Pub Date : 2018-11-15DOI: 10.1080/14452294.2018.1537134
Jan Buley, Scott Yetman, Mitchell McGee-Herritt
ABSTRACT In this paper, we have reflected on how drama training and drama experiences have helped us in our own journeys as educators and how the artform has invited learners into new communities and collaborative problem-solving. The very spaces of schools are isolating, with classroom doors opening and shutting in long corridors. The curriculum is often siloed and distant from other disciplines and young people and adults spend hours in zombie-like trances, seemingly addicted to hand-held devices, yearning for affirmations of their existence. Drama invites us to connect with one another and come face to face with human beings. Drama invites us to ‘try on’ a lifestyle and language that may be unfamiliar. In addition, study after study has proven that literacy skills are strengthened and enhanced when the crafts of drama—expressive speaking, risk-taking, creativity, imaginative and cooperative thinking and doing—are infused into teaching and learning.
{"title":"How has drama education training strengthened our teaching skills? Perspectives from preservice teachers and a university professor","authors":"Jan Buley, Scott Yetman, Mitchell McGee-Herritt","doi":"10.1080/14452294.2018.1537134","DOIUrl":"https://doi.org/10.1080/14452294.2018.1537134","url":null,"abstract":"ABSTRACT In this paper, we have reflected on how drama training and drama experiences have helped us in our own journeys as educators and how the artform has invited learners into new communities and collaborative problem-solving. The very spaces of schools are isolating, with classroom doors opening and shutting in long corridors. The curriculum is often siloed and distant from other disciplines and young people and adults spend hours in zombie-like trances, seemingly addicted to hand-held devices, yearning for affirmations of their existence. Drama invites us to connect with one another and come face to face with human beings. Drama invites us to ‘try on’ a lifestyle and language that may be unfamiliar. In addition, study after study has proven that literacy skills are strengthened and enhanced when the crafts of drama—expressive speaking, risk-taking, creativity, imaginative and cooperative thinking and doing—are infused into teaching and learning.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"47 1","pages":"20 - 27"},"PeriodicalIF":1.0,"publicationDate":"2018-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79062637","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 : 2018-08-20DOI: 10.1080/14452294.2018.1509368
S. Hogan
ABSTRACT Little is known about how secondary drama students identify or utilise teacher feedback. This article presents findings from a study exploring how drama students describe their experiences of teacher feedback and how, or if, they apply this feedback to enhance their learning. Data collection and analysis focused on students’ experiences of teacher feedback occurring in three secondary drama classrooms in Queensland, Australia. Emergent findings suggest that drama students employ contextual, social and individual learning filters to assess the usefulness of teacher feedback. In the highly interactive and relational drama classroom, social filters can induce or hinder the existence of dialogic feedback. This can subsequently influence the drama students’ perspectives of the usefulness of teacher feedback. This article draws on the student voice to describe these social filters and suggests how drama teachers may culture opportunities for drama students to engage with dialogic and useful teacher feedback.
{"title":"Social filters shaping student responses to teacher feedback in the secondary drama classroom","authors":"S. Hogan","doi":"10.1080/14452294.2018.1509368","DOIUrl":"https://doi.org/10.1080/14452294.2018.1509368","url":null,"abstract":"ABSTRACT Little is known about how secondary drama students identify or utilise teacher feedback. This article presents findings from a study exploring how drama students describe their experiences of teacher feedback and how, or if, they apply this feedback to enhance their learning. Data collection and analysis focused on students’ experiences of teacher feedback occurring in three secondary drama classrooms in Queensland, Australia. Emergent findings suggest that drama students employ contextual, social and individual learning filters to assess the usefulness of teacher feedback. In the highly interactive and relational drama classroom, social filters can induce or hinder the existence of dialogic feedback. This can subsequently influence the drama students’ perspectives of the usefulness of teacher feedback. This article draws on the student voice to describe these social filters and suggests how drama teachers may culture opportunities for drama students to engage with dialogic and useful teacher feedback.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"192 1","pages":"19 - 4"},"PeriodicalIF":1.0,"publicationDate":"2018-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73180377","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 : 2018-07-03DOI: 10.1080/14452294.2019.1585932
C. Hatton, V. Aitken
ABSTRACT In this article, two mid-career drama education researchers use duoethnography to reflect on Professor Dorothy Heathcote’s legacy in Australia and New Zealand. Drawing on personal artefacts and a shared metaphor, we create narratives that consider Heathcote’s influence on our particular contexts and practice, particularly our work with Mantle of the Expert and Rolling Role. We describe the balancing act of honouring the work and ensuring it continues to be responsive in educational and cultural contexts very different to Heathcote’s own. We also consider the tensions of engaging in and representing the Heathcote tradition without having been directly taught by her. Framed as a personal exchange between two individuals, we suggest that this conversation is one that needs to occur as next generation practitioners and researchers in Drama education work together and repurpose her legacies of theory and practice to move the field into the future.
{"title":"Keeping the flame alive: legacies of Heathcote’s practice across the tasman","authors":"C. Hatton, V. Aitken","doi":"10.1080/14452294.2019.1585932","DOIUrl":"https://doi.org/10.1080/14452294.2019.1585932","url":null,"abstract":"ABSTRACT In this article, two mid-career drama education researchers use duoethnography to reflect on Professor Dorothy Heathcote’s legacy in Australia and New Zealand. Drawing on personal artefacts and a shared metaphor, we create narratives that consider Heathcote’s influence on our particular contexts and practice, particularly our work with Mantle of the Expert and Rolling Role. We describe the balancing act of honouring the work and ensuring it continues to be responsive in educational and cultural contexts very different to Heathcote’s own. We also consider the tensions of engaging in and representing the Heathcote tradition without having been directly taught by her. Framed as a personal exchange between two individuals, we suggest that this conversation is one that needs to occur as next generation practitioners and researchers in Drama education work together and repurpose her legacies of theory and practice to move the field into the future.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"26 1","pages":"118 - 138"},"PeriodicalIF":1.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82253668","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 : 2018-07-03DOI: 10.1080/14452294.2018.1585205
G. Stoate, Jody Raphael
The economically oppressive distance between Aotearoa New Zealand and most of the rest of the world was somewhat mitigated this year for those of us lucky southern hemisphere drama and theatre in education researchers, at least, with IDIERI 9 hosting delegates from 25 different countries, in Tamaki Makaurau Auckland, during the first week of July. Hosted at the University of Auckland’s Epsom campus, set close to Maungawhau Mount Eden an appropriately elevated location at the ‘bottom of the world’, delegates spent a week soaking up Aotearoa New Zealand’s unique culture with drama-in-education colleagues, research practitioners, writers and artists. This is the first IDIERI event to have been held in Aotearoa New Zealand and we were delighted to welcome our international guests with a powhiri, a traditional welcoming ceremony involving korero and waiata (speeches and song) led by Professor Peter O’Connor and to which Professor Tim Prentki responded on behalf of the Manuhiri (those of us being welcomed onto the campus for the first time). The Powhiri ended with an invitation to us all to share breath in a hongi, prepare to share plenty more singing, and to look forward to connecting with new friends, and reconnecting with familiar friends, many of whom had travelled great distances to be in Aotearoa for the week. ‘Six Months in a Leaky Boat’ by NZ band Split Enz (1982) became IDIERI 9’s theme song, and the lyrics seemed to reflect new meanings each time we sang it together. The concept of distance, of course, was the key theme for IDIERI 9. Specifically, the conference invited presenters and performers to consider how our drama in education practice may be shaped by our locations, or how we might conceptualise notions of travelling from a physical or affective perspective, or to consider the aesthetics and politics of distance. Whilst there was significant diversity across the keynote presentations, performances, panels, papers and workshops it became clear just how these ‘distances’ can impact our ideas and representations of self and other, identity formulation, and practice – in the contexts of aesthetic and knowledge exploration. The conference offered delegates a wealth of ways we might diminish limitations imposed on us in our drama in education research and practice by ‘distance’.
今年，对于我们这些幸运的南半球戏剧和戏剧教育研究人员来说，新西兰与世界上大多数国家之间的经济差距有所缓解，至少在7月的第一周，IDIERI 9在奥克兰的Tamaki Makaurau接待了来自25个不同国家的代表。这次活动在奥克兰大学的Epsom校区举行，该校区靠近伊登山(Maungawhau Mount Eden，位于“世界的底部”)，代表们花了一周的时间，与戏剧教育的同事、研究从业者、作家和艺术家一起沉浸在新西兰独特的文化中。这是IDIERI第一次在新西兰奥特亚罗亚举办的活动，我们很高兴用powhiri来欢迎我们的国际客人，这是一个传统的欢迎仪式，包括korero和waiata(演讲和歌曲)，由Peter O 'Connor教授主持，Tim Prentki教授代表Manuhiri(我们这些第一次来到校园的人)回应。Powhiri以邀请我们所有人在一个红i中分享呼吸，准备分享更多的歌唱，并期待与新朋友联系，并与熟悉的朋友重新联系，他们中的许多人都从很远的地方来到奥特亚罗亚度过了一周。新西兰乐队Split Enz的《Six Months in a Leaky Boat》(1982)成为了IDIERI 9的主题曲，每次我们一起唱这首歌，歌词似乎都有了新的含义。当然，距离的概念是IDIERI 9的关键主题。具体而言，会议邀请主持人和表演者考虑我们的戏剧在教育实践中如何受到我们的位置的影响，或者我们如何从物理或情感的角度概念化旅行的概念，或者考虑距离的美学和政治。虽然在主题演讲、表演、小组讨论、论文和研讨会中存在着显著的多样性，但在美学和知识探索的背景下，这些“距离”如何影响我们对自我和他人的想法和表现、身份形成和实践，这一点变得很清楚。会议为代表们提供了丰富的方法，使我们能够减少“距离”对我们在教育研究和实践方面的限制。
{"title":"Tyranny of distance: the ninth international drama in education research institute","authors":"G. Stoate, Jody Raphael","doi":"10.1080/14452294.2018.1585205","DOIUrl":"https://doi.org/10.1080/14452294.2018.1585205","url":null,"abstract":"The economically oppressive distance between Aotearoa New Zealand and most of the rest of the world was somewhat mitigated this year for those of us lucky southern hemisphere drama and theatre in education researchers, at least, with IDIERI 9 hosting delegates from 25 different countries, in Tamaki Makaurau Auckland, during the first week of July. Hosted at the University of Auckland’s Epsom campus, set close to Maungawhau Mount Eden an appropriately elevated location at the ‘bottom of the world’, delegates spent a week soaking up Aotearoa New Zealand’s unique culture with drama-in-education colleagues, research practitioners, writers and artists. This is the first IDIERI event to have been held in Aotearoa New Zealand and we were delighted to welcome our international guests with a powhiri, a traditional welcoming ceremony involving korero and waiata (speeches and song) led by Professor Peter O’Connor and to which Professor Tim Prentki responded on behalf of the Manuhiri (those of us being welcomed onto the campus for the first time). The Powhiri ended with an invitation to us all to share breath in a hongi, prepare to share plenty more singing, and to look forward to connecting with new friends, and reconnecting with familiar friends, many of whom had travelled great distances to be in Aotearoa for the week. ‘Six Months in a Leaky Boat’ by NZ band Split Enz (1982) became IDIERI 9’s theme song, and the lyrics seemed to reflect new meanings each time we sang it together. The concept of distance, of course, was the key theme for IDIERI 9. Specifically, the conference invited presenters and performers to consider how our drama in education practice may be shaped by our locations, or how we might conceptualise notions of travelling from a physical or affective perspective, or to consider the aesthetics and politics of distance. Whilst there was significant diversity across the keynote presentations, performances, panels, papers and workshops it became clear just how these ‘distances’ can impact our ideas and representations of self and other, identity formulation, and practice – in the contexts of aesthetic and knowledge exploration. The conference offered delegates a wealth of ways we might diminish limitations imposed on us in our drama in education research and practice by ‘distance’.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"42 1","pages":"161 - 165"},"PeriodicalIF":1.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82476399","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 : 2018-07-03DOI: 10.1080/14452294.2019.1588378
Janinka Greenwood, R. Pascoe
ABSTRACT This article reports critical reflections on the history, evolution and future of drama in education In New Zealand and Australia by two veterans of its history. Robin Pascoe and Janinka Greenwood have both been actively involved in national developments and International collaborations for over 40 years and have each played central roles in shaping international dialogues and in evolvingnational platforms for practice and debate. They engaged in a series of on-line dialogues and report a distillation of their discussions and emergent theorisations of community, history, place, pedagogy and evolving personhood as they are manifest through our lived experiences in the field. In this article they report on the following related areas of (1) drama teacher education and drama curriculum implementation, (2) cross-cultural needs, doubts and possibilities in drama education and (3) the value, and perhaps danger, ofdiversities in knowledge and practice from international engagement.
{"title":"Spaces we share","authors":"Janinka Greenwood, R. Pascoe","doi":"10.1080/14452294.2019.1588378","DOIUrl":"https://doi.org/10.1080/14452294.2019.1588378","url":null,"abstract":"ABSTRACT This article reports critical reflections on the history, evolution and future of drama in education In New Zealand and Australia by two veterans of its history. Robin Pascoe and Janinka Greenwood have both been actively involved in national developments and International collaborations for over 40 years and have each played central roles in shaping international dialogues and in evolvingnational platforms for practice and debate. They engaged in a series of on-line dialogues and report a distillation of their discussions and emergent theorisations of community, history, place, pedagogy and evolving personhood as they are manifest through our lived experiences in the field. In this article they report on the following related areas of (1) drama teacher education and drama curriculum implementation, (2) cross-cultural needs, doubts and possibilities in drama education and (3) the value, and perhaps danger, ofdiversities in knowledge and practice from international engagement.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"110 1","pages":"102 - 117"},"PeriodicalIF":1.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75995565","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 : 2018-07-03DOI: 10.1080/14452294.2018.1585180
E. Bishop, J. Saunders
Welcome to Whitworth University! For more than 125 years, Whitworth has committed itself to providing an “education of mind and heart” that combines incredible learning opportunities with an enduring commitment to nurturing the soul. Within these pages, you will learn more about the many and diverse academic opportunities we provide for our students. What cannot be captured here is the true spirit of Whitworth. That enabling spirit equips our students to ask hard questions, allows our professors to seek new knowledge no matter where that search leads them, empowers our campus to form a lasting community characterized by grace and truth, and honors the relationships that we build along the way. When you complete your time at Whitworth, you will be among a privileged few who have been equipped to use your newfound wisdom, gifts and talents “to honor God, follow Christ and serve humanity.”
{"title":"Presidents’ welcome","authors":"E. Bishop, J. Saunders","doi":"10.1080/14452294.2018.1585180","DOIUrl":"https://doi.org/10.1080/14452294.2018.1585180","url":null,"abstract":"Welcome to Whitworth University! For more than 125 years, Whitworth has committed itself to providing an “education of mind and heart” that combines incredible learning opportunities with an enduring commitment to nurturing the soul. Within these pages, you will learn more about the many and diverse academic opportunities we provide for our students. What cannot be captured here is the true spirit of Whitworth. That enabling spirit equips our students to ask hard questions, allows our professors to seek new knowledge no matter where that search leads them, empowers our campus to form a lasting community characterized by grace and truth, and honors the relationships that we build along the way. When you complete your time at Whitworth, you will be among a privileged few who have been equipped to use your newfound wisdom, gifts and talents “to honor God, follow Christ and serve humanity.”","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"31 1","pages":"101 - 101"},"PeriodicalIF":1.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80748733","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 : 2018-07-03DOI: 10.1080/14452294.2018.1609319
J. Saunders, M. Mooney, J. Cassidy, H. Cassidy, J. Simons, W. Michaels
It is with great sadness that I write to our members to inform them of the passing of Oliver Fiala, the first president of the New South Wales Education Drama Association (EDA) (now Drama NSW) in October 2018 at the age of 95. I only met Oliver once at the Drama Australia and Drama New Zealand Combined International Conference in 2015 when he and his wife Heather attended as special guests. He was a wonderful man whose impact on Drama in NSW and across Australia deserves special recognition in this edition of NJ. I have asked some of Oliver’s colleagues to share with us some words reflecting on his extraordinary life. Oliver, thank you for all that you did for Drama Education in your life. Rest well. John Nicholas Saunders President Drama Australia
{"title":"Tributes to Oliver Fiala","authors":"J. Saunders, M. Mooney, J. Cassidy, H. Cassidy, J. Simons, W. Michaels","doi":"10.1080/14452294.2018.1609319","DOIUrl":"https://doi.org/10.1080/14452294.2018.1609319","url":null,"abstract":"It is with great sadness that I write to our members to inform them of the passing of Oliver Fiala, the first president of the New South Wales Education Drama Association (EDA) (now Drama NSW) in October 2018 at the age of 95. I only met Oliver once at the Drama Australia and Drama New Zealand Combined International Conference in 2015 when he and his wife Heather attended as special guests. He was a wonderful man whose impact on Drama in NSW and across Australia deserves special recognition in this edition of NJ. I have asked some of Oliver’s colleagues to share with us some words reflecting on his extraordinary life. Oliver, thank you for all that you did for Drama Education in your life. Rest well. John Nicholas Saunders President Drama Australia","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"12 1","pages":"166 - 169"},"PeriodicalIF":1.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79211875","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 : 2018-07-03DOI: 10.1080/14452294.2019.1572432
Kelly Freebody, M. Mullen, A. Walls, P. O'Connor
ABSTRACT Policy proposals about social change and well-being shape the implementation of applied theatre projects through technologies such as evaluation practices and funding applications. Representations of projects can, in turn, effect public discourse about who participants are and why they are or are not ‘being well’. Like public policy, applied theatre for social change has to establish a problem that needs to be solved. Drawing on debates about change in applied theatre literature, we consider how funders, governments, and communities call on applied theatre practitioners to frame particular issues and/or people as problematic. We then examine discourses of well-being in Australia and New Zealand, drawing on policy documents and funding schemes to discuss the politics of change in applied theatre in each country. We consider how the field might navigate policies, technologies and public understandings of well-being, change and social good to produce work with and for participants in neoliberalised contexts.
{"title":"Who is Responsible? Neoliberal Discourses of Well-Being in Australia and New Zealand","authors":"Kelly Freebody, M. Mullen, A. Walls, P. O'Connor","doi":"10.1080/14452294.2019.1572432","DOIUrl":"https://doi.org/10.1080/14452294.2019.1572432","url":null,"abstract":"ABSTRACT Policy proposals about social change and well-being shape the implementation of applied theatre projects through technologies such as evaluation practices and funding applications. Representations of projects can, in turn, effect public discourse about who participants are and why they are or are not ‘being well’. Like public policy, applied theatre for social change has to establish a problem that needs to be solved. Drawing on debates about change in applied theatre literature, we consider how funders, governments, and communities call on applied theatre practitioners to frame particular issues and/or people as problematic. We then examine discourses of well-being in Australia and New Zealand, drawing on policy documents and funding schemes to discuss the politics of change in applied theatre in each country. We consider how the field might navigate policies, technologies and public understandings of well-being, change and social good to produce work with and for participants in neoliberalised contexts.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"126 1","pages":"139 - 153"},"PeriodicalIF":1.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72845227","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 : 2018-01-02DOI: 10.1080/14452294.2018.1482728
Tuija Leena Viirret
ABSTRACT This case study explores dialogicality in teaching process drama through the narratives and practices of three experienced drama teachers of the Open University. Dialogue is understood here in the context of ‘I-Thou’ attitude and as the phenomenon of heteroglossia. The analyses of the videotaped reflective interviews with the teachers and process dramas revealed a polyphonic picture of dialogicality in the teaching process, in which juxtapositions of communion and alterity are favoured. These findings may help drama teachers to become more conscious about the challenges and possibilities of generating a fluid and energised dialogicality in process drama.
{"title":"Dialogicality in teaching process drama: three narratives, three frameworks","authors":"Tuija Leena Viirret","doi":"10.1080/14452294.2018.1482728","DOIUrl":"https://doi.org/10.1080/14452294.2018.1482728","url":null,"abstract":"ABSTRACT This case study explores dialogicality in teaching process drama through the narratives and practices of three experienced drama teachers of the Open University. Dialogue is understood here in the context of ‘I-Thou’ attitude and as the phenomenon of heteroglossia. The analyses of the videotaped reflective interviews with the teachers and process dramas revealed a polyphonic picture of dialogicality in the teaching process, in which juxtapositions of communion and alterity are favoured. These findings may help drama teachers to become more conscious about the challenges and possibilities of generating a fluid and energised dialogicality in process drama.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":"79 1","pages":"51 - 61"},"PeriodicalIF":1.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84313898","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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