Process Drama Research Articles

Fen ve Teknoloji Dersinde Dijital Öyküleme Sürecinde Yaratıcı Drama Kullanımının Öğrencilerin Bilimsel Yaratıcılıkları ve Dijital Öyküleri Üzerindeki Etkisi

Bu araştırmada, 7. Sınıf fen ve teknoloji dersinde dijital öyküleme sürecinde yaratıcı drama kullanımının öğrencilerin bilimsel yaratıcılığı ve dijital öyküleri üzerindeki etkisini incele-mek amaçlanmıştır. Araştırma, karma yöntem desenlerinden açımlayıcı sıralı karma yöntem desenine uygun olarak düzenlenmiştir. Araştırmanın nicel boyutunda dijital öyküleme sürecinde yaratıcı drama kullanımının, öğrencilerin; bilimsel yaratıcılıkları üzerindeki etkilerini incelemek için “Öntest-Sontest Kontrol Gruplu Yarı Deneysel Araştırma Modeli” uygulanmıştır. Araştırmanın nitel verileri ise açık uçlu soru formu ve dijital öyküleme rubriği ile toplanmıştır. Araştırma sonucu dijital öyküleme sürecinde drama kullanımının 7. sınıf öğrencilerinin bilimsel yaratıcılıkları üzerinde olumlu yönde etkiye sahip olduğunu ortaya koymuştur.

STUDENTS� PERCEPTION OF TABLEAU IN EFL CLASSROOM

This is the qualitative study that examines the students perception of benefits and concerns of tableau used in EFL classroom. Tableau actually is one of the process drama techniques which allows the students to create a living picture using their body, gesture, and facial expression. Tableau is theoretically useful for students to be engaged in reading because it offers all reading strategies. However, there has been few available studies regarding to tableau, especially in EFL classroom context. It was then compelling for conducting the study of how students perceive of their experience in doing tableau in their classroom. The participants were 25 students in one of the EFL classroom in Indonesia. These participants were engaged in doing tableau for three-time meetings. After they experienced doing tableau in their classroom, they were asked to write a reflective journal to know their perceptions in regards to the benefits and concerns of tableau. Moreover, four participants were interview to get deeper understanding of their perception of tableau. The results from reflective journals and interviews revealed that the students perceived several benefits were gained after doing tableau, such as it helps them create sensory images, gain more vocabulary knowledge, deepen characters feeling, learn collaboratively, provide an alternative learning, and creating a fun atmosphere in the classroom. However, they also perceived several concerns about tableau, such as it takes much time, some ineffective groupworks still happens, and they also reported that they found some students misinterpreted the text in tableau.DOI: 10.24071/llt.2019.220207

Process Drama in Civic Education: Balancing Student Input and Learning Outcomes in a Playful Format

The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity should have a playful format. The results show that the dialogical approach used by the drama pedagogue created a democratic opportunity and also established the playful format. The students’ engagement was notably high. However, it was obvious there were no challenging or probing questions being asked by the drama pedagogue or the civics teacher, neither in nor out of role. As a consequence, the full learning potential of process drama in civics education could not be achieved. We suggest a co-teaching approach between civic teachers and drama pedagogues, to overcome challenges in using process drama in civic education for learning objectives to be attained.

When tragedy embraces the farce: Adaption of Gogol’s The Government Inspector in different cultures

How do drama and theatre contribute to developing a democratic process at the intersection between production, activity and way of working? This article examines how artistic processes can shed light on, investigate and comment about moral dilemmas based on Nicolai Gogol’s dramatic script from 1836, The Government Inspector, a Russian farce about corruption. A Nordplus-project designed in 2013 made it possible for drama students, both in Norway and in Tanzania, to establish platforms enabling the students from each country to freely investigate and interpret their own ideas of corruption through process drama activity by exploring Gogol’s original text. This article also investigates whether and how the students’ cultural identity affected their own perspectives on the matter by pinpointing the aftermath of corrupt activity through dramatic depiction and activity.

“It comes from you”: Agency in adult asylum seekers’ language learning through Process Drama

Abstract In this paper, we present a study of adult asylum seekers learning Italian as a Second Language through Process Drama. Adopting an ecology of language approach, we first set the scene by examining some of the most salient issues regarding the language learning needs of asylum seekers and refugees, including the challenge of fostering both language proficiency and a sense of autonomy and agency. We then introduce the topic of performative, or drama-based pedagogy, focussing on how this has been adopted for second-language learning, presenting the main features of Process Drama. We go on to evaluate a number of drama-based projects aimed specifically at adult asylum seekers and refugees before presenting the specific context of this study. The Process Drama sessions, organised in the 2016/2107 year, were part of a project called “Cultura e Accoglienza”, which allowed for the enrolment of 30 asylum seekers as “guest students” at the University of Padova in Northern Italy. In particular, we look at one of the Process Drama sessions, in which the participants became members of an association of community workers welcoming migrants, and the teacher took on the role of the asylum seeker. Through the dramatic frame, we, as facilitators, drew on the learners’ expertise in settling into the Italian culture, and in welcoming new arrivals. Our aim was that of using ‘time’, ‘place’ and ‘role reversal’ as distancing devices to challenge the notion of ‘otherness’. The analysis from videos, focus groups and teacher journals suggests that the drama gave participants the chance to shift perspective, and that this impacted on their sense of agency as second language learners.

Teaching Adolescents Civil Law: Process Drama as a Tool for Achieving Legal Literacy

Drama in Education is an experiential way of learning that can be applied in a variety of ways in many learning fields. This article presents an action research that uses Process Drama as an alternative way of teaching Civil Law class to 16 year old adolescents of the Vocational School of Kranidhi, Greece. Clarifying complex legal meanings through Drama is used as a key to Legal Literacy. A pre-test, post-test design with a control group has been used for the evaluation of the method. In total 30 students of two vocational schools took part. For the experimental group, 24 teaching hours of regular lessons were replaced with teaching using Drama in Education. For the evaluation of this intervention, a valid and reliable tool was developed. In addition, data were also collected from interviews, participant observations and critical friend observations. Results support the claim that Drama in Education leads to better understanding of complex Civil Law meanings and contributes to the proposition of Drama as an alternative way of teaching in secondary school.

교육연극을 활용한 역사와 전통예술의 통합교육 프로그램

Since 1954, there have been 10 reformations of Korean educational curriculum, including one that was confirmed in December 2015 for implementation of a new textbook composition in 2017. Up to now, the Korean educational system has not provided low grade elementary students with history education because the understanding of history requires a degree of competence with abstract concepts. However, ''Domain-specific cognition theory'' states that an effective teaching method can promote children’s understanding of any concept when it employs skills in accordance with the structure of the specific subject taught. Considering that educational programs integrating arts can enhance learning effects of children, this research supposed that an experimental model integrating Korean history and traditional arts could be a tool of teaching history for low grade elementary students. In order to reinforce the experiential teaching method, this research supposed that this integrating program needed ‘process drama’, which created an integration of history, drama and dance. An educational programme which was organized in 2015 by the Korean National Company of Dance “Play with Korean Traditional Dance : Exploring expedition for history” proved that a programme of ‘Drama in Education’ Integrating Korean history and Traditional arts excelled in educational function in terms of history and dance. This programme increased both the understanding and interest of the participants by the concreteness of the dramas. They also helped participants to naturally overcome passiveness through the physical movements of dances that actively engage them in history learning by stimulating their emotional flexibility at the same time. As dances unfolded within the historical contexts, children could learn how the dances have been created and developed in real life through dramatic activities, and gain increased understanding and interest in Korean dances. This research shows that a program that integrates history, traditional dance and theatre is an effective teaching method that enables low grade elementary students to learn history.

지속가능성 소양을 신장하는 과정드라마(process drama) 개발 및 효과 검증

지속가능성 소양을 신장하는 과정드라마(process drama) 개발 및 효과 검증

Pandora and the Tiger’s Whisker: stories as a pretext in two adult language learning contexts

ABSTRACTThis article discusses the way two traditional tales were adapted and modified for use as pretexts in the Connected: Adult Language Learning through Drama program (CALLD) with migrant populations, including refugees and asylum seekers, in two sites during 2017 & 2018 in Sydney, Australia. The focus of this article is to explore the way ancient stories such as folktales and myths function in these settings, and how through action and reflection the authors, as teaching artists on the program, adapted these tales to better engage the participants in the process drama that followed. Through a generative conversation the authors discuss this experience, reviewing aspects of the narrative that worked and those that did not, resulting in a deeper understanding about the efficacy of various narrative elements to engage and motivate learning in the CALLD setting.

Conflict Management in Occupational Therapy Education: Process Drama as a Teaching Strategy

Conflict Management in Occupational Therapy Education: Process Drama as a Teaching Strategy

Piazzoli, Erika (2018): Embodying Language in Action. The Artistry of Process Drama in Second Language Education. London: Palgrave Macmillan

Let’s start with the image on the book cover which is placed between the author’s name and the book title. It immediately grabs our attention, shows how eight adult individuals bodily connect and create a beautiful shape that looks like a flower, or rather a flower in full bloom. Is the shape that has been created by these individuals (movement artists?) the result of excellent choreography? The ‘embodiment image’ prepares the reader for the main focus of Erika Piazzoli’s monograph (367 pages): the aesthetic dimension of foreign language teaching and learning. Reflecting on “What is ‘Artistry’ and Why Do We Need It in Second Language Education?” in Chapter 1, she then continues to address the aesthetic dimension in three parts: In Part I (chapters 2-5) she engages with “Key Definitions in the Aesthetic Dimension”; Part II (chapters 6-8) deals with aspects of “Navigating the Aesthetic Dimension”; Part III (chapters 9-12) centres on “Researching the Aesthetic Dimension”. In these twelve chapters the author deals with a broad range of theoretical perspectives, including second language education, sociocultural theory, neuroscience and art history. This review highlights some aspects of this impressive monograph by concentrating on keywords which are captured in its title: process ...

Challenging boundaries to cross: primary teachers exploring drama pedagogy for creative writing with theatre educators in the landscape of performativity

ABSTRACTThis paper focuses on the professional development of primary school teachers using drama to develop creative writing across the curriculum. Sponsored by the United Kingdom Literacy Association, the two-term project involved four teachers working with theatre educators to use process drama. The collaborative approach was supported by learning conversations, which took place after each lesson, involving Higher Education academics. Data were collected by academics observing the lessons, taking notes during learning conversations and undertaking interviews with the teachers in order to capture experiences of the landscape of education as they were encouraged to cross boundaries of practice. Data were analysed using Clarke’s model (2009) of teacher identity and this demonstrates how three of the four teachers resisted boundary crossing as a result of the landscape of performativity, which is seen to prohibit child-centred approaches. One teacher was able to cross boundaries and this is seen to be a result of the substance and telos of his identity. His boundary crossing emphasised the theatre educators’ reluctance to change their self practices – the paper concludes by highlighting the importance of all partners being involved in practice, learning conversations and data collection in order to create the ideal conditions for boundary crossing.

Process drama and co-creation: Democratic participation in museum education

Abstract Norwegian museums play a role as institutions of democratization, their goal being – among other things – the implementation of dialogue-based and participatory education programmes. This article is based on the process drama Gundell Olsdatter, developed in 2014–15 at Steilneset Memorial in Vardø, associated with Varanger Museum, in the very north of Norway. The project focuses on the pupils’ opportunities for participation and involvement in the process drama, in conjunction with philosopher Carl Cohen’s three dimensions of democracy: breadth, depth and width. In this article, I analyse and discuss how process drama as a framework may facilitate co-creation within museum education, thus helping to make the education more democratic and participatory. The findings show that certain dramatic conventions provide a deeper degree of participation by providing the students with practice in involvement and decision-making. Through the dramatic process, the pupils become not only spectators, but also contributors to the knowledge and mediation process.

“I think it fits in”: using process drama to promote agentic writing with primary school children

Abstract Set against the backdrop of children being ‘alienated’ from their writing, this paper is taken from a United Kingdom Literacy Association sponsored project where primary school teachers were trained to use process drama in order to give children more agency in their writing across the curriculum. Here, we use discourse analysis to think about the children's historical creative writing in relation to the drama lessons which are differently framed by the teachers. Building upon a theoretical model of process drama as involving ‘embodied experience’ and writing as problem‐solving, a case is made that process drama can lead to what we term ‘agentic writing’. Agentic writing, we demonstrate, involves children actively translating their embodied experience of process drama into writing by making a range of intertextual borrowings. These borrowings serve both to capture and transform their embodied experience as the children gain agency by standing outside language to achieve ‘double voicedness’ and in doing so write sophisticated texts. Seeing the relationship between process drama and writing in this light, we argue, provides a means of reconnecting children to the act of writing.

A Study on the Use of Process Drama to Improve Korean Speaking Ability: Focusing on a Unit Design of Sejong Intermediate Korean Conversation Coursebook

A Study on the Use of Process Drama to Improve Korean Speaking Ability: Focusing on a Unit Design of Sejong Intermediate Korean Conversation Coursebook

Dialogicality in teaching process drama: three narratives, three frameworks

ABSTRACTThis 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.

Defining drama literacy – beginning the conversation

For some time, I have been thinking about the concept of drama literacy and what it might mean to be drama literate. I have to admit to some discomfort about the term. Perhaps, that is because ‘literacy’ in the traditional English teaching sense is often reduced to the discrete teaching of the component parts of the field in isolation, e.g., phonics or grammar. In drama, this might equate to teaching the elements of drama in isolation, or the ‘paint-by-numbers’ approach often applied to the use of dramatic conventions within process drama. So, the term ‘drama literacy’ causes some ambiva-lence and discomfort. However, it is frequently the case that what makes us feel uncomfortable or uncertain is the same thing that is most worth exploring. Hence, drawing on the expert knowledge in and of our field, this article begins a conversation about what drama literacy might mean.

‘My language is part of your country’

Youth disengagement is closely linked to current phenomena of (Islamic) radicalization in Western societies and beyond. Therefore, substantial funding is dedicated to ‘de-radicalization programs’ such as the ‘Aarhus Model’ within the Danish de-radicalization ‘Action Plan’ (2009–). Providing support for finishing school, housing and work to ‘would-be fighters’ in conflict zones of the Middle East offers an alternative to punitive approaches. Nonetheless, sustainable success in creating a sense of belonging in liberal democracies arguably needs to start earlier and avoid discriminatory assumptions like those seen in the term ‘de-radicalization’.The author proposes a strategic initiative in Applied Theatre. Based on Process Drama and In-Role-Drama, the initiative focuses on the two-way teaching of language(s) in the Drama classroom. It considers both the pragmatic need for one (or several) official language(s) to keep open the sophisticated channels of communication in modern liberal democracies, and the rich cultural and linguistic heritage that arrives in many Western societies from other parts of the world every day. Employability needs meet the need for reciprocal empathy and shared cultural acknowledgement. Avoiding the common vocabulary of deficiency (‘lack of language proficiency’, ‘need for cultural integration’) the article outlines the possible benefits and potential obstacles of this new approach.

“A Home on the Island”: Interbody Performance as a Method to Move beyond Resentment

“A Home on the Island”: Interbody Performance as a Method to Move beyond Resentment Peilin Liang (bio) Introduction: “A Home on the Island,” Parts 1–2 Home is a condition of stasis emerging from the global circulation of bodies. Focusing on the inter-Asian context of East Asia and Southeast Asia, “A Home on the Island,” parts 1–2 is a multisite practice as research (PaR) project that examines the formation of home through commercialized transnational-marriage migration. Part 1, “A Home on the Island: Bodies, Objects, and Narratives,” was conducted on June 28, 2015 as a one-day applied-theatre workshop at National University of Singapore (NUS). Through Boal-inspired theatre games, exercises, image theatre, and scene improvisation, workshop participants explored the notion of home and its formation in relation to migration and globalization. Part 2, “A Home on the Island: The Seal Wife,” was a three-day applied-theatre workshop conducted in Taipei the following year, on October 20–22, 2016. Foregrounding the experience of commercialized transnational-marriage migration, the second workshop examined the structure and internal dynamics of homes created by such migration. During the first two days, this was implemented in the form of process drama through the narrative structure of the seal wife legend. On the third day, playback theatre was implemented to facilitate self-reflections on the workshop process.1 In its totality, this project used performance to intervene in participants’ understandings of family, sociality, and economic exchange.2 This essay utilizes the PaR project to propose interbody performance, an affect-oriented and body-centered performative process, as a method of generating affective shifts that propel an intercultural relationship beyond resentment. “A Home on the Island” accomplishes this goal by engaging ASEAN marriage migrants with socioculturally privileged participants from Taiwan and Singapore in a workshop setting. Through performative collaborations, the participants compared and interwove diverse affects toward home and migration through disruption, disembodiment, dynamization, and distillation. These affects included perceptions, attitudes, feelings, and sentiments, which were qualitatively documented and measured through objects, maps, improvised scenes, workshop artifacts, audio-visual recordings, follow-up questions, and post-workshop written reflections. As an increasingly multifaceted and multisensorial knowledge about ASEAN marriage migrants emerged, the nonmigrant participants began to adopt affective shifts that question the necessity of resentment. Commercialized Transnational Marriage as Migratory Routes Since the 1980s, commercialized transnational-marriage migration numbers have soared. Many women from the Association of Southeast Asian Nations (ASEAN), such as Thailand, Vietnam, Cambodia, Indonesia, and the Philippines, have chosen marriage as a means of migrating to newly emergent Asian financial centers.3 Japan, Korea, Hong Kong, Taiwan, and Singapore are among [End Page 27] the popular destinations (Bélanger et al.; Burgess; Chuang et al.; Im et al.; H.-S. Kim; M. Kim; Shu et al.; Tang and Wang; Yeoh et al. 2013a, 2013b). The rise of such marriage migration in Taiwan correlates with the island’s increasing trade relations with ASEAN and its rising status as a financial sub-empire within the global capitalist economy. Currently, there are an estimated 400,000 marriage migrants in Taiwan, with 31.3 percent originating from ASEAN (Neizhengbu Tongjichu). The directional flow of marriage migration reflects the uneven geopolitical and economic terrains of Asia, which, like other regions, has been reconfigured by the global capitalist economy into core, semi-peripheral, and peripheral states (Hsia 2004, 191). Within this context, commercialized transnational-marriage migration functions as a coping mechanism for the subaltern class; it allows blue-collar working males in core and semi-peripheral states to find wives and continue the family lineage. On the other hand, it provides women from semi-peripheral and peripheral states the prospect of upward social mobility and improved living conditions (Hsia 2000, 58–59; 2004, 199). In a commercialized transnational marriage, the processes of marriage, migration, and motherhood are pragmatically compressed into an extremely short time span for economic reasons. Subsequently, such a union is often perceived and experienced as a transaction, leading to the commodification of marriage migrants’ bodies (Shu et al. 3). By the patriarchal values of both home and host countries, ASEAN marriage migrants are frequently regarded as servant–wife conglomerates, who are purchased/wedded to perform...

The teacher as leader of democratic processes in the drama classroom

Abstract This is a follow-up study to a previous large-scale qualitative study that explored teacher practice, in which it was suggested that the teacher’s role is best understood by considering three main categories of activities: the directing, the supportive and the distal teacher roles. These three are dynamic roles or positions among which the pedagogue continuously alternates to achieve the aims that foster learning and socialization in students. Based on new data from primary school classrooms, where the teaching method is process drama, we analyse how the teacher can stimulate democratic bildung in the drama classroom through alternation between the directing, the supportive and the distal teacher roles. A dramaturgical and educational analysis of the participants’ actions and communication in the classroom shows that one important factor in democratic bildung in the classroom is the teacher’s pedagogical judgement. The alternation between teacher roles shows that the teacher has a conscious perspective of their professional role in the learning process. The analysis also shows that process drama is a teaching strategy that provides space and opportunity for the directing, the supportive and the distal teacher roles – all of which, when practised dynamically, make possible different forms of democratic student participation.