Dramatic Practice Research Articles

Theories and practices of integral education and integral drama based pedagogy: Deep connections and new integrations of education

Theories and practices of integral education and integral drama based pedagogy: Deep connections and new integrations of education

Analysis of pre-service teachers' flow experience in educational drama practices and the effect of practices on attitudes toward creative drama courses

Aim: The analysis of the flow experience of pre-service teachers in educational drama practices and the effect of the practices on the attitude towards creative drama lessons reveal the purpose of the study. It is of great importance for physical education teachers to use creative drama practices as an effective teaching method in physical education and sports lessons, both in terms of their personal development and professional development. Method: The study was designed with a pre-test-post-test control group experimental design, one of the true experimental designs, and one of the quantitative research methods. In addition to the demographic information form, the "Flow Experience Scale" and "Attitude Scale towards Creative Drama Lessons" were applied to the participants as measurement tools. The distribution of the participant's demographic information was analyzed by frequency analysis. T-test independent groups analyzed the participants' pre-test and post-test scale scores, and the change in the pre-test and post-test scores of the scales according to demographic information was analyzed by t-test in independent groups and one-way analysis of variance. A regression model was tested to determine the effect of reason on anxiety. Analyses were performed with SPSS 20.0 software at a 95% confidence level. Findings and Conclusions: As a result, there was no significant difference between the attitude scale scores towards flow experience and creative drama course of the students participating in the research according to their age, gender, income level, place of residence, and activity type, and between the pre-tests and post-tests of the scales. However, a significant difference was detected between the pre-test and post-test scores of the flow experience scale anxiety sub-dimension and the flow sub-dimension of the academic achievement variable. In addition, although there was no significant difference in terms of the variables mentioned, it was noted that the flow experience flow and anxiety subscale scores were low. In contrast, the attitude scores towards the creative drama course were high.

The Aesthetic Function of Educational Drama Practice in English Teaching

The Aesthetic Function of Educational Drama Practice in English Teaching

APPLYING ONLINE DRAMA SCRIPT TO BETTER SPEAKING PROFICIENCY AND VOCABULARY BUILDING

Delivering ideas to others requires speaking to them. Every language user should learn this tool. For EFL learners, carrying out such a practice causes an issue. The university students encountered it. During the delivery, they experience stammering or getting stuck. They enrolled in a conversation class that used internet drama transcripts to conduct performing drama to correct their weakness in speaking practice. The study’s objective is to demonstrate the value of using online theater scripts to improve speaking abilities. 24 freshmen were participating in the teaching and learning process. Each student needs to have a device with them to ensure learning success. It is the device used to access online content. The instructor divided the class into five groups to get things going. A coordinator operated each one. The teacher provided the URL to let students access the material. The pupils clicked on, and a page of drama titles appeared. The group’s leader guided every one of his passengers in making the right decision. Each participant was then given a role in the drama practice. The students read every word and expression in the scripts to comprehend its content. They looked up the meanings of the unfamiliar words using their electronic dictionary. Each student that had issues was given self-assistance by the teacher. The teacher invited each group to perform once they had finished practicing and rehearsing the drama in their groups. The instructor commented on the pupils’ efforts. Following the conclusion of the performance by all pupils, the discussion of the drama’s subject matter was given. It was evident from the use of a number of practice sessions that the pupils’ vocabulary and speaking abilities had improved. The teacher will benefit from using it when teaching the relevant subjects. It also encourages additional investigation by other researchers.

Tarqiyah Maharat al-Qarn al-Hadi wa al-‘Isyrin fi Ta’lim Maharah al-Kalam ‘ala Asas al-Ta’lim al-Bina’i fi al-Jami’ah

This study aimed to analyze the development of 21st century skills in the learning of constructivism-based speaking skill at Pesantren sunan drajat Lamongan. The research method used was qualitative research with the type of explanatory case study. Data collection techniques deployed observation, interviews, and documentation. The data analysis techniques consisted of data reduction, data presentation, and drawing conclusions. The results of this study indicated that constructivism-based speaking skill learning could develop students' 21st century skills. The developed 21st century skills included the skills of critical thinking, creative thinking, collaboration, and communication. Critical thinking skills were reflected in the abilities to analyze materials and learning resources, to find social facts, to choose mufrodat used in socio-drama practice, and to use Arabic grammar. Creative thinking skills were reflected in the abilities to compose drama scripts, to design drama scenarios, and to utilize the media in drama practice. Collaboration skills were reflected in the abilities to cooperate in observation activities, to cooperate in composing drama scripts, and to cooperate in drama training and practice. Lastly, communication skills were reflected in the abilities to express ideas, thoughts and feelings in Arabic, to carry out dialogues in Arabic, and to pronounce Arabic words and sentences correctly and correctly.

Evaluation of a Creative Drama Practice for Noise Awareness in Primary School

This study aims to investigate students' awareness of the level, causes and negative effects of noise in schools through the utilization of creative drama activities. The objective of this sample application is to contribute to the development of a more tranquil and peaceful school environment. A single case study design was employed for this research, with the study group comprising 16 fourth-grade students from a primary school. Student interviews served as the primary data collection tool, supplemented by observations and video recordings. Thematic analysis was employed to analyze the data, resulting in the identification of four main themes related to noise awareness: "lack of tranquility," "noise phenomenon," "conflict exacerbation," and "creative ideas". By incorporating the Visual Arts and Science curriculum, students demonstrated important life skills such as innovative thinking, effective communication, and analytical reasoning. Additionally, this interdisciplinary approach allowed for the attainment of learning objectives within the Science curriculum's sound unit, while also addressing the "Visual Communication and Formation" domain of the Art curriculum.

Strengthening Parental Identity of Incarcerated Fathers through Innovative Practices of Drama in Education.

This paper focuses on an innovative research initiative conducted within a Greek Detention Center. The project explores the paternal identity of incarcerated fathers with the primary objective of reinforcing their parental attitudes, skills, and practices. Despite the challenges imposed by incarceration, it is widely acknowledged that individuals can, and indeed should, continue to exercise their parental roles. This serves as the central premise of our research. A Detention Center in Greece was carefully selected through a process of feasibility sampling for this study, encompassing a participant group of 16 incarcerated fathers. The adoption of an action research methodology was deemed most appropriate for the execution of this parenting program. The research initiative comprised of 10 unique workshops, underpinned by principles of drama in education. These workshops provided the incarcerated fathers with opportunities to explore alternative methods of interaction with their children. The study concluded with a demonstrable enhancement in the paternal identity of the incarcerated fathers, affirming the initial research goals of the project. This provides evidence for the potential of such innovative approaches in supporting the development of stronger parental attitudes, skills, and practices among incarcerated parents.

Creative Explorations for a Sustainable Future: Philosophy-Based Creative Drama Workshop Proposal for Children

“The Sustainable Development Goals (SDGs)”, are a universal call for action, covering targets to be fulfilled by the end of 2030. Many global problems such as global climate change and drought, environmental pollution, depletion of natural resources and biodiversity, inclusive education have evolved into the greatest collective problem of all humanity. It is recognized that teachers, are also responsible for ensuring a sustainable life for future generations and contributing to its sustainability. At this point, there is a need for educational approaches based on group dynamics that will contribute to the socialization of the individual, support them to gain new experiences, provide them with the opportunity to produce solutions to the encountered obstacles, be sensitive to human values, have a questioning perspective, support them in processes that will enable critical, collaborative, attentive and creative thinking skills, and guide them in processes that will enable them to activate their critical, collaborative, attentive and creative thinking skills. Philosophy and creative drama practices for children based on these educational approaches are among two of the methods that are thought to be effective in addressing and questioning development goals and developing solutions for individuals who are learning about the actions that can be carried out. The research, which is designed to convey this universal call for action to children through the teachers of the future and to support them to be an active part of this process, is based on three components: sustainable development goals, creative drama and philosophy for children, and a sample workshop plan is presented.

The Effect of Body Language-Centered Drama Activities on Students' Speaking Skills in Secondary School Turkish Teaching

The body is undoubtedly the first language of communication in human history. Body language, which dates back to the first human, was the first language with which humans communicated with each other. Human being is a social being; just as it needs nutrition, shelter, security, knowledge, respect and love, it also needs communication. Therefore, speaking skill has become one of the language skills that individuals use most in daily life throughout their lives. Drama method is a method that can be used to help people get to know themselves and their environment, improve their relationships, gain different perspectives, and increase social harmony. The aim of this research is to determine the effect of body language-centered drama activities on the development of students' speaking skills in secondary school Turkish teaching. The participants of the study consist of 55 7th grade students studying in a secondary school in Battalgazi district of Malatya province. In this research, mixed research method sequential explanatory design was used. A semi-experimental design was used in the quantitative part of the research, and the quantitative data of the research was collected using the Speaking Skills Attitude Scale (2017), and the phenomenology design was used in the qualitative part, and the data were collected with student diaries, semi-structured interview form and observation form. In the quantitative part of the research, a control and an experimental group were created. Experimental and control groups were determined according to the students' pre-test results from the attitude scale. According to the results of the Mann Whitney U test, the groups were found to be equivalent. In the experimental group, body language-centered drama prepared in the context of Turkish language teaching program achievements was taught, and in the control group, lessons were taught taking into account the current Turkish course curriculum. At the end of the research, a semi-structured interview was conducted with 9 experimental group students, a diary was collected after each drama application, and observations were made by taking pre- and post-videos of the students' body language-centered speaking skills. A reliability and validity study was conducted on the applied quantitative and qualitative data collection tools. Analysis of the post-tests in the experimental and control groups was made with the Mann Whitney U test. Qualitative data were analyzed with codes and categories created by content analysis and descriptive analysis.
 When the results of the research were examined, it was concluded that the Turkish lesson taught with body language-centered drama activities was more effective than the normal Turkish lesson in terms of giving speaking skill gains. Similarly, it was observed that the interest and love of the students participating in the study regarding speaking skills increased after the body language-centered drama activities, and their anxiety decreased. In addition, it was observed that students began to use body language easily both in the classroom and in daily life. Looking at the results of the qualitative data of the research, it was seen that the students started to use body language in and outside the classroom, their speaking skills improved and even their existing speech disorders improved.
 The study results were examined in the literature and compared from both similar and different perspectives. Looking at the results, researchers can make variations in their studies in order to obtain rich data; for drama practices, they should conduct pilot exercises before implementing the created drama workshops and pay attention to the physical characteristics of the place where the drama will be implemented; recommendations were made for institutions to give teacher candidates the opportunity to practice in drama classes in faculties of education and to provide drama training to teachers in in-service courses opened within the Ministry of National Education.

Turkish language teachers’ creative drama competence and opinions

Teachers need to have a positive opinion and competence for the thought or knowledge they plan to convey in any acquisition. It is important to determine the opinions and competencies of the teachers about the creative drama method in order to successfully complete the creative drama processes, which is an effective practice in Turkish education, and for teachers to apply creative drama as a method in their professional lives. Therefore, in this study, it is aimed to determine the competencies of Turkish teachers about creative drama method and their views on creative drama. The study group of the research consisted of 60 teachers who were active Turkish teachers in the province of Balikesir in the 2022-2023 academic year. A two-question structured interview form developed by the researcher was used as a data collection tool in the study, in which the basic interpretive qualitative research design, one of the qualitative research methods, was used. The obtained data were analyzed using descriptive analysis technique. According to the results obtained from the research, Turkish teachers do not see themselves in a good position in terms of proficiency in applying creative drama as a method. However, they expressed a positive opinion on their contribution to the Turkish lesson and students regarding the application of creative drama as a method. In addition, they said that they could benefit from creative drama practices in Turkish lessons such as expressing themselves in groups, developing communication skills, helping each other, developing positive relationships, cooperating, accepting each other as they are, and creating sincere environments. Keywords: creative drama, Turkish education, teacher competencies and opinions.

Theatre beyond culture wars: why we need to get over ourselves

ABSTRACT A meditation on drama practice from an artist in Canada. My university students are preoccupied with damage and trauma. There are paralyzing obstacles to working across differences that were useful for a time but no longer serve a robust solidarity. The stories we collect, tell and re-tell ourselves to prepare for a ‘never again’ are stifled if the collisions between the evident and the imagined – and between suffering and joy – are reduced to their limits and not probed for their possibilities. I ponder this via an applied theatre project with my students and injured workers from across Ontario.

Character composition: A new framework for TV serial drama characters

From an industry and craft perspective, despite the many manuals and ‘how to’ guides, feature film paradigms (notably three- to five-act structures) and character arc frameworks (e.g., the hero’s journey) dominate the discussions of character development in serial TV drama. The work of structure-based industry writers, notably Christopher Booker, Christopher Vogler, Linda Aronson and Craig Batty, focuses on feature films and this article will connect their influential frameworks and analyses with the practice of serial TV drama screenwriting. While there are several key screenwriting manuals specifically for writing television, particularly Pamela Douglas’s Writing the TV Drama Series (2018) and John Yorke’s Into the Woods (2014), these texts only briefly investigate long-form character development, instead focusing on single episodes. Therefore, expanding these ideas and examining the practice of long-form serial drama screenwriting across multiple episodes and seasons is necessary. What this article will arrive at is a new framework for criticism and creative practice: character composition.

Improving Character Drama Competence in Drama Using Lottery Method

The drama performance was carried out by students from class XI MIA at SMA Darut Taqwa Purwosari who had issues with low self-confidence. To address this, the researcher implemented the lottery method combined with vocal exercises and expressive therapy. The aim of this study was to enhance the competence of students in expressing character dialogues in drama performances using the lottery method. The research sample consisted of 32 students from the Indonesian Language subject with the Basic Competency "Expressing Character Dialogues in Drama Performances" in the second semester of the academic year 2022-2023. Data were collected through questionnaires, observation notes, and evaluations conducted from the beginning of the research until Cycle II. Observation notes were used to assess improvement. The results showed that the lottery method could be used to enhance students' competence in expressing character dialogues in drama performances. The improvement in students' competence was evident in the quality of the process, as indicated by their sincerity, courage, and concentration during the learning and practice sessions, creating an enjoyable atmosphere. Students also did not feel bored as the activities in the lottery method were varied. The assessment of drama practice was based on four aspects: intonation, pronunciation, interpretation, and expression. The highest score for each aspect was 4, with a total score of 20. The improvement in the process and product was observed by comparing the average scores obtained in Cycle II with those obtained in Cycle I. The average score for student practice in Cycle I was 10.01, while in the final Cycle II, it increased to 14.55. This indicates an increase in the average score by 4.54 or 45.35%. This improvement demonstrates that the implementation of actions in Cycle I and Cycle II successfully enhanced students' competence in expressing character dialogues in drama performances.

Democracy, Gender Issues and Women Empowerment in Nigeria: Reflections on Selected Nigerian Feminist Drama

Purpose: Gender inequality has thrived in Nigeria for too long. Feminist scholars therefore feel that there is urgent need to change the status quo through feminist inputs and this led to the present persistent advocacy for women empowerment. Drama has been mostly deployed as a means of expressing this new trend of discourse. Thus, Nigerian writers, especially feminist dramatists, consciously reflect in their works the frightening realities of the prevailing socio- political and economic situations in the country, drawing the attention of the masses, especially the female gender to the inequality inherent in their exploitation, mobilizing the society to rise up against their oppressors. This paper therefore, is set to examine the issues of gender and women empowerment in Nigeria as reflected in selected Nigerian plays. The plays include Tess Onwueme’s The Reign of Wazobia, J.P. Clark’s The Wives’ Revolt and Fred Agbeyegbe’s The King Must Dance Naked.
 Methodology: Textual analysis of the selected plays is carried out.
 Findings: The analysis reveals that drama can be employed as a weapon to break the walls of cultural barriers that impede the struggle of women for social, political and economic empowerment.
 Unique Contribution to Theory Policy and Practice: Thus, premised on the Womanist theory, this paper concludes that drama can be deployed as a means of promoting justice, gender equity and fair play in Nigeria’s drive towards the possibilities of true democracy. This is the playwrights’ contribution to the theory and practice of feminist drama in Nigeria.

What Do Basic Education Teachers Participating in Creative Drama Instructor/Leadership Program Think About Creative Drama Method?

The main purpose of this research is to reveal how basic education teachers who educate students who are the subjects of the educational system participating in the Private Creative Drama Instructor/Leadership program make sense of the creative drama method and their experiences with this process. Data were collected through interviews and participant diaries. The interviews were made face to face with the teachers in a private room and were recorded with a voice recorder. The collected data were analyzed by inductive content analysis. Participants emphasized the strengths of using creative drama as a method at the end of the course. As a result of the interview, teachers stated that drama education and applications contribute to skills such as language, decision-making and expression skills and have a positive effect on personal development. It can be said that the data obtained in the interview and the data obtained in the participant diaries are consistent and support each other. In addition, the harmony of the group and the members of the group getting to know each other is very important in drama practice, but it is recommended that teachers and researchers who will practice drama should make the place where the practice will be held convenient and appropriate.

Mental Health Promotion for Internally Displaced Persons Using Drama Therapy in Makurdi Area, North Central Nigeria

Trends in contemporary global arts practice have shown that experts in the field of mental health have long tapped into visual arts and music to help treat developmental disabilities and several other mental issues, including depression, anxiety, borderline personality disorder, as well as schizophrenia and bipolar spectrum. Today, therapists are finding great benefit from another art form; drama.” However, the paradox in Nigeria, especially in the northern part is that drama technique as a psychotherapeutic practice does not exist in the protocol of mental health facilities. In retrospect, it is obvious that the poor status of mental health care in northern Nigeria is due mainly to lack of facilities, un-affordability and inaccessibility to health facilities. Against this backdrop of increasing mental health issues, especially post-traumatic-stress-disorder (PTSD); resulting from insurgency attacks, communal clashes, herdsmen carnage, road accident and flood, which have given rise to various internally displaced persons (IDPs) camps vis-à-vis their psychological implication in the north. The need for the availability of drama therapy technique becomes highly imperative for affordable, accessible and effective mental healthcare promotion. The paper discusses the concept and practice of drama and theatre therapy techniques, and how they can be applied in psychotherapeutic sessions both at individual and group therapy levels. The improvisational approach which keys into various expressive art techniques shall be utilized. The approach is used to create believable characters out of IDPs themselves, through storytelling, songs, music, dance, etc., to enable them to get emotionally involved to establish a recall of the experience that brought about their disadvantaged psychological condition. This leads to clinical discussions that will facilitate the way forward in making individual and collective choices and decisions that will bring about not just mental health, but holistic well-being.

Minoritising process drama for teaching Cantonese to ethnic minority children in Hong Kong

ABSTRACT This paper reports a case study of teaching Cantonese to Hong Kong ethnic minority pre-schoolers using process drama. Based on Deleuzo-Guattarian concepts of minor literature and language, becoming and de-/re-territorialisation, this paper aims to reconceptualise a playful adaptation of process drama developed by Joe Winston (2012) as a language-minoritising approach to the teaching and learning of a major language that is very foreign to children. The findings suggest that, to accomplish ethnic minority children’s becoming Cantonese speakers, the theatre games and language play should involve minoritorisation and de-/re-territorialisation of the normative practices of process drama, the target language as well as learner identity.

Effect of Theatre and Drama Practices Course on Social Anxiety

Individuals who make up society interact and communicate with their social environment. While the healthy realization of this communication enables the individual to live in harmony with the community, in the opposite case, the individual cannot communicate with their environment and may face many problems in both professional and daily life. This situation can turn into social anxiety. In this work, which aims to analyze the impact of the “Theatre and Drama Practices” course on reducing social anxiety, experimental research design, one of the quantitative research designs, was used, and a one-group pretest-posttest model was used in the experimental design. In the work, which was implement on 45 4th-grade university students who study at Bayburt University School of Education, Department of Turkish Education autumn semester of the 2022-2023 academic year, data were collected with the 12-item Social Anxiety Scale Short Form. In the examination of the data obtained, the data were entered into the computer system and analyzed with the SPSS 18 program. Mean scores and standard deviation values of Turkish teacher candidates were calculated. To compare the data, the t-test for dependent group and t-test for independent group were used. Before the “Theatre and Drama Practices” course, Turkish teacher candidates had moderate social anxiety, and their social anxiety levels didn’t differ significantly by gender; after the “Theatre and Drama Practices” course, Turkish teacher candidates had low social anxiety, and their social anxiety levels didn’t differ significantly by gender. A statistically significant difference was obtained between Turkish teacher candidates’ pre-test and post-test scores in terms of social anxiety. It was defined that the “Theatre and Drama Practices” course effectively reduced the social anxiety levels of teacher candidates.

The Effect of Drama Method in Gaining Values: A Meta-Analysis Study

Bu araştırmada, değerler üzerinde drama uygulamalarının etkisini ulusal düzeyde belirlemek amaçlanmıştır. İlgili amaç doğrultusunda belirlenen veri tabanlarında taramalar yapılmıştır. Gerçekleştirilen tarama sonucunda ulaşılan 11 deneysel araştırma (18 karşılaştırma-veri seti) ile bu meta analiz çalışması gerçekleştirilmiştir. Yapılan analizler sonunda çalışmaların heterojen olduğuna tespit edilmiştir. Bu nedenle analizlerde model olarak rastgele etkiler modeli kullanılmıştır. Bu çalışmada araştırmaların her bir verisi için Hedge’s g etki düzeyi hesaplanarak genel etki düzeyleri ve anlamlılık değerlerine bakılmıştır. Etki büyüklüğünü yorumlamada Cohen vd., (2007)’nin sınıflamasından yararlanılmıştır. Meta-analize dâhil edilen çalışmalara ilişkin veriler, CMA (Comprehensive Meta-Analysis) ve MetaWin yazılım programlarına girilerek analiz edilmiştir. Analize dâhil edilen çalışmalarda yapılan Huni grafiği, Rosenthal Güvenli N, Duval ve Tweedie test sonuçlarına göre yayın yanlılığı bulunmamıştır. Bununla birlikte etki büyüklüğü üzerinde etkisi olabilecek örneklem sayısı, ders alanı, öğrenim kademesi ve uygulama haftası moderatör değişkenler olarak belirlenmiş ve analiz edilmiştir. Yapılan analizlerden elde edilen verilere göre drama yönteminin öğrencilere değer kazandırmada güçlü düzeyde (Hedge’s g=1.272) bir etkisinin olduğu sonucuna ulaşılmıştır. Drama yönteminin değerler üzerindeki etki büyüklüğü örneklem sayısı, ders alanı, öğrenim kademesi moderatörüne göre farklılaştığı, uygulama haftası moderatörüne göre ise farklılaşmadığı sonucuna ulaşılmıştır. Değerlerin kazandırılmasında ve öğretilmesinde etkili bir yöntem olan drama yöntemini, öğretmenlerin ve araştırmacıların öğrencilere değerleri kazandırmada bir yöntem olarak kullanmaları önerilmektedir.

The Commonplacing of Professional Plays Revisited: Print, Theater, and Early Modern Institutional Exchange

In early 1600, William Holme would have seemed unlikely to be the stationer who would soon transform the publication of early modern drama. Over the course of a ten-year career, through 1599, he had sold just thirteen titles, none of which he reprinted and none of which was a play. But that would soon change. On April 8, 1600, Holme entered Ben Jonson’s Every Man Out of His Humour in the Stationers’ Register, and published the first edition shortly thereafter.1 This playbook changed the way in which the book trade printed and sold early modern drama, and not only because the claim on its title page that it contained “more than hath been Publickely Spoken or Acted” was unprecedented among the era’s professional vernacular playbooks.2Every Man Out also inaugurated the practice of publishing professional vernacular drama with printed commonplace markers, the full-line font change or marginal commas (sometimes inverted) used to signal aphoristic, extractable wisdom. Prior to 1600, commonplace markers had appeared in translations of classical and French drama and in vernacular nonprofessional plays and nondramatic literature. But no professional vernacular playbook featured printed commonplace markers until Every Man Out’s first quarto. It was thus Holme who published what was, in the spring of 1600, one of early modern London’s most innovative playbooks.