Pub Date : 2017-01-02DOI: 10.1080/14452294.2017.1329682
Tiina Moore
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Pub Date : 2017-01-02DOI: 10.1080/14452294.2017.1329689
Una McCabe
Abstract The research outlined in this article uses drama as a methodology to effect levels of engagement in sociodramatic play. The study draws on research by the initiators of sociodramatic play training, and provides quantitative and qualitative results in relation to children aged three to six, in a disadvantaged setting. It is shown that children will not always learn to play by playing and that the use of drama pedagogy can develop children’s ability to access dramatic play worlds. Borders and commonalities in discourse around drama in education and early childhood education are examined. Conclusions are made around the importance of the educator’s subject knowledge of drama as a key component of a play pedagogy which best supports sociodramatic play. Working in role, supported by the educator, is centralised as the curriculum provision children need in order to be able to explore the narrative of their worlds.
{"title":"The drama in sociodramatic play: implications for curriculum and pedagogy","authors":"Una McCabe","doi":"10.1080/14452294.2017.1329689","DOIUrl":"https://doi.org/10.1080/14452294.2017.1329689","url":null,"abstract":"Abstract The research outlined in this article uses drama as a methodology to effect levels of engagement in sociodramatic play. The study draws on research by the initiators of sociodramatic play training, and provides quantitative and qualitative results in relation to children aged three to six, in a disadvantaged setting. It is shown that children will not always learn to play by playing and that the use of drama pedagogy can develop children’s ability to access dramatic play worlds. Borders and commonalities in discourse around drama in education and early childhood education are examined. Conclusions are made around the importance of the educator’s subject knowledge of drama as a key component of a play pedagogy which best supports sociodramatic play. Working in role, supported by the educator, is centralised as the curriculum provision children need in order to be able to explore the narrative of their worlds.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85242166","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 : 2017-01-02DOI: 10.1080/14452294.2017.1329681
C. Coleman
Abstract ‘Je voudrais un café au lait’ you nervously utter to your classmate, who listens carefully while wearing his best haughty French expression. Role play has long been popular in Additional Language (AL) classes for practising and rehearsing daily conversations. Subsequently other forms of drama education have garnered interest from the Language learning community for their ability to provide purposeful and engaging contexts for learning. This paper critiques the work of two language educators, who have adapted Cecily O’Neill’s The Seal Wife for an AL learning context. It critically examines the two dramas focusing upon several key features of process drama and discusses potential issues which may arise from borrowing and altering existing drama works.
{"title":"Precarious repurposing: learning languages through the Seal Wife","authors":"C. Coleman","doi":"10.1080/14452294.2017.1329681","DOIUrl":"https://doi.org/10.1080/14452294.2017.1329681","url":null,"abstract":"Abstract ‘Je voudrais un café au lait’ you nervously utter to your classmate, who listens carefully while wearing his best haughty French expression. Role play has long been popular in Additional Language (AL) classes for practising and rehearsing daily conversations. Subsequently other forms of drama education have garnered interest from the Language learning community for their ability to provide purposeful and engaging contexts for learning. This paper critiques the work of two language educators, who have adapted Cecily O’Neill’s The Seal Wife for an AL learning context. It critically examines the two dramas focusing upon several key features of process drama and discusses potential issues which may arise from borrowing and altering existing drama works.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82864549","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 : 2017-01-02DOI: 10.1080/14452294.2017.1329679
Stig A. Eriksson
{"title":"The violence workshop re-visited","authors":"Stig A. Eriksson","doi":"10.1080/14452294.2017.1329679","DOIUrl":"https://doi.org/10.1080/14452294.2017.1329679","url":null,"abstract":"","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87672941","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 : 2017-01-02DOI: 10.1080/14452294.2017.1329680
Hala Mreiwed, Mindy R. Carter, Abigail Shabtay
Abstract This article explores the experiences of two research assistants and an assistant professor involved in teaching and research in Curriculum and Instruction in Drama Education, a course for pre-service teachers at a Canadian University. Direct observations, field notes, student journals, participant interviews and an in-depth analysis of one student group’s creation and performance led to the understanding of the significant role of drama education in fostering community amongst pre-service teachers. Informing the research findings is a conversation about the social postmodern notion of community that fosters a sense of belonging, trust, and safety. The foundations of community within drama education specifically prompt deeper considerations for inclusion, collaboration, and empowerment in education allowing for the conception of ‘human subject in pursuit of themselves’.
{"title":"Building classroom community through drama education","authors":"Hala Mreiwed, Mindy R. Carter, Abigail Shabtay","doi":"10.1080/14452294.2017.1329680","DOIUrl":"https://doi.org/10.1080/14452294.2017.1329680","url":null,"abstract":"Abstract This article explores the experiences of two research assistants and an assistant professor involved in teaching and research in Curriculum and Instruction in Drama Education, a course for pre-service teachers at a Canadian University. Direct observations, field notes, student journals, participant interviews and an in-depth analysis of one student group’s creation and performance led to the understanding of the significant role of drama education in fostering community amongst pre-service teachers. Informing the research findings is a conversation about the social postmodern notion of community that fosters a sense of belonging, trust, and safety. The foundations of community within drama education specifically prompt deeper considerations for inclusion, collaboration, and empowerment in education allowing for the conception of ‘human subject in pursuit of themselves’.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73176012","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 : 2017-01-02DOI: 10.1080/14452294.2017.1329685
Matt Edgerton
Abstract In this keynote, Matt Edgerton, Artistic Director of Barking Gecko Theatre company considers the old and the new, in terms of the work of contemporary theatre-making for young people. He discusses past and future projects undertaken by Barking Gecko and explains how much inspiration is drawn from traditional texts, as well as new and exciting examples of quality literature for children and young people.
{"title":"What’s new?*","authors":"Matt Edgerton","doi":"10.1080/14452294.2017.1329685","DOIUrl":"https://doi.org/10.1080/14452294.2017.1329685","url":null,"abstract":"Abstract In this keynote, Matt Edgerton, Artistic Director of Barking Gecko Theatre company considers the old and the new, in terms of the work of contemporary theatre-making for young people. He discusses past and future projects undertaken by Barking Gecko and explains how much inspiration is drawn from traditional texts, as well as new and exciting examples of quality literature for children and young people.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87601769","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 : 2017-01-02DOI: 10.1080/14452294.2017.1331700
M. Stinson, R. Ewing
This initial edition of NJ for 2017 foregrounds the role of drama as critical, quality pedagogy across the educational continuum. This theme is of central importance at a time when drama educators are concerned about the reductive and narrow curriculum offerings undermining all sectors of education. Each article in this issue provides evidence and strong counter-arguments for rich and creative pedagogies that enable deep understanding, the exploration of complex ethical issues and opportunities for the development of empathy and compassion. The scope of this issue spans a broad range of educational contexts from early childhood settings to primary and secondary schooling to institutions of higher education. All of the articles provide concrete and practical models for drama educators who hope to extend and enhance their own professional practices. Early childhood educator Una McCabe writes of drama as a methodology used to engage vulnerable or at risk children in rich socio-dramatic play. In her study, she demonstrates that children will not always learn through playing alone, and therefore discusses the importance of the educator’s role in enabling children to access dramatic worlds in a deeper way. Carolyn Swanson gives an example of the use of ‘mantle of the expert’ as a support for exploring ethical tensions when learning in science. She discusses the effects of role, status and purpose of her primary participants’ understandings as they emerged and developed. They were able to appreciate the complexity of ethical dilemmas as they considered alternative points of view. Claire Coleman unpacks two contrasting interpretations of Cecily O’Neill’s renowned Seal Wife drama as they were applied in secondary language contexts. In particular, she demonstrates the facilitators’ challenges in providing access to meaning without dictating a particular interpretation. To partner this article we asked Cecily O’Neill to reflect on the original Seal Wife drama and she has kindly done so. Pleased that the drama still has currency, she was surprised to see its application in teaching languages. Hala Mreiwed draws on a study in tertiary teacher education contexts to explore the role drama education may play in fostering community amongst pre-service teachers. She proposes that ‘community as a relational experience’ raises questions about what might be considered normal or familiar modes of instruction in higher education. We are delighted to provide Barking Gecko’s Artistic Director Matt Edgerton’s inspiring keynote from Drama Australia’s New Ground Rising conference in Perth in February, 2017. He chose to discuss ‘the spirit of the new’ as ‘a vital part of what drives us as theatre artists’. Newly retired international drama leader and educator Stig Eriksson has kindly permitted us to reprint his 1995 article ‘The Violence Workshop’ which uses Shakespeare’s Titus Andronicus to frame learning employing a wide range of drama conventions. Stig has also provided u
2017年《新泽西大学》初版强调了戏剧在整个教育过程中作为关键的、高质量的教学法的作用。在戏剧教育工作者关注削弱所有教育部门的简化和狭隘的课程设置时，这一主题具有至关重要的意义。本期的每篇文章都为丰富而富有创造性的教学方法提供了证据和有力的反驳，这些教学方法使人们能够深刻理解、探索复杂的伦理问题，并为同理心和同情心的发展提供了机会。这个问题的范围涵盖了从幼儿环境到小学和中学再到高等教育机构的广泛教育环境。所有的文章都为希望扩展和加强自己的专业实践的戏剧教育工作者提供了具体和实用的模式。幼儿教育家乌纳·麦凯布(Una McCabe)将戏剧作为一种方法，用于让脆弱或有风险的儿童参与丰富的社会戏剧游戏。在她的研究中，她证明了孩子们并不总是通过独自玩耍来学习，因此讨论了教育者在使孩子们以更深的方式进入戏剧世界中的作用的重要性。Carolyn Swanson给出了一个使用“专家的斗篷”作为科学学习中探索伦理紧张关系的支持的例子。她讨论了她的主要参与者的理解的角色，地位和目的的影响，因为他们的出现和发展。当他们考虑不同的观点时，他们能够理解道德困境的复杂性。克莱尔·科尔曼揭示了西西莉·奥尼尔著名的《海豹之妻》在第二语言语境中的两种截然不同的解读。特别是，她展示了引导者在不规定特定解释的情况下提供对意义的访问的挑战。为了配合这篇文章，我们请西西莉·奥尼尔(Cecily O 'Neill)对《海豹之妻》(Seal Wife)原著剧进行了反思，她很友好地接受了采访。令她高兴的是，这部剧仍然流行，但令她惊讶的是，它在语言教学中的应用。Hala mrewed通过对高等教育教师教育背景的研究，探讨戏剧教育在培养职前教师群体中可能发挥的作用。她提出，“作为一种关系体验的社区”提出了一个问题，即什么是高等教育中正常或熟悉的教学模式。我们很高兴提供巴金壁虎的艺术总监马特·埃杰顿在2017年2月在珀斯举行的戏剧澳大利亚新地面崛起会议上鼓舞人心的主题演讲。他选择讨论“新精神”作为“推动我们作为戏剧艺术家的重要组成部分”。新近退休的国际戏剧领袖和教育家Stig Eriksson善意地允许我们转载他1995年的文章“暴力工作坊”，这篇文章使用莎士比亚的Titus Andronicus来框架学习，采用广泛的戏剧惯例。斯蒂格也为我们提供了他的思考。当回顾这篇20年前的文章时，他认为它仍然与21世纪的生活相关并令人兴奋。他希望初读本书的读者会受到启发，并欢迎他们的评论。
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Pub Date : 2017-01-02DOI: 10.1080/14452294.2017.1329678
C. Swanson
Abstract This paper draws on data from a mixed method action research study investigating whether Mantle of the Expert supported or constrained science learning in a year 7/8 class. The 29 students (positioned as expert scientists) learned about buoyancy and stability through reinvestigating the sinking of the ferry Wahine in Wellington Harbour, New Zealand on 10 April 1968. The focus of this paper, however, is Heathcote’s notion of ‘others’. It examines how the role of the client as an external audience to the students’ work was extended by offering fictional others as an internal audience. The study highlights the value of interacting in an ethical manner with multiple fictional others of differing statuses and competency. I will suggest using both competent and incompetent fictional others intensifies the learning, and expands the possible by providing students with an incentive to work and to develop their curricular understanding.
摘要:本文利用了一项混合方法行动研究的数据，调查了Mantle of the Expert是支持还是限制了7/8年级学生的科学学习。29名学生(定位为专家科学家)通过重新调查1968年4月10日在新西兰惠灵顿港沉没的Wahine渡轮，了解了浮力和稳定性。然而，本文的重点是希思科特的“他者”概念。它考察了客户作为外部观众的角色如何通过提供虚构的其他人作为内部观众来扩展学生的工作。该研究强调了以道德方式与多个不同地位和能力的虚构他人互动的价值。我建议使用称职和不称职的虚构人物都可以加强学习，并通过激励学生学习和发展他们的课程理解来扩大可能性。
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Pub Date : 2016-11-01DOI: 10.1080/14452294.2018.1504364
David Megarrity, Bridget Boyle
ABSTRACT In theatre, hierarchies that delineate role and function often obscure the collaborative work of conceptualising a performance. Similarly, group processes may mask hidden creative hierarchies by labelling themselves ‘collaborative’. Either way, it is widely held that it’s difficult to make things in groups. Third Year BFA (Drama) students at the Queensland University Technology engage with creative development in building new performances to proof of concept stage. ‘Then the penny dropped’ is a colloquial English expression capturing the moment of realisation after a period of uncertainty. This is an investigation of learning experiences in which the penny is still falling. This article surveys 3 years of this program in action, comprising 23 separate creative projects and groups. It describes the distinct characteristics of this learning environment, while developing a taxonomy of the student works, windows into processes that realised them and strategies for realising the learning opportunities offered by collaborative creativity.
在戏剧中，描述角色和功能的等级制度往往模糊了概念化表演的协作工作。同样，群体过程可能通过给自己贴上“协作”的标签来掩盖隐藏的创造性层次。不管怎样，人们普遍认为在群体中制造东西是很困难的。昆士兰科技大学三年级BFA(戏剧)学生参与创意开发，建立新的表演，以证明概念阶段。Then the penny dropped是一个英语口语表达，表达的是经历了一段时间的不确定之后幡然醒悟的那一刻。这是一项关于学习经验的调查，其中的结果仍在下降。这篇文章调查了这个项目3年来的运作情况，包括23个独立的创意项目和小组。它描述了这种学习环境的独特特征，同时开发了学生作品的分类，实现过程的窗口以及实现协作创造力提供的学习机会的策略。
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