Pub Date : 2020-07-02DOI: 10.1080/14452294.2021.1939506
Linda Lorenza
ABSTRACT When face-to-face tuition was suspended due to COVID-19 health regulations, tertiary drama students engaged in devising and performing drama online. Inspired by Orson Welles’ radio play, ‘The War of the Worlds’, and working online with a film director, the students developed a three-episode livestream drama in response to the pandemic. Through the lens of Davis’ cyberdrama toolkit, this practitioner’s reflection relates the collaborative story development process in which the students devised, scripted and self-taped scenes for the three-episode livestream. The implications of this experience are that the eight-week project expanded the students’ understanding of performance and, increased their skillset to include ‘self-tape’ and manipulation of the audience perspective. The livestream reached a far larger audience than would have attended an onstage production at the regional campus. Enforced online learning during the pandemic has enlivened the way we perceive and teach drama.
在新冠肺炎疫情卫生法规暂停面授的情况下，戏剧院校的学生开始在网上设计和表演戏剧。受奥逊·威尔斯(Orson Welles)广播剧《世界大战》(The War of The Worlds)的启发，学生们与一位电影导演在网上合作，制作了一部三集的直播剧，以应对疫情。通过戴维斯的网络戏剧工具包，这位实践者的反思与学生们为三集直播设计、编写和录制场景的合作故事发展过程有关。这个为期八周的项目扩大了学生对表演的理解，提高了他们的技能，包括“自录”和操纵观众的视角。现场直播吸引的观众远远超过了在该地区校园参加舞台演出的观众。疫情期间强制实施的在线学习活跃了我们看待和教授戏剧的方式。
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Pub Date : 2020-01-02DOI: 10.1080/14452294.2020.1859670
R. Ewing
Empathy is an attribute many aspire to possess in large quantities. We use the word often, usually in a positive way and assume others know and understand just what we mean. We take for granted that we have similar understandings of what ‘empathy’ is. But do we? Alison Grove O’Grady challenges us to deeply interrogate assumptions about empathy in her monograph Pedagogy, Empathy and Praxis. Using Theatrical Traditions to Teach. She offers a range of ways empathy has been defined and theorised, why it must be problematised and why it is particularly pertinent in an age of increasingly reductive curricula, surveillance and technical compliance. In six chapters the book includes an analysis of the many definitions of empathy. a literature review, the critical reasons why empathy can and should be taught; a rationale for a pedagogy of empathy using theatre traditions and discussions about praxis. Indeed, although the monograph was written prior to COVID-19, it is even more pertinent in the current global pandemic. Initially Grove O’Grady considers a range of definitions of empathy and highlights how multidimensional and complex the concept is. At its heart, empathy requires a shift from focusing on self to a deep understanding of ‘the other’. Both the positive and negative aspects of actioning this are discussed. In fact, as O’Grady asserts, empathy represents ‘a constellation of concepts’ that need to be activated in different ways for different purposes, be they strategic, global, historical, critical, professional or metaxic. Grove O’Grady’s quest in this monograph is clear: she explores whether empathy can be taught in professional contexts and her particular focus is pre-service teacher education. She considers how pre-service teacher education might be transformed and early career teachers better equipped to face the multiple challenges of teaching today through explicit attention to pedagogic empathy. She hypothesises from both a scholarly review of literature and her own research and experience that drama-rich strategies and experiences may foster the development of more socially just and inclusive relationships and a better understanding of identity and perspective in the diversity that comprises our worlds. The protection provided by taking on a fictional role enables participants to bring their own understandings and experiences to a particular case story, with permission to explore new possibilities using a range of strategies adapted from theatre. It is Grove O’Grady’s belief, embodied in and confirmed by her own research and practice, that rich stories and retelling, coupled with theatrical traditions and strategies reveal tensions beneath the surface, provoke deep questions about traditional knowledges, stereotypes and practices and enable pre-service and early career teachers to develop confidence and agency in asking ‘what if’ and ‘does it need to be this way’? Grove O’Grady provides several examples of her use of this approach includ
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Pub Date : 2020-01-02DOI: 10.1080/14452294.2020.1869913
Dwaipayan Roy
ABSTRACT In drama classes throughout the Western world, masks are regularly engaged within a variety of contexts. However, there is negligible information available as to how masks are actually used in the classroom, and to what degree they are effective in different teaching and learning contexts. This research sought to understand how masks could potentially have further impact and to understand more about the teachers’ and students’ engagement with and understanding of their learning. The findings suggest that training is key for teaching staff, and that students have high engagement, with increased self-awareness of roles and of their own sense of personal identity through the use of masks. In addition, there were indications that the usage of masks in the classroom offered opportunities for genuine inclusion of students with specific learning difficulties.
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Pub Date : 2020-01-02DOI: 10.1080/14452294.2020.1871506
Olivia Karaolis
ABSTRACT The early childhood sector supports the realisation of inclusive education through a range of recommendations, policy statements and resources. With such a clearly mandated movement for inclusive practice it is imperative that educators are equipped with the attitudes, knowledge, and skills necessary to ensure the full participation of all children. Despite this understanding, a discrepancy exists between the recommendations and the confidence or capacity of early childhood professionals to realise inclusion with authenticity. This paper highlights findings from my PhD research that showed how early childhood professionals and drama educators working with young children can apply the creative arts for inclusive practice. Drawing upon the methodology of portraiture, a series of vignettes illustrate how drama, puppetry, and movement can be applied to address barriers to authentic inclusion in early childhood contexts and create a culture that embraces all children.
{"title":"Inclusion happens with a puppet: puppets for inclusive practice in early childhood settings","authors":"Olivia Karaolis","doi":"10.1080/14452294.2020.1871506","DOIUrl":"https://doi.org/10.1080/14452294.2020.1871506","url":null,"abstract":"ABSTRACT The early childhood sector supports the realisation of inclusive education through a range of recommendations, policy statements and resources. With such a clearly mandated movement for inclusive practice it is imperative that educators are equipped with the attitudes, knowledge, and skills necessary to ensure the full participation of all children. Despite this understanding, a discrepancy exists between the recommendations and the confidence or capacity of early childhood professionals to realise inclusion with authenticity. This paper highlights findings from my PhD research that showed how early childhood professionals and drama educators working with young children can apply the creative arts for inclusive practice. Drawing upon the methodology of portraiture, a series of vignettes illustrate how drama, puppetry, and movement can be applied to address barriers to authentic inclusion in early childhood contexts and create a culture that embraces all children.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77460305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14452294.2020.1859671
Bethany M. Parsons, M. Weeding
We were saddened this year by the the passing of one of Australia’s drama education pioneers, Tasmania’s Beth Parsons. According to her own memoir (Parsons 2020), Beth Parsons was from the village of Ouse in Tasmania, and had to leave school at the age of thirteen because her parents could not afford to send her to high school. However she worked to complete training at the Teachers Training College in Launceston and went on to teach in a number of primary schools. Beth’s foray in drama in education was launched when she was was selected to attend a ‘school-of-method’ course conducted by the Supervisor of Speech Education, Mr Clive Sansom. Clive Samson had been appointed by the Tasmanian Government in 1950 with the brief to improve the standard of speech among children. He had a background as an author, poet and university examiner in the art of the spoken work. Beth enthusiastically tried out the methods she had learnt with her own class, and also subsequently at the New Norfolk High School. Pleased with Beth’s achievements, Clive Sansom invited her to train as a speech education adviser with the Speech Education Centre. She moved to the Centre in 1955, where she met and worked with some innovative educators, many of whom became lifelong friends. The centre advisors had the challenging job of introducing class discussion and oral language, puppet plays and poetry performances with the goal of unlocking the voices of children. At that time children were generally not permitted to speak in class unless reciting lines that had been rote learnt. At one school, half of the class even staged a walk out because their parents believed that it was evil for children to use their imaginations, however Beth calmly soldiered on, aiming to bring out the best in the remaining children. Beth was soon given the responsibility of covering thirteen schools in the Huon Valley and D’Entrecasteaux Channel areas, and during this time she formed more life-long friendships with teachers that she encountered. Clive Sansom continued to be an important mentor for Beth, and arranged a scholarship for her to study Speech and Drama teaching in England during 1959. This was highly significant as such courses were not available in Australia until 1970. As part of achieving certification from the London Royal Academy of Music and Drama, Beth needed to acquire an accent and intonation that would enable her to merge unnoticeably with an English cast. This necessitated extra tuition to work on modification of her Australian vowel sounds. Returning to Tasmania, Beth soon became the first ever lecturer in Speech and Drama at the Launceston Teachers College, and subsequently at the Hobart Teachers College. She worked towards having The Arts recognised within the Tasmanian curriculum and Speech and Drama accepted as counting towards matriculation. In Hobart, she established lasting friendships with other lecturers involved in Music and Art, and together they NJ: DRAMA AUSTRALIA JOURNAL
{"title":"Eulogy - Beth Parsons","authors":"Bethany M. Parsons, M. Weeding","doi":"10.1080/14452294.2020.1859671","DOIUrl":"https://doi.org/10.1080/14452294.2020.1859671","url":null,"abstract":"We were saddened this year by the the passing of one of Australia’s drama education pioneers, Tasmania’s Beth Parsons. According to her own memoir (Parsons 2020), Beth Parsons was from the village of Ouse in Tasmania, and had to leave school at the age of thirteen because her parents could not afford to send her to high school. However she worked to complete training at the Teachers Training College in Launceston and went on to teach in a number of primary schools. Beth’s foray in drama in education was launched when she was was selected to attend a ‘school-of-method’ course conducted by the Supervisor of Speech Education, Mr Clive Sansom. Clive Samson had been appointed by the Tasmanian Government in 1950 with the brief to improve the standard of speech among children. He had a background as an author, poet and university examiner in the art of the spoken work. Beth enthusiastically tried out the methods she had learnt with her own class, and also subsequently at the New Norfolk High School. Pleased with Beth’s achievements, Clive Sansom invited her to train as a speech education adviser with the Speech Education Centre. She moved to the Centre in 1955, where she met and worked with some innovative educators, many of whom became lifelong friends. The centre advisors had the challenging job of introducing class discussion and oral language, puppet plays and poetry performances with the goal of unlocking the voices of children. At that time children were generally not permitted to speak in class unless reciting lines that had been rote learnt. At one school, half of the class even staged a walk out because their parents believed that it was evil for children to use their imaginations, however Beth calmly soldiered on, aiming to bring out the best in the remaining children. Beth was soon given the responsibility of covering thirteen schools in the Huon Valley and D’Entrecasteaux Channel areas, and during this time she formed more life-long friendships with teachers that she encountered. Clive Sansom continued to be an important mentor for Beth, and arranged a scholarship for her to study Speech and Drama teaching in England during 1959. This was highly significant as such courses were not available in Australia until 1970. As part of achieving certification from the London Royal Academy of Music and Drama, Beth needed to acquire an accent and intonation that would enable her to merge unnoticeably with an English cast. This necessitated extra tuition to work on modification of her Australian vowel sounds. Returning to Tasmania, Beth soon became the first ever lecturer in Speech and Drama at the Launceston Teachers College, and subsequently at the Hobart Teachers College. She worked towards having The Arts recognised within the Tasmanian curriculum and Speech and Drama accepted as counting towards matriculation. In Hobart, she established lasting friendships with other lecturers involved in Music and Art, and together they NJ: DRAMA AUSTRALIA JOURNAL","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73746360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14452294.2020.1838245
Corinna di Niro
ABSTRACT How does a unique genre of itinerant Italian theatre survive five centuries and still remain vibrant and relevant today? As a practitioner (performer/teacher) of Commedia I tackle this enigma by unpacking the key components of Commedia dell’Arte – the genre. Inspired by the teachings of Antonio Fava, I have developed a three-dimensional approach (henceforth 3-DA) to performing and/or teaching Commedia in contemporary times. My approach involves authenticity to key characteristics of the genre (use of masks, improvisation, stock characters and multilingualism), and authenticity to time and place. I discuss this methodology that includes a rationale for engaging with each dimension in turn. I also review the extensive literature on the theme, providing provocative examples and draw on my expertise as a practitioner of this timeless craft.
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Pub Date : 2020-01-02DOI: 10.1080/14452294.2020.1859945
Ayomi Irugalbandara, M. Campbell, R. English, Carly J. Lassig
ABSTRACT Arts subjects such as drama provide an effective context for developing 21st century skills, yet drama teaching in Sri Lanka is still mainly delivery through traditional, lecture-based methods. This article presents evaluation results of a drama-based intervention program that was designed specifically to develop junior secondary school students’ creative thinking capacity and adaptability skills in the Sri Lankan context. The participants were 128 students aged 11-12 years in Year 7 drama classes. The program was implemented over twelve consecutive weeks in weekly two-hour sessions by regular drama teachers who had been trained in a process drama teaching approach. Results evidenced a positive effect emerging from the intervention: creativity and adaptability test scores of the students in the intervention group increased significantly compared to those of the students in the control and active control groups. This paper identifies implications of these findings for Sri Lankan drama teaching and learning and beyond.
{"title":"Teaching drama differently in Sri Lankan secondary schools","authors":"Ayomi Irugalbandara, M. Campbell, R. English, Carly J. Lassig","doi":"10.1080/14452294.2020.1859945","DOIUrl":"https://doi.org/10.1080/14452294.2020.1859945","url":null,"abstract":"ABSTRACT Arts subjects such as drama provide an effective context for developing 21st century skills, yet drama teaching in Sri Lanka is still mainly delivery through traditional, lecture-based methods. This article presents evaluation results of a drama-based intervention program that was designed specifically to develop junior secondary school students’ creative thinking capacity and adaptability skills in the Sri Lankan context. The participants were 128 students aged 11-12 years in Year 7 drama classes. The program was implemented over twelve consecutive weeks in weekly two-hour sessions by regular drama teachers who had been trained in a process drama teaching approach. Results evidenced a positive effect emerging from the intervention: creativity and adaptability test scores of the students in the intervention group increased significantly compared to those of the students in the control and active control groups. This paper identifies implications of these findings for Sri Lankan drama teaching and learning and beyond.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83814147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14452294.2020.1875160
Susan Davis, J. O'Mara
{"title":"Old, new, review","authors":"Susan Davis, J. O'Mara","doi":"10.1080/14452294.2020.1875160","DOIUrl":"https://doi.org/10.1080/14452294.2020.1875160","url":null,"abstract":"","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76601564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-17DOI: 10.1080/14452294.2019.1703207
Monica Prendergast
This paper is interested in positing a new performance analysis concept in support of both seeking and recognising performances that include generosity as a key component. The politics of distemper...
{"title":"Generosity in performance","authors":"Monica Prendergast","doi":"10.1080/14452294.2019.1703207","DOIUrl":"https://doi.org/10.1080/14452294.2019.1703207","url":null,"abstract":"This paper is interested in positing a new performance analysis concept in support of both seeking and recognising performances that include generosity as a key component. The politics of distemper...","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74805970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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