteminin sosyal bilgiler dersinde tarih konularının öğretiminde verimli ve etkili olduğu görülmüştür. Bununla birlikte öğrencilerin ve öğrenci velilerinin de drama yöntemi ile ilgili olumlu görüş ve tutuma sahip oldukları saptanmıştır.</p>
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Gursoy, Aysun. "Evaluation of prospective teacher’s attitudes regarding creative drama courses." International Journal of Learning and Teaching 11, no. 4 (October 31, 2019): 136–46. http://dx.doi.org/10.18844/ijlt.v11i4.4295.
Full textAbstract:
The aim of this study is to examine the attitudes of prospective teachers attending the teaching department in universities in North Cyprus according to various variables such as gender, age, department, class, place of residence of families and type of high school they graduated from. For this purpose, Attitude Scale Towards Creative Drama Course was applied to prospective teachers who took creative drama course in Preschool Teaching and Hearing Impaired Education programs of Near East University. Before and after creative drama education and attitude scores of prospective teachers were examined according to independent variables. At the end of the study, it was seen that the prospective teachers' attitude scores towards creative drama differed significantly in favor of women before education but this difference disappeared after education. In addition, it was found that the attitude scores of the prospective teachers did not show a statistically significant difference according to the variables of age, department, class, place of residence of families, type of high school they graduated from.
Key Words: Creative drama, prospective teacher, Attitude, age, class