Pub Date : 1999-09-01DOI: 10.1080/1356978990040211
Linda-Jane Simpson
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Pub Date : 1999-09-01DOI: 10.1080/1356978990040202
H. Barnes
Abstract This paper analyses the process of creating a piece of Physical Theatre with a multicultural group of drama students at a university in South Africa. The process is perceived as a liberatory one within the post‐apartheid era in which former stereotypes of race and culture still prevail and in which the realities of multiculturalism are still being explored and negotiated. This process is analysed in terms of the techniques used to create a space for dialogue and problematisation, and in terms of its effect on the attitudes of the cast involved‐to the issues and subject matter raised during the workshopping and to each other. The relationship of this process to ideas of praxis and cultural action, and particularly humanisation, raised by Freire are explored. The performance piece is also analysed in terms of appropriate form for multicultural expression.
{"title":"Inhlanzi Ishelwe Amanzi‐As Fish Out of Water: finding authentic voices in a multicultural student production","authors":"H. Barnes","doi":"10.1080/1356978990040202","DOIUrl":"https://doi.org/10.1080/1356978990040202","url":null,"abstract":"Abstract This paper analyses the process of creating a piece of Physical Theatre with a multicultural group of drama students at a university in South Africa. The process is perceived as a liberatory one within the post‐apartheid era in which former stereotypes of race and culture still prevail and in which the realities of multiculturalism are still being explored and negotiated. This process is analysed in terms of the techniques used to create a space for dialogue and problematisation, and in terms of its effect on the attitudes of the cast involved‐to the issues and subject matter raised during the workshopping and to each other. The relationship of this process to ideas of praxis and cultural action, and particularly humanisation, raised by Freire are explored. The performance piece is also analysed in terms of appropriate form for multicultural expression.","PeriodicalId":45609,"journal":{"name":"Ride-The Journal of Applied Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"1999-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84694172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-09-01DOI: 10.1080/1356978990040205
James McKenzie, C. Dacosta
Abstract This comparative investigation examines some of the tensions, commonalities and research opportunities which arise when a school of acting is incorporated in a university faculty of social sciences. The Sixteen Personality Factor Questionnaire (16PF) and a ‘Big Five’ personality questionnaire, the NEO‐PI‐R, were administered to a sample of 85 students (32 males and 53 females) at the East 15 School of Acting. The 16PF profiles were compared to those for British undergraduate norms for arts and social sciences students. Forty‐three of the female East 15 students were sample matched on age and sex with 43 undergraduate students reading educational psychology in the Department of Education and Community Studies at the University of East London. The potential actresses were found to be significantly more assertive, happy‐go‐lucky, imaginative, experimenting, forthright and tense and much less conscientious and controlled, i.e. more careless of protocol, than the potential teachers. When the 16PF seco...
摘要:本比较调查探讨了当一所表演学院被纳入一所大学的社会科学学院时，所产生的一些紧张关系、共性和研究机会。研究人员对东15表演学院的85名学生(32名男生和53名女生)进行了16项人格因素问卷(16PF)和“大五”人格问卷(NEO - PI - R)。研究人员将16PF学生的档案与英国文科和社会科学本科生的档案进行了比较。东伦敦大学教育与社区研究系的43名在读教育心理学的本科生在年龄和性别上与东伦敦大学的43名女生相匹配。研究发现，与潜在的教师相比，潜在的女演员明显更自信、更快乐、更幸运、更富有想象力、更勇于尝试、更直率、更紧张，更缺乏责任心和控制欲，即更不注重礼仪。当16PF秒…
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Pub Date : 1999-09-01DOI: 10.1080/1356978990040210
Peter Slade
Entretien avec Peter Slade, auteur qui fait reference dans le domaine de l'education par le theâtre au Royaume-Uni; celui-ci trace les contours du domaine, les principales avancees et les textes clefs en matiere de theâtre pour enfants.
采访彼得·斯莱德，英国戏剧教育领域的权威作家;它概述了该领域的轮廓，主要进展和关键文本的儿童戏剧。
{"title":"Peter Slade Talks","authors":"Peter Slade","doi":"10.1080/1356978990040210","DOIUrl":"https://doi.org/10.1080/1356978990040210","url":null,"abstract":"Entretien avec Peter Slade, auteur qui fait reference dans le domaine de l'education par le theâtre au Royaume-Uni; celui-ci trace les contours du domaine, les principales avancees et les textes clefs en matiere de theâtre pour enfants.","PeriodicalId":45609,"journal":{"name":"Ride-The Journal of Applied Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"1999-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89978103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-09-01DOI: 10.1080/1356978990040214
M. Barnes
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Pub Date : 1999-09-01DOI: 10.1080/1356978990040209
David G. Lewis
L'auteur revient sur l'article de David Montgomerie paru dans Research in drama education, n°1, vol.4, 1999. Si la demonstration de l'auteur quant a l'utilite du theâtre pour le developpement de la comprehension en lecture lui parait incontestable, l'argumentation quant a l'acces au developpement de la pensee critique a l'aide des oeuvres dramatiques citees lui semble moins evident alors qu'il s'agissait la de l'objectif de l'article comme l'indiquait le titre.
{"title":"Come Back to the Text, Shirley. A Response to ‘Bears don't need phonics: an examination of the role of drama in laying the foundations for critical thinking in reading’ (RIDE, 4.1)","authors":"David G. Lewis","doi":"10.1080/1356978990040209","DOIUrl":"https://doi.org/10.1080/1356978990040209","url":null,"abstract":"L'auteur revient sur l'article de David Montgomerie paru dans Research in drama education, n°1, vol.4, 1999. Si la demonstration de l'auteur quant a l'utilite du theâtre pour le developpement de la comprehension en lecture lui parait incontestable, l'argumentation quant a l'acces au developpement de la pensee critique a l'aide des oeuvres dramatiques citees lui semble moins evident alors qu'il s'agissait la de l'objectif de l'article comme l'indiquait le titre.","PeriodicalId":45609,"journal":{"name":"Ride-The Journal of Applied Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"1999-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84602509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-09-01DOI: 10.1080/1356978990040203
A. Franks, K. Jones
In this piece the authors seek to re-read Brecht in terms of his contribution to drama education and pedagogic thought, rather than viewing him in conventional terms as a cultural icon and ‘great practitioner’ of theatre. The authors believe that a Brechtian conceptual framework, with its emphasis on critical production and critical audiences, is still pertinent to the conditions of contemporary cultural production. A Brechtian framework is seen as a way of taking drama education beyond the conventional polarities where on the one hand it is seen as a process of moral and social education dealing with universal truths, or on the other hand, as a set of formal and critical techniques.
{"title":"Lessons from Brecht: a Brechtian approach to drama, texts and education[1]","authors":"A. Franks, K. Jones","doi":"10.1080/1356978990040203","DOIUrl":"https://doi.org/10.1080/1356978990040203","url":null,"abstract":"In this piece the authors seek to re-read Brecht in terms of his contribution to drama education and pedagogic thought, rather than viewing him in conventional terms as a cultural icon and ‘great practitioner’ of theatre. The authors believe that a Brechtian conceptual framework, with its emphasis on critical production and critical audiences, is still pertinent to the conditions of contemporary cultural production. A Brechtian framework is seen as a way of taking drama education beyond the conventional polarities where on the one hand it is seen as a process of moral and social education dealing with universal truths, or on the other hand, as a set of formal and critical techniques.","PeriodicalId":45609,"journal":{"name":"Ride-The Journal of Applied Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"1999-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88134770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-09-01DOI: 10.1080/1356978990040204
S. Woodson
Abstract This article considers two ontological metaphors underlying the American paradigm of creative drama' and examines them intertextually within the larger context of the child drama field. Historically, the American child drama field has associated more with education than with theatre studies, thus drawing more theory from pedagogical practices and from developmental psychology than from the theatre arts and/or performance studies. American child drama practitioners, as a whole, also have been more concerned with the practice and methodology of drama rather than the theorising of it. The historical definition of ‘creative drama’ developed by Americans, then, depends on two metaphorical constructions: (1) ‘creative drama’ is different from theatre and (2) the conflation of ‘creative drama’ with the construct of childhood development. Building upon the deconstruction of the nature of ‘creative drama’, the second part of this article is a practical application of performance (as defined by Richard Sch...
{"title":"(Re)Conceiving ‘Creative Drama’: an exploration and expansion of American metaphorical paradigms","authors":"S. Woodson","doi":"10.1080/1356978990040204","DOIUrl":"https://doi.org/10.1080/1356978990040204","url":null,"abstract":"Abstract This article considers two ontological metaphors underlying the American paradigm of creative drama' and examines them intertextually within the larger context of the child drama field. Historically, the American child drama field has associated more with education than with theatre studies, thus drawing more theory from pedagogical practices and from developmental psychology than from the theatre arts and/or performance studies. American child drama practitioners, as a whole, also have been more concerned with the practice and methodology of drama rather than the theorising of it. The historical definition of ‘creative drama’ developed by Americans, then, depends on two metaphorical constructions: (1) ‘creative drama’ is different from theatre and (2) the conflation of ‘creative drama’ with the construct of childhood development. Building upon the deconstruction of the nature of ‘creative drama’, the second part of this article is a practical application of performance (as defined by Richard Sch...","PeriodicalId":45609,"journal":{"name":"Ride-The Journal of Applied Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"1999-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85744959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-09-01DOI: 10.1080/1356978990040208
J. Dunn
Dans le n°1 du Volume 4 (1999) de Research in drama education, David Montgomerie a presente le theâtre comme un moyen pour l'enseignement de la lecture et souligne la necessite d'impulser des recherches sur le developpement des competences en lecture que le theâtre favorise. L'auteur rebondit sur cette question de litterature de recherche consacree au theâtre comme outil pedagogique au service de la lecture qui selon elle est insuffisante et meriterait une meilleure place : des themes, des auteurs et des methodes sont evoques qui permettent d'avancer dans cette voie.
{"title":"Taking a Larger Slice of the Pie: a response to the article ‘Bears don't need phonics’","authors":"J. Dunn","doi":"10.1080/1356978990040208","DOIUrl":"https://doi.org/10.1080/1356978990040208","url":null,"abstract":"Dans le n°1 du Volume 4 (1999) de Research in drama education, David Montgomerie a presente le theâtre comme un moyen pour l'enseignement de la lecture et souligne la necessite d'impulser des recherches sur le developpement des competences en lecture que le theâtre favorise. L'auteur rebondit sur cette question de litterature de recherche consacree au theâtre comme outil pedagogique au service de la lecture qui selon elle est insuffisante et meriterait une meilleure place : des themes, des auteurs et des methodes sont evoques qui permettent d'avancer dans cette voie.","PeriodicalId":45609,"journal":{"name":"Ride-The Journal of Applied Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"1999-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77241538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1999-09-01DOI: 10.1080/1356978990040206
P. Wright
Abstract This exploratory study investigates pre‐service teacher education students who are undertaking compulsory studies in drama education, often for the first time, as part of a Bachelor of Education degree. Many of these students display feelings of anxiousness in regard to their initial participation in practical workshop sessions. These feelings have been conceptualised by the author as ‘drama anxiety’ and are explored in an experiential way with these students through a phenomenographic approach. The analysis of the data revealed different conceptions of the students' experience of drama anxiety. These seven conceptions can include both a physical manifestation and a feeling state, both of which reflect the students' insecurity about performing on their own, going first or not knowing what to do in workshop situations. Further, strategies for dealing with this anxiety were conceptualised by the students into the need to develop basic skills, and the pleasure and security of working in groups.
{"title":"The thought of doing drama scares me to death","authors":"P. Wright","doi":"10.1080/1356978990040206","DOIUrl":"https://doi.org/10.1080/1356978990040206","url":null,"abstract":"Abstract This exploratory study investigates pre‐service teacher education students who are undertaking compulsory studies in drama education, often for the first time, as part of a Bachelor of Education degree. Many of these students display feelings of anxiousness in regard to their initial participation in practical workshop sessions. These feelings have been conceptualised by the author as ‘drama anxiety’ and are explored in an experiential way with these students through a phenomenographic approach. The analysis of the data revealed different conceptions of the students' experience of drama anxiety. These seven conceptions can include both a physical manifestation and a feeling state, both of which reflect the students' insecurity about performing on their own, going first or not knowing what to do in workshop situations. Further, strategies for dealing with this anxiety were conceptualised by the students into the need to develop basic skills, and the pleasure and security of working in groups.","PeriodicalId":45609,"journal":{"name":"Ride-The Journal of Applied Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"1999-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85098522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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