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1
Johnson, Valerie. "Drama teaching: Understanding what we do". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/732.
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Drama teaching in secondary schools in Western Australia has become an increasingly complex discipline in recent years. This study has considered the work of Drama teachers from the point of view of those practising the discipline, using a phenomenological methodology which allowed the voices of the participants to be heard directly. In the discussion, consideration is given to the way in which these teachers practice the dynamic which is drama, are influenced by the art form of theatre, and deliver the school subject, Drama.
2
Milne, Christina Lucy, University of Western Sydney e of Performance Fine Arts and Design Faculty. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment". THESIS_FPFAD_XXX_Milne_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/264.
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Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,Master of Arts (Hons) (Performance)
3
Lovesy, Sarah Caroline, University of Western Sydney, of Arts Education and Social Sciences College e School of Education. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning". THESIS_CAESS_EDU_Lovesy_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/787.
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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama educationDoctor of Philosophy (PhD)
4
Wellman, Jessica-Anne. "Drama, education, artistry: Australian practitioners fostering connections across cultures and disciplines in China". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2546.
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This study examines the experience of Australian drama educators working as professional development facilitators in China between 2017-2019. Limited literature exists that highlights the perspectives of professional development facilitators in this field. This thesis highlights the impact of engaging in this role on the practice of drama educators. Using an autoethnographic approach, data were collected from five individuals through semi-structured interviews. Interpretative Phenomenological Analysis (Smith, 2004) highlighted that the participants' experiences acted as critical moments that led to positive personal and professional outcomes. Three key supporting factors for positive outcomes were identified: 1) critically reflective practice; 2) knowledge and experience in theatre practices and drama pedagogies; and 3) collaborative approaches to delivering professional development.
5
Timms, Heather A. "The journey of making meaning in drama : a case study in a metropolitan priority school". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1176.
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Children with a low socio-economic background frequently fail within our schools. The school milieu is a potential contributor to this scenario, as schools are generally designed for the attributes, needs, and skill levels that are characteristic of middle• class children. It is therefore important to explore alternative learning frameworks that will enable these children to function within the school system. Drama offers unique and exciting possibilities in this field. Previous research endorses the use of drama in education for this specific purpose; and the theories propounded by learning and language theorists and drama educationalists provide a strong theoretical framework.
6
Massey, Belinda. "Investigations in learning and teaching through metacognition and critical and creative thinking practices in secondary Drama Education". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2362.
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Historically, there has been an achievement gap between the performance and written exams in the Year 12 ATAR Drama course in Western Australia, which is illustrated by the disparity in Drama ATAR results since 2010. The aim of the study was to improve students’ written marks in Year 12 ATAR Drama and to explore the development of metacognitive skills through a variety of performance and writing approaches for secondary Drama. The research explored the use of theatrical techniques and workshops to express and articulate ideas in written and verbal responses, which required students to be conscious of their cognitive processes.
The research utilised an iterative action research cycle to present a case study, which drew upon performance and written tasks, exercises and simulated exam conditions to provide a reproducible teaching platform for secondary Drama teachers. The research methods included observation and participant observation, reflection and video documentation through field notes, video and photographic capture, interviews, focus groups, and inclass and examination assessments. The findings confirmed that students’ written marks had, to varying degrees, improved in the course, especially through an increased awareness of their metacognition skills. The research offers a reproducible teaching methodology for secondary Drama teachers and provides evidence in support of the development of students’ metacognition skills for lifelong learning.
7
Lovering, Christine. "I see a spark and blow on it: Drama practice in Year 1 and the new Australian Curriculum in the Arts". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1740.
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New educational directives have an effect on the practice of teachers in schools. This study is propelled by the introduction of a national Australian Curriculum and subsequent changes to the Arts curriculum. As one of the five arts subjects, drama has been included in the primary school curriculum in Western Australia since 1997, however, its inclusion and the teaching of drama has not been consistently realised.
Teacher perspectives and beliefs about specific Learning Areas influence their planning and practice; often this is related to past experiences. This study aims to determine Year 1 teachers’ perspectives of, and practices in, drama. In addition, knowledge of the new Australian Curriculum in the Arts and the level of support required during the implementation process are sought. The study focuses on the Year 1 level, as this particular year marks a significant transition in a young child’s life from a Pre‐primary setting to the Year 1 classroom; considering the playful quality inherent in drama experiences, it is a time when drama pedagogy could be explored fully.
Data collection instruments were generated based on previous research and state curriculum documents. Participants in the study were asked to complete a questionnaire. The data provided an insight into Year 1 teacher perspectives and practice and the new Arts curriculum. The subsequent semi‐structured interviews were conducted to augment the questionnaire data.
The study found that Year 1 teachers extolled the positive benefits of using drama; however, experiences in drama, both as teacher and participant, affected their willingness to implement it. Teachers were using drama, yet analysis of semi‐structured interviews revealed a common practice of implementing incidental and unplanned drama experiences. A foundation for the implementation of drama in the new Arts curriculum with recommendations for possible professional development and support for drama practice are provided.
8
Mack, Tony. "To delight and to profit : are schools in the early childhood area being offered a markedly different theatre experience since December 1991, when the Australia Council Drama Committee changed its funding guidelines? /". Title page, preface and contents only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arm153.pdf.
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9
Milne, Christina Lucy. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/264.
Texto completo da fonteResumo:
Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,
10
Corbett, Scott. "Influence of a drama based education program on the development of empathy in year 10, Western Australian students". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2223.
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The purpose of this study was to understand which elements of the drama processes are most conducive to increasing empathy in adolescents. Empathy can have a significant impact on situational and dispositional pro-social behaviour in adolescents. It is positively related to moral development, healthy relationships and problem-solving skills; and negatively related to bullying behaviour, aggression, and victimisation. The practice of Creative Drama, in particular the work of Dorothy Heathcote and Bruce Burton, has informed drama programs that foster empathy in participants. This process, combined with the Actor Training system of Constantin Stanislavski, and the Forum Theatre model developed by Augusto Boal, was tested for its efficacy in increasing empathy in adolescents.
This study took the form of a ten-week drama-based program intervention (The Empathy Program) conducted at one secondary school in the Perth metropolitan area with a group of Year 10 students. A constructivist, mixed methods approach was utilised to frame the study. Data was collected through structured self-response surveys for students in both experimental and control groups, as well as semi-structured written reflections completed by students in the experimental group after each week of the intervention. Findings of this research showed a significant increase in participant empathy, which highlights the potential for drama to improve student empathy. Results also detailed six key elements that were effective in the development of empathy amongst participants, including explicit instruction and the importance of imagination and role-play. This research reflects the important role that drama can have in the social and emotional development of young people and recommends strategies for inclusion in current drama pedagogical practices.
11
Blewitt, David. "Drama in Tudor education : education in Tudor drama". Thesis, University of Bristol, 1986. http://hdl.handle.net/1983/9c1050cb-a734-4151-b3f4-63ff22554368.
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The present work argues for the invaluable contribution of boy actors to the evolution of Tudor drama. Since most young scholars later went up to university or the'Inns of Court, I have also considered the course of drama in those institutions. This drama in education was given its prime impetus by visiting professional troupes, whose itineraries included schools, universities and the Inns. The education in drama they set before their audiences helped shape the schools drama, which was able to develop and expand in a way denied the professionals by the consequences of the Reformation. Not till Leicester's men established themselves at the Theater were the professionals enabled once again to strive towards their eventual pre-eminence. The argument in those'sections dealing with the colleges of Winchester, Eton and Westminster is supported by original archival material hitherto unavailable in print. The Introduction states the situation at the moment of the foundation of the Theater and of the first Blackfriars. That significant moment marked the beginnings of the decline in the fortunes of the forces of drama in education. The prehistory is rooted in the broad educational changes of the late fifteenth and early sixteenth centuries (Chapter I) and in the seminal effect upon the drama of the sermons of the mendicant preachers of the later Middle Ages (Chapter I). These twin influences forged the drama of pre-Reformation England, defined the roles of professionals and boys alike (Chapter II).
12
Teoh, Lay Mui Lucilla. "Happy families : a search for form". Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35908/1/35908_Teoh_1998.pdf.
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Based on Iain Chambers' observations in Migrancy, Culture, Identity (1994, pp. 6-24), the process of migration can be summarized as the relentless transformation of a single entity into multiple spaces and tempos while various histories of language, of politics, of culture and of experiences are distilled. The migrant then has to negotiate the shared
occupation of the same new signs with the 'natives' of the new host country. This ongoing process is evident as each new community of migrants arrives in Australia. As each new generation matures, they contribute or
distill elements of their home cultures into the fabric of multicultural Australian society. The genesis of Happy Families as a play could be attributed to what Chambers calls the 'relentless transformation' of my
migrant family as it attempts to negotiate the spaces in the various communities into which it has been transplanted. This transformation has many facets; some painful, some pleasant, and all inevitable. Hence the
play is an attempt to analyze the forces and the circumstances surrounding the transformation such as the issue of assimilation with the attendant loss
of cultural roots and the recent unprecedented rise in racial tensions in multicultural societies like Australia.
13
O'Donnell, David O'Donnell, e n/a. "Re-staging history : historiographic drama from New Zealand and Australia". University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama.
In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms.
Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
14
Krause, Shane Peter. "Not welcome : writing horror in Australia". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16449/1/Shane_Krause_-_Acolytes.pdf.
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"Not Welcome" is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called "Not Welcome": Writing Horror in Australia.
The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it's an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse--it has a true crime-scene ambience. The power of the story lies in its truth--the truth that it seeks to uncover and the truth of the style of its telling--and, just as is the case with real-life crime, the "truth" is often murky and far from clear-cut.
The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects.
15
Krause, Shane Peter. "Not Welcome: Writing Horror in Australia". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16449/.
Texto completo da fonteResumo:
"Not Welcome" is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called "Not Welcome": Writing Horror in Australia. The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it's an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse--it has a true crime-scene ambience. The power of the story lies in its truth--the truth that it seeks to uncover and the truth of the style of its telling--and, just as is the case with real-life crime, the "truth" is often murky and far from clear-cut. The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects.
16
Garde, Ulrike 1964. "The Australian reception of Austrian, German and Swiss drama : productions and reviews between 1945 and 1996". Monash University, German Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8820.
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Harpe, Sabina Dorothea. "Children's conceptions of drama in education". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30644.
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This study has been an investigation of children's views of drama in education. It
invited children to reflect on the dramatic process as used by a classroom teacher in the
context of integrated units of study. The specific research question addressed was:
What are children's conceptions of drama when used by a non-specialist classroom teacher as an integral part of learning?
Children, ages 10-12 years, were observed and then interviewed in a semi-structured manner. The data were analyzed according to the phenomenographical research methodology. This suited the intent of the study in that the aim of phenomenography is to discover and describe the world as seen by participants. The results were presented in the form of conceptions which are descriptions representing the various ways people view, experience or conceptualize their experiences. Seven such conceptions, falling into three different groups, were discovered. The first group identified three ways in which children viewed drama as a purposeful strategy used by a teacher: (a) drama is a tool, (b) drama is a way of linking, and (c) drama is a novel way of teaching. The second group identified three ways in which children viewed themselves participating in the dramatic process: (a) drama is something one must take part in, (b) drama is play, and (c) drama takes on a life of its own. The third group dealt with one specific area of drama and identified role taking as being like the donning of a cloak.
Insights from the study centered around three major observations: (a) the importance of understanding the meaning making of learners, (b) the importance of reflection, and (c) the power of drama in education as an educational strategy. Implications for educators and recommendations for further research were derived from these themes.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
18
Okoli, Emmanuel Chinyeaka. "Reconciling cultural values through drama education". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20798.pdf.
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19
Finneran, Michael J. "Critical myths in drama as education". Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1987/.
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Drama as education is a relatively young concern, which has been primarily occupied with developing a strong tradition of practice. As a result it has suffered from a dearth of theoretical and critical engagement. This situation has led to the existence of a range of unquestioned beliefs and practices that underpin much of the governance, traditions, knowledge and operation of drama in educational settings. The thesis examines the existence and location of the community of drama as education, reviews the discourse of the community, and seeks to understand previous attempts at demythologising. This thesis proposes a critical understanding of the idea of myth in order that it can be used in a positive and beneficial manner. Utilising a post-modern critical research methodology, it constructs a bricolage of theoretical perspectives that collectively are used to locate, identify and interrogate areas of myth. A new typography of myth reveals four dominant areas of operation, and examines the manner in which myths impact upon the educational and cultural institutions in which they occur. The forces that conceive of, operate and perpetuate myth are understood to be language, power and ideology. These elements operate in conjunction with each other, with human agency at the helm. The thesis is in nine chapters. Chapter 1 sets the scene and introduces the range of the research. It is followed by Chapter 2 which seeks to put in place a range of theoretical perspectives upon which the methodology is constructed. Chapter 3 provides further theoretical insight into the location of the research, and Chapter 4 constructs a critical mythic bricolage, defines its usage, and proposes a contemporary typology of myth. Chapter 5 identifies the ‘Point of Entry Text’ – the primary school drama curriculum in the Republic of Ireland, and deals with the category of governing myths. Chapter 6 is concerned with traditional myths, Chapter 7 examines epistemological myths, and Chapter 8 teases out operational myths. Finally, Chapter 9 looks to the future of myth after demythologising, and seeks to begin engaging with the inevitable process of remythologising.
20
Wissmann, Cheryl. "Linking creative drama with Christian education". Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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21
Anderson, Colin. "Teaching Social Studies Through Drama". DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.
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Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices,
cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely &
Savage, 2011; Lement & Dunakin, 2005}.
22
Cody, Tracey-Lynne. "Drama education in New Zealand schools: the practice of six experienced drama teachers". Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.
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This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lenses of Artist and Co-artist, the study identifies the socio-cultural nature of the practice of these teachers. Teachers’ artistry is revealed through creative use of drama tools and processes to create aesthetically-rich learning experiences. The significance of relational pedagogy to teaching and learning in these drama classrooms is also examined within the study. Teachers’ accounts reveal the ways they seek to develop interpersonal relationships with and between students, and establish ensemble-based approaches to learning in drama. As co-artists, participants employ pedagogies that empower students to actively participate in a community of drama practice, intentionally developing students’ capacities for collaboration, creativity and critical thinking, while discovering and developing their artistic-aesthetic capabilities. These teachers share power with students through acts of negotiation, creating dialogic learning opportunities in order to develop student agency as artists and citizens. Attempts to navigate tensions that arise due to increased performativity pressures on teachers and to avoid prescriptive and technocratic delivery of drama curriculum are also explored. In-depth interviews were conducted with participants to discover the complexities of their teaching practice, the philosophy of drama education they hold, and the decisions they make in curriculum content and pedagogy. Observations of classroom practice were also undertaken, along with an analysis of planning documents and an interview with their students. The study provides six rich case studies of drama practice in New Zealand schools, contributing to local and international understandings of enacted drama education within school settings. Implications for educational policy, curriculum design, classroom practice and teacher education arise from this investigation.
23
Karlsson, Evelina, e Sofia Larsson. ""Drama har tappat lite status. Men jag tycker drama är viktigt." : Pedagogers perspektiv på förutsättningar för arbete med drama". Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48521.
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Förskolan har en läroplan att utgå ifrån vad gäller innehåll och målsättning i det pedagogiska arbetet. Läroplanen har omarbetats och reviderats och detta har lett till konsekvenser i förskolan som verksamhet. Ett ämne som påverkats är drama som är ett av de estetiska uttrycksformerna där även t.ex. musik, bild och rörelse ingår. Den här studiens syfte är att undersöka vilka möjligheter pedagogerna i förskolan har att arbeta med drama utifrån läroplanen och andra kringliggande ramfaktorer. Genom att analysera både avverkade och aktuella styrdokument för förskolan, samt intervjua yrkesaktiva pedagoger på olika verksamheter framkom det tydligt att handling påverkar konsekvens. Resultatet visar att pedagoger upplever sig styrda av läroplanen, trots läroplanens utveckling från vad som skulle kunna kallas en handbok till ett dokument öppet för egna tolkningar. Drama som ämne kan anses ha låg status där det bortprioriteras, inte av ointresse men på grund av att andra ämnen prioriteras högre. Ramar som tid, kompetens och den politiska styrningen påverkar också det konkreta pedagogiska arbetet. Vilka ramar som pedagogerna själva upplever påverkar dem är ramarna i verskamhetens direkta närhet. Faktorer utifrån var för pedagogerna inte lika synliga.Swedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.
24
Wilding, Derek. "AIDS and pro-social television : industry, policy and Australian television drama". Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/36314/6/36314_Digitised%20Thesis.pdf.
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This thesis examines the intersection of popular cultural representations of HIV and
AIDS and the discourses of public health campaigns. Part Two provides a
comprehensive record of all HIV related storylines in Australian television drama
from the first AIDS episode of The Flying Doctors in 1986 to the ongoing narrative
of Pacific Drive, with its core HIV character, in 1996. Textual representations are
examined alongside the agency of "cultural technicians" working within the
television industry. The framework for this analysis is established in Part One of
the thesis, which examines the discursive contexts for speaking about HIV and AIDS
established through national health policy and the regulatory and industry
framework for broadcasting in Australia. The thesis examines the dominant liberal
democratic framework for representation of HIV I AIDS and adopts a Foucauldian
understanding of the processes of governmentality to argue that during the period of
the 1980s and 1990s a strand of social democratic discourse combined with
practices of self management and the management of the Australian population. The
actions of committed agents within both domains of popular culture and health
education ensured that more challenging expressions of HIV found their way into
public culture.
25
Henry, Nicole Eiler. "The Importance of Drama as Inquiry". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392106870.
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Sessoms, Todd Kristian. "Drama in education experiencing for social transformation /". Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Sessoms_T%20MITthesis%202007.pdf.
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Widdows, Joy. "Supportive and oppositional behaviours in drama education". Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322265.
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Jones, Gaybrielle Irene. "Using Drama Therapy Techniques in Secondary Education". University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1334167898.
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Pheasant, Patrick Iain. "Engagement in Process Drama for Language Education". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21005.
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This thesis reports on the findings of a phenomenographic study exploring the role of different types of engagement in process drama for language education. This study provides a framework for describing in detail the participants’ subjective experiences of the phenomena of dramatic engagement and subsequent aesthetic engagement. The framework emerged from the findings and is useful for understanding dramatic engagement in all process dramas and its application in language education in Australia and internationally. The research was at an Australian University English Language Centre where a facilitator with experience in using process drama in language education was video recorded conducting three workshops over three weeks with ten adult international students. Linking two decades of research in dramatic engagement in process drama for language learning (Piazzoli 2018; Kao and O'Neill 1998), this study addressed the interaction of role, narrative and tension during process drama and its impact on language education. Sociocultural learning theory from the works of Vygotsky (1980, 1997, 2004) and transformative learning theory from the works of Mezirow (Mezirow 1991, 1997, 2000, 2003) were used to explore the transformative capacity of dramatic engagement in process drama from a sociocultural perspective. Phenomenography was used to crystallise the dramatic engagement occurring in the dramas. Using the key phenomenographic techniques of bracketing and reduction (Åkerlind 2008), this research investigated the phenomena of dramatic engagement for four specific cases and provides a multifaceted and systemic description of how an adult student of English learns through process drama when they are engaged with the art form. Three key moments of dramatic engagement were investigated through observation and video recall. Quality and quantity of multimodal linguistic devices were demonstrated when students were dramatically engaged and analysed from language education, process drama and dramatic engagement perspectives. The research revealed that during dramatic engagement, participants managed the dramatic elements narrative, role and tension through playbuilding, roleplaying and sensemaking processes. Metaxis, metacognition and meta-emotion acted as catalysts for dramatic engagement with the participants and contributed positively to the process drama and language learning experience. The thesis concludes that language education can be improved for international students studying English in Australia to provide a transformative learning experience through dramatic engagement. A framework for exploring aesthetic engagement through dramatic engagement is proposed. This research is significant for Australia’s third largest export industry, international education, and for aestheticians, process drama practitioners and language educators who are synergizing teaching and learning practice between these three growing pedagogies.
30
Rice, Jeremy F. "My worst ever night at the best school ball ever : creating taboo theatre for teenagers". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/849.
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My Worst Ever Night at the Best School Ball Ever (School Ball) is a new play for teenage audiences. The action takes place on the night of a ball for final year students. A prank with a goat goes horribly wrong, a photo of a girl pissing in a pot plant is widely circulated, and everyone finds out about the boy in a sexual relationship with a teacher. At the heart of the play are teenagers, armed with mobile phones, trying to find their way in a contradictory and confusing world.
The creative development of School Ball centred on practice-based artistic research into the field of theatre for young audiences (TYA) through my practice as a director. The research question was: how to produce taboo theatre for teenagers?
School Ball was conceived as a production that would tour to schools. The school ball concept was popular with teachers, parents and theatre company board members but I encountered strong resistance to the story of a male student in a sexual relationship with a female teacher. Even though such relationships were being reported weekly in the media, the content was perceived to be taboo for young audiences. Developing School Ball investigated the complex relationships between TYA and the education system, as well as artistic and production strategies to navigate School Ball past school gatekeepers and reach its target audience.
Young people are at the centre of the research practice, participating in workshops, collaborating with artists, and responding to the work. Their involvement helped make School Ball accurately reflect adolescent experiences, such as the centrality of text messaging – another taboo in the school environment.
Australian TYA is considered to be at the forefront of international practice: innovative in creative process and theatrical form, imaginative and daring in content. But TYA practice is neither homogenous nor self-contained. In artistic practice, means of production and competition for audiences, TYA intersects with Theatre in Education (TIE), Young People’s Theatre (YPT), drama education, adult and commercial theatre. Part of the research aimed to understand the TYA landscape and the place of School Ball within it.
31
Moor, Andrea L. "Contemporary actor training in Australia". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63083/1/Andrea_Moor_Thesis.pdf.
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This professional doctorate included a major research project investigating the efficacy of acting methodologies taught at four leading Australian actor-training institutions - National Institute of Dramatic Art, Queensland University of Technology, Victorian College of the Arts, and Western Australian Academy of Performing Arts. This study represents the first review of its kind, in which the 'castability' of acting graduates from each of these schools was scrutinized by industry leaders. The study not only reveals the methodologies and philosophies of each school but determines an ideal set of practices for future consideration. The doctorate also included two practice-led projects examining the candidate's transition from actor and teacher of actors to theatre director. The candidate's qualitative study was also underpinned by reflective practice on her extensive professional experience as actor, teacher and director.
32
Bryson, Lucy Lynn. "Drama + math = dramath". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.
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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
33
Hatton, Christine. "Backyards and borderlands transforming girls' learning through drama /". The author has requested that a digital copy of the thesis not be made available on public access; please contact Sydney eScholarship - ses@library.usyd.edu.au, 2004. http://hdl.handle.net/2123/5455.
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Thesis (Ph. D.)-- University of Sydney, 2005.Title from title screen (viewed 30 October 2009). Includes tables and questionnaires. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Education and Social Work. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
34
Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made:
1. Questions were used extensively to promote the drama process.
2. The teacher employed a wide range and diversity of questions.
3. Definite patterns emerged in teacher questioning techniques.
4. Specific kinds of learning were emphasized by teachers within the drama.
Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research:
1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described.
2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically.
The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
35
Ormiston, Patricia. "Drama in education : how successful has the classroom implementation of drama been in elementary schools?" Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31252.
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Education in the Arts is a necessary part of every child's development and drama is included in the Fine Arts strand of the curriculum of the Ministry of Education of British Columbia. The purpose for conducting this study was to examine the success of the implementation of drama in elementary classrooms and to examine teachers' conceptions of drama in the curriculum.
This study attempted to discover to what extent elementary classroom teachers were knowledgeable in the methodology of dramatic playing; its structure, purpose, goals, and rationale for its use, and what types of drama elementary classroom teachers were using to meet the goals of drama as mandated the Fine Arts Curriculum Guide (1985).
Data collection included both written questionnaires and oral interviews. The responses to each question were tabulated and an analysis of variance was conducted. Results from the questionnaires and interviews were compared.
The study revealed that a majority of teachers lacked training in the methodology of drama in education. Teachers interviewed claimed little drama was taking place in their schools, whereas the results of the questionnaires found respondents slightly more positive. In both cases the scarcity in which drama appears in elementary classrooms was blamed on "an already overloaded timetable" and "no training”. Those teachers using drama attributed their success to courses or workshops they had attended.
Most teachers saw the merit of drama in the curriculum but many didn't know how to use it as a learning tool in other subject disciplines. Those integrating drama in their programs used it primarily as an extension of whole language. The results of this study indicated that the implementation of drama could not successfully occur unless teachers were exposed to both the theory and methodology of its use in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
36
Fleming, Kristina A. "Promoting learning across the curriculum with creative dramatics". Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fleming_K%20MITthesis%202007.pdf.
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Yoda, Manami. "Henry Caldwell Cook and Drama Education in England". Thesis, Kyoto University (Japan), 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3579948.
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This study aims to clarify the nature of the theatrical way of Henry Caldwell Cook who was the first to introduce theatre into education for English as a first language. This study critically examines the content of his original teaching method, Play Way, and attempts to appropriately place its context in the history of drama education in England in order to explore how effectively drama can be used in language education. The use of theatre for education has a long history. Commencing in ancient Greece and Rome, it has continued until the present time. However, modern drama education has no more than about a hundred years of history. It was Cook and Harriet Finlay-Johnson who opened the history of this theatrical education. Finlay-Johnson had persistently used theatre to teach all subjects, mainly because of her educational stance as an elementary school teacher. She is closely associated with the leaders of DIE (Drama-in-Education) who adhere to the same educational policy. While Cook also used theatre as a means for language education and did his best to maintain a theatrical framework, there is a fundamental difference between Cook's educational method and that of DIE. His Play Way seems to closely resemble TIE (Theatre-in-Education) in that both bring in theatre for school education. However, this similarity is superficial. In the TIE method, while the autonomy of theatre has always been maintained, theatre in Cook's method was used as a means for education to the end, although concurrently he had been able to properly grasp the nature of theatre. Behind such a view of theatre as an educational end in itself is Cook's recognition of the theatricality of human beings. His theatrical teaching tells us that when using theatre as a tool for language education, we must first correctly understand its intrinsic qualities.
38
Yoda, Manami. "Henry Caldwell Cook and Drama Education in England". Kyoto University, 2013. http://hdl.handle.net/2433/175025.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第17676号
人博第643号
新制||人||155(附属図書館)
24||人博||643(吉田南総合図書館)
30442
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 山梨 正明, 教授 田地野 彰, 教授 丸橋 良雄
学位規則第4条第1項該当
39
Khorll, Angela E. "Creating Dramatic Scene Work for Literature in a Secondary Language Arts Classroom". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/KhorllAE2008.pdf.
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Chou, Shiao-Yuh. "Primary classroom teachers' integration of drama". Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1121/.
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Educators' concerns about drama as pedagogy have been expressed widely in the literature, yet research has been modest. This thesis recognises this gap. A qualitative case study was employed to carry out an in-depth inquiry into classroom teachers' employment of drama. In a belief that primary teachers have their particular needs, this study was orientated to the attempt to identify their challenges and understand their conflicts .resulting from treating drama as methodology across the curriculum. Two contextual analyses suggest that teachers who are used to practising in authoritarian and teacher-centred schooling in which drama is regarded as insignificant can be pedagogically and artistically challenged while using drama as an educational tool in view of its child-centred, dialogic, and knowledge-constructed orientation. In agreement with the theoretical framework generated from the review concerning teachers' qualifications and challenges related to drama integration, empirical evidence suggests that the occurrences of teachers' challenges are associated with their perception, practice, and identity. Results also show that teachers modified their prior concepts of drama and pedagogy . towards those required in drama integration. The teachers' development, which emerged from their dealing with challenges, indicates that there was a pedagogic shift in practice.
41
Moss, Lynette Kaye. "Insights into drama in the early childhood setting: A rationale for the use of drama". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1388.
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This research is an investigation into the implementation of drama in early childhood education conducted in one Perth metropolitan primary school, over a three-week period. The six drama lessons were taught by the researcher/practitioner in a Pre-primary and a Year One class. These students were chosen for their limited exposure to the Drama in Education experience. The expectation was of a less conditioned response both in their conduct and expression within the drama environment. The lessons were captured on video and transcribed, then analysed utilising an ethnomethodological methodology. The responses of these children were recorded in an attempt to disclose how a group of young children share knowledge during a drama class, and examine the social conventions, articulating the features of common rule-usage and assumed communication. The discourse also examines the complex and at times ambiguous nature of drama and the need to articulate and to analyse practices, to unravel how drama is constructed and perceived. The practice of drama in the early childhood classroom highlights the role and relationship of the practitioner and the children. The study offers insights into the foundation issues within drama in education that are a product of the historical, cultural and social domains of knowledge and affect the implementation of drama in the early childhood. This research provides information on drama in education within the pre-primary school setting. It would be of interest to any teacher or researcher who wishes to gain a deeper understanding of the issues that surround drama in early childhood years, and provides insights into the interactions of the participants.
42
Hallam, Gillian. "Trends in LIS education in Australia". School of Communication & Information, Nanyang Technological University, 2006. http://hdl.handle.net/10150/105355.
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Recent reforms to the higher education sector are presenting challenges for academic staff and university administrators across Australia. Within this context, LIS education faces its own specific issues and challenges. This paper reviews the current trends in the LIS education, looking at student numbers, aca-demic staffing and curriculum issues. Education providers also need to consider the career-long learning needs of the profession. It is argued that LIS educators cannot work in isolation: the LIS profession as whole must work together collaboratively to ensure it has a bright and relevant future.
43
Anderson, Michael. "Journeys in Teacher Professional Development: Narratives of Four Drama Educators". Thesis, The University of Sydney, 2002. http://hdl.handle.net/2123/665.
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Ongoing teacher professional development is an essential part of the wellbeing of the schooling system and successful outcomes for students. In the past, teacher professional development has been used to describe an often 'top-down' method of training to meet systemic needs while taking little account of teacher's individual needs. This approach often conceptualises the teacher's life as a dichotomy with the personal and the private separated and unrelated. In contrast, teacher professional development in this study is conceptualised as a journey that includes encouraging and discouraging turns. The journey is explored through the experiences of two primary and two secondary drama educators using Hargreaves and Fullan's (1992) organisers: teacher development as knowledge and skill development; teacher development as self understanding and teacher development as ecological change. The study focussed specifically on teachers of drama. Of the four educators two were beginning teachers, one primary and one secondary and two were experienced teachers, one primary and one secondary. The teachers were interviewed over twelve months. Narrative vignettes were developed from the interviews. As the context for these teacher journeys was pivotal, the influences on the teaching of drama in New South Wales were investigated. This included an exploration of the major issues that have influenced the development of drama education both internationally and in Australia. The concluding reflections from this study suggest that there is strong interaction between teachers' personal and professional lives. Teachers' personal circumstances, family histories and schooling backgrounds all have an important influence on their work as teachers. Significantly, issues related to drama education's history and current context reflected these teachers' classroom realities. The teachers argue that they understand their professional development needs best and should have influence and ownership of their own professional development experiences. They found aspects of their tertiary training and teacher induction unsatisfactory. The two beginning teachers in this study struggled to survive the difficulties of their first year and both seriously considered leaving teaching. The teachers describe self understanding through distinct phases of development that are made unique by each teacher's personality and context. The teachers saw subject identity and pedagogy as important to their professional identity. They report that times of crisis often lead to positive changes in their professional development journeys. The ecology for these teachers was made up of several complex issues that are resistant to change and there were a number of impediments reported by the teachers that arise from their teaching ecologies. Two of the teachers have used a change of context to improve their satisfaction and confidence levels. Two teachers described beneficial experiences with supervisors in the school setting. If beneficial ecological change is to occur, education systems must attend to the needs of teachers and provide opportunities to teach unimpeded by systemic obstacles. The study calls for changes in professional development and for the recognition of the multilayered nature of the teachers' journey. The study calls for a reconceptualisation of teacher professional development that recognises each teacher's ecology and self understanding. The renewed impetus for arts education will only be successful if the complexity of the teachers' journey is recognised and systemic obstacles are removed.
44
Anderson, Michael. "Journeys in Teacher Professional Development: Narratives of Four Drama Educators". University of Sydney. Policy and Practice, 2002. http://hdl.handle.net/2123/665.
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Ongoing teacher professional development is an essential part of the wellbeing of the schooling system and successful outcomes for students. In the past, teacher professional development has been used to describe an often �top-down� method of training to meet systemic needs while taking little account of teacher's individual needs. This approach often conceptualises the teacher's life as a dichotomy with the personal and the private separated and unrelated. In contrast, teacher professional development in this study is conceptualised as a journey that includes encouraging and discouraging turns. The journey is explored through the experiences of two primary and two secondary drama educators using Hargreaves and Fullan's (1992) organisers: teacher development as knowledge and skill development; teacher development as self understanding and teacher development as ecological change. The study focussed specifically on teachers of drama. Of the four educators two were beginning teachers, one primary and one secondary and two were experienced teachers, one primary and one secondary. The teachers were interviewed over twelve months. Narrative vignettes were developed from the interviews. As the context for these teacher journeys was pivotal, the influences on the teaching of drama in New South Wales were investigated. This included an exploration of the major issues that have influenced the development of drama education both internationally and in Australia. The concluding reflections from this study suggest that there is strong interaction between teachers' personal and professional lives. Teachers' personal circumstances, family histories and schooling backgrounds all have an important influence on their work as teachers. Significantly, issues related to drama education's history and current context reflected these teachers' classroom realities. The teachers argue that they understand their professional development needs best and should have influence and ownership of their own professional development experiences. They found aspects of their tertiary training and teacher induction unsatisfactory. The two beginning teachers in this study struggled to survive the difficulties of their first year and both seriously considered leaving teaching. The teachers describe self understanding through distinct phases of development that are made unique by each teacher's personality and context. The teachers saw subject identity and pedagogy as important to their professional identity. They report that times of crisis often lead to positive changes in their professional development journeys. The ecology for these teachers was made up of several complex issues that are resistant to change and there were a number of impediments reported by the teachers that arise from their teaching ecologies. Two of the teachers have used a change of context to improve their satisfaction and confidence levels. Two teachers described beneficial experiences with supervisors in the school setting. If beneficial ecological change is to occur, education systems must attend to the needs of teachers and provide opportunities to teach unimpeded by systemic obstacles. The study calls for changes in professional development and for the recognition of the multilayered nature of the teachers' journey. The study calls for a reconceptualisation of teacher professional development that recognises each teacher's ecology and self understanding. The renewed impetus for arts education will only be successful if the complexity of the teachers' journey is recognised and systemic obstacles are removed.
45
Baughan, Lynn. "Drama in further education : a study in cultural marginality". Thesis, University of Warwick, 1990. http://wrap.warwick.ac.uk/106900/.
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This study is an attempt to explore and explain tensions and anomalies associated with the role of Drama in Further Education. An initial intuitive framework suggests that there may be a natural antithesis between the expressive ideology of Drama and the instrumental ideology of Further Education. The frameworks proposed for the exploration include cultural reproduction theory, whilst Drama is perceived as carrying the dilemmas and contradictions of its marginal status. A two-by-two dichotomy is proposed which combines an analysis of Further Education milieu as potentially 'transparent' or 'opaque', and the role of Drama as potentially 'instrumental' or 'expressive'. The study moves accumulatively through three case studies. The first is an historical case assessing the extent, through two representative contrasting periods, to which the problems of Drama in Further Education can be said to reflect wider tensions and ambiguities pertaining to the role of Drama in culture at large. The second case study examines whether the legacy of Further Education is one of historical uncertainty and confusion, and whether Drama has responded in a consistent way to the cross-fire of ideas, interests and rhetorics of justification that it has found itself caught in. The third case study is an in-depth ethnography portrayal of the vicissitudes of Drama in a single institution, Sutton Coldfield College of Further Education, placed against a preliminary city-wide perspective concerning Further Education provision in Birmingham. As a contribution to theory, the thesis seeks tentative generalizations from multi-site and cross-time case studies in several areas, including cultural reproduction theory, modified to take account of sub-cultural tensions, and the moral behaviour and practical gambles associated with marginal subject areas in hostile milieu. It also takes an interactionist perspective on the ploys and strategies by which participants in the contested areas manage the problems of their potentially deviant identities, an account in which the collaborators and fifth columnists have their places. A final consideration is the extent to which the forces of social control in the colleges operate by hegemonic consent or by coercion in seeking to curb and contain Dramatic activity.
46
May, Harvey Brian. "Australian Multicultural Policy and Television Drama in Comparative Contexts". Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15835/1/Harvey_May_Thesis.pdf.
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This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.
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May, Harvey Brian. "Australian Multicultural Policy and Television Drama in Comparative Contexts". Queensland University of Technology, 2004. http://eprints.qut.edu.au/15835/.
Texto completo da fonteResumo:
This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.
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Kirkner, B. Joanne. "Creative drama as a source for literacy development". CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1011.
Texto completo da fonteResumo:
Students achieve knowledge by different means. I find that a child allowed to learn from one's personal style finds purpose in learning and develops a desire to read. With this in mind I have designed this project to be used as a resource for teachers wanting to implement creative drama, in the classroom, as an avenue for improving reading abilities of low-progress readers.
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Cannon, Ashley N. "Incorporating drama across the curriculum into the intermediate elementary classroom". Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1020.
Texto completo da fonteResumo:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Education
Education
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Frawley-Mangan, Anne, e res cand@acu edu au. "Drama and Religious Education: a match made in heaven". Australian Catholic University. School of Religious Education, 2006. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp109.11092006.
Texto completo da fonteResumo:
This thesis investigates the use of drama as a teaching tool in religious education within the context of sacramental preparation. The research is informed by educational theories which suggest that arts education and religious education both rely on aesthetic knowing to construct meaning.The theories which underpin this research claim that this form of knowing honours the students’ freedom to form their own understandings and will be achieved through critical reflection and experiential methods which engage heart, spirit and mind. Drama is one such method and therefore this thesis contends that drama and religious education are indeed ‘a match made in heaven’.