...Drama Makes Meaning Drama Australia – The National Association for Drama Education What is Drama? Drama is an artform highly accessible to young people. In education, it is a mode of learning that challenges and supports students to make meaning of their world and enables them to express and communicate ideas in the artform. ΅΅ Drama is the enactment of real and imagined events through roles and situations. ΅΅ Drama enables individuals and groups to explore, shape and symbolically represent ideas and feelings and their consequences. ΅΅ Drama has the capacity to move and transform participants and audiences. It can affirm and challenge values, cultures and identities. ΅΅ Drama includes a wide range of experiences, such as dramatic play, improvisation, role-play, text interpretation, theatrical performance and multi-modal/hybrid texts. It includes the processes of making, presenting and responding. ΅΅ Drama draws on many different contexts, from past and present societies and cultures. Drama is one of the five arts subjects that make up the Australian Curriculum: The Arts. View website » Drama Australia uses the term drama broadly to represent related fields of artistic activity including theatre and performance. Drama encompasses a range of activities that both share conceptual similarities as well as specific differences relating to form and purpose. Drama is recognised and celebrated as a relevant and significant art form that both reflects and contributes to culture. An...
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...Drama in schools second edition Like theatre, drama in schools can unlock the use of imagination, intellect, empathy and courage. Through it, ideas, responses and feelings can be expressed and communicated. It carries the potential to challenge, to question and to bring about change. Jude Kelly (theatre director and founder of Metal) Contents Foreword 2 1 Introduction 4 2 Why drama in schools? 6 3 Recognising good drama 9 3.1 What does good drama look like at the Foundation Stage? 9 3.2 What does good drama look like at Key Stages 1 and 2? 12 3.3 What does good drama look like at Key Stage 3? 18 3.4 What does good drama look like at Key Stage 4? 22 3.5 What does good drama look like at post-16? 24 3.6 What does good drama look like in special schools? 26 3.7 What does a good drama enrichment programme look like? 27 4 Structuring drama in schools 32 4.1 Level descriptions for drama 33 5 Policy, facilities, resources 41 5.1 Useful points for schools managers and subject leaders to consider 41 5.2 What does a good school policy for drama look like? 42 5.3 What do good facilities and resources in drama look like? 44 6 Conclusion 46 Appendix 1 Drama and the early learning goals within 48 the Foundation Stage Appendix 2 The National Curriculum for England – English 50 Appendix 3 Drama within the Primary Strategy...
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...highlights that the objective of integrating drama into the classroom is to bring out what students already know (Wagner, 1998). In drama-based learning context, it is achieved by having students live the experience of being somebody else and think about a problem from the perspectives of the characters they embody. During a dramatic interaction, students will also need to talk with other students to find solution to the problem staged or the questions asked by the teacher. As students think and collaborate to solve a problem, Bowell and Heap (2013) recognize that the teacher thinks as a playwright, as director, as an actor, and as the teacher at the same time. As a playwright, he thinks about helping his students to craft...
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...What is drama therapy? The central idea of drama therapy is the deliberate use of drama or the therapy process to help achieve therapeutic goals. This approach allows the child to tell their stories freely, it helps those set goals and solve problems and not forgetting, express their feelings in a creative manner. Theorist such as Peter Slade and Brian Way has laid the ground work of drama therapy. They helped shift the idea that creative drama is only meant for the classroom and moved it into other settings. These imaginative people began their works way before therapy of any sort was known. They ideas and theories have come a long way in the 21st century. Dealing with children is a very delicate task. The manner in which they are handled can either repair them or scar them forever. Although children seem to have similar face valued common trait, each child are not the same and they have to be handled differently. Being children, they have not yet experienced life therefore all of these emotions and feelings that they are going through are new to them and in most cases it becomes overwhelming that they do not know how to handle it all. Years ago, children who have suffered from things like child abuse or even neglect had only one option available to them and that was a direction interaction with a counselor or psychologist. This direct approach where though to help ‘heal’ the child by talking and explaining to them what, why and how to feel differently. However, times have...
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...skills, one of the important periods to improve speaking skill is, incontrovertibly, during primary education. Speaking skills acquired and developed during primary education are significant with regard to both acquisition and permanence. Therefore, it is essential that efficient and effective teaching methods are employed in order to improve speaking skills during primary education. In our view, a favourable technique in aiding primary school students to acquire and develop oral skills is the use of creative and educational drama activities. No matter where this technique is applied, creative drama may be considered a method of learning –a tool for self-expression, as well as art. Background of the Study Atimonan Central School is known for its being the biggest elementary school in our town. Atimonan Central School serves as the training ground of the primary students in preparation to the next level of their education. Effect of Creative Educational Drama Activities on Developing oral Skills in Grade Six pupils in Atimonan Central School, helps to develop the abilities of the learner...
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...qualitative research study was adopted by the researcher in two stages. The researcher decided to teach two sets of drama lessons based on citizenship education topics in the upper primary school curriculum specifically primary six, in the first stage. Two classes of children, Classes P and K, from two different...
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...initially through television dramas, and has gradually skyrocketed in popularity, expanding its reach to the film and record industry as well. Its success is owed to the effective combination of Western pop-culture with an added Asian flavor, across all its industries. With the sudden influx of Korean boy or girl pop groups led by pop idols worshipped by many fans, the media industry managed to tap on the popularity of certain idols, starring them in television dramas and hence garnering support from fans all over Asia. Together with popular drama series came its respective memorabilia, such as posters, bags, accessories – you name it, they have it. This paper serves to explore how the wave of Korean popular culture (commonly known as the Hanryu) on television today has had an impact on the behavior of people who participate in this Hanryu culture, not only through purchases of memorabilia, but also through changes to their lifestyle. The Influence of Hanryu on Consumer’s Buying Behavior Media, and the television to be specific, can be seen as a medium for informal learning, as well as influence. It is sometimes known as a socializing agent, which can influence who we are and what is expected of us. Just like how advertisements serve to increase the perception that consumers have towards a certain brand or product, occasionally using attractive endorsers or impactful slogans, Hanryu has a similar effect on influencing consumer perception of drama memorabilia. However, the differentiating...
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...Mages (2008), drama is something that inherently possesses the characteristics and play in the television station. While for the drama practitioners, according to the Fox (1987), Heathcote (1984) McCaslin (1996) and O'Neill & Lambert(1982) its contend that drama promotes development and note that drama is particularly beneficial for fostering language development. Davis and Behm (1987) explain that the spectrum of activities involving children and the drama/theatre is established on the classic definitions of drama (a thing done) and theatre (to gaze on). The natural dramatic propensities of children, located at the far left on the continuum, are seen to be the bases of, and to infuse, all the forms of drama and theatre. Jyoti thottam says that, a typical telenovela which is an example of drama is that runs daily for months could require more than 100 episodes, in contrast to two dozen weekly episodes for a season of a prime-time network drama. CHAPTER 2: LITERATURE REVIEW 2.0 LITERATURE REVIEW Television Drama Television dramas will force networks and viewers to change their habits. Love, betrayal and cleavage all have starring roles in the plot of a typical of television drama which make people love to watch it. Jyoti Thottam(2006). Telenevola An Example Of Drama A typical telenovela that runs daily for months could require more than 100 episodes, in contrast to two dozen weekly episodes for a season of a prime-time network drama. Jyoti Thottam(2006)...
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...rigid conventionalisms of class division, social order and gender roles. Society hid behind the mask of hypocrisy in an attempt to preserve bourgeoisie’s position of power. In that concern, conceptions of ‘liberty of the spirit’[1] and ‘liberty of thought and of the human condition’[2] came to question. Thus, Henrik Ibsen drew attention to the threat to ideas of freedom and public opinion by giving life to A Doll’s House (1879). He aimed to critique constraints of Victorian society rather than vindicating the rights of women. In that sense, in a speech given in his honour by the Norwegian Women’s Rights League on 26 May 1898 he stresses: ‘Whatever I have written has been without any conscious thought of making propaganda. […] To me it has seemed a problem of humanity in general.’[3] Ibsen clearly states he strove to expose the manipulation of individuals’ liberties as he worked for the human cause. In Caryl Churchill’s Top Girls (1982) the aim of the play is to reveal how the fulfilment of women’s self-realization needs in the personal and social spheres is achieved by compromising humanity and morality. In the end, what ‘The New Woman’ gets is disillusionment and loneliness as she finds herself in a predicament: mother or career woman, sensitive or hardened. In Top Girls what is represented is the price women pay to go up the corporate ladder in a male-dominant world. Thus, I will explore how trends in Modern Drama are used and blended throughout time to address social problems...
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...Indigenous Theater The Rituals The native Filipino beliefs are central to gods and deities, who controls forces of nature, the passages of all living things and the vital activities of the tribe. And to communicate to gods special mediums are to be used. The babaylans, tambalan, albularyo are these medium. There are many rituals but the ritual which is drama is where the shaman goes into a trance and kills the sacrificial animal common to these rituals which represent as the supplicant or humble petitioner to the gods to provide for the people. Throughout centuries rituals are known as – pag-aanito, anituan, anito-baylan, bunong, pagdidiwata and a host of other indigenous lexis. Rituals are used for variety of reasons. To cure sickness, for a bountiful harvest, rites of passage, marriage and a host of other reasons, all involve carrying out sacrifices, chants, prayers, offerings that aims to appease, please the higher being. If these rituals do not get the sick cured, they do not deserve to get well. The Aeta of Florida Blanca has a ritual where a shaman dances to “scare” away sickness. The sick sit on the grounds in rows covered in red cloth as the gitada (guitar) plays and the manganito (priest) dance frighten the sickness causing spirits away with bolos or offers them food in banana leaf to leave the infirm. Towards the end of the dance, the long red cloth is pulled symbolizing the “departure” of the spirit. Rituals connected to harvest usually involve killing...
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...through drama for oral skills development Laura Miccoli This paper presents the results of an investigation into the value of using drama in a Brazilian university classroom. Drawing on Di Pietro (1987) and Via (1976) on the advantages of using drama in language learning, from Mezirow (1990) and Schön (1991) on the importance of reflection for promoting meaningful learning, and from Donato and McCormick (1994) and Lukinsky (1990) on the e¤ectiveness of portfolios as a tool to promote reflection, the paper presents a case study of the use of drama in an oral skill class, describing the course structure and classroom procedures. It includes learners’ voices as taken from their portfolios, and evaluates results, presenting setbacks and possible solutions. Finally, it encourages the use of drama and portfolios for transformative and emancipatory learning. Introduction As teachers we are always looking for ways to improve our classes and motivate our students. Yet, teaching conditions may not be as ideal as we would like them to be. Sometimes we get too many students; often they have di¤erent proficiency levels; sometimes both problems arise in the same class. This was my situation: I had to teach a conversation class where the level of proficiency of the 37 students ranged from basic to advanced. Knowing that a traditional format would not work, the experiences of interactionists like Di Pietro (1987) and the actor/teacher Via (1976) helped me decide to bring drama and play...
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...Drama is created by placing ordinary people in situations of crisis or conflict Explore some dramatic techniques used to create drama in the crucible In his play, The Crucible, Arthur miller presents an allegory for McCarthyism through the use of the Salem With trials of 1692. In the crucible, miller uses many techniques to create drama to influence the decisions of the ordinary townsfolk. Drama is created by placing key protagonists in situations of conflict. The intolerance of puritan society towards new or different practices is one of the ways that miller creates drama. Another factor is the maintenance of personal reputation and the consequences of conflict upon this status. By manipulating ordinary people, hysteria also creates a large sum of drama. Through an analysis of Intolerance, reputation and hysteria, this essay will explore how conflict creates drama. In a puritan society, not meeting the social norms was seen as treason and heavily persecuted. This lead to an intolerance of anyone who did not worship god, and dissent lead to beliefs of Satanic activity. Judge Danforth quotes in act three page 85 "You are either with the court or against it". Miller uses tone to foreshadow what is yet to come in the the text. The tone of this sentence shows that the witch trials are the ultimate form of intolerance and hanging...
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...Leadership is a quality that I pride myself in having. In my life, there are many opportunities for me to express that leadership. I am involved in a number of leadership organizations within my school. I participate in Drama Club, Student Council, KAY Club, Earth Care Club, and my school’s show choir. I am also the Boys Basketball Manager and the Track Manager. By just being involved in such organizations I have taken on a leadership role, but within those organizations there are even bigger leadership roles one could play. For example, I am the dance captain and treasurer for drama club and the second soprano section leader for my show choir group. This is only my second year in drama club and in show choir, but I can say that I have worked...
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...Elements of Drama: A Review of Hamlet Elements of Drama: A Review of Hamlet The way an artist creates a sculpture is similar to the tactics of a drama writer. While artist focus on the color and shape of their creations, writers of drama focus on specific elements. In Hamlet, Shakespeare uses plot, character, setting, staging, and theme to create a well-rounded story. One of the first elements of drama is plot. Considered to be the foundation, plot is the idea in which the setting and characters surround (Mays, 2014). As a stack of dominoes, lined in a row, the plot of a story creates a similar effect. As each domino falls, it enables the rest to follow suit. Plot is comparable, because the events within a story usually lead to the next. The drama, Hamlet, revolves around a prince seeking revenge for his father's death. As the story begins, Hamlet's father has died, and his mother marries her husband's brother, the new king. Soon, Hamlet realizes, after meeting with the spirit of his father, that his dad was murdered. The spirit convinces Hamlet to seek revenge. Pretending to be mad, Hamlet conspires to kill the king. During his scheme, Hamlet pretends to despise his crush, Ophelia, and accidentally kills her father. The death becomes reason to send Hamlet away. As Hamlet travels back to school, Ophelia's brother seeks revenge on Hamlet for his father's death. Hamlet returns and is informed of Ophelia's suicide, along...
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...A6-A Sabotaging Encounter Commentary Our group began the production, Dry Heave, by organizing each member’s role and identifying their involvement in each stage of the film. I chose director, in which my role was to oversee the film's artistic and dramatic aspects, while guiding the rest of the crew and actors. We did not have a scriptwriter, so I worked with the cinematographer and editor to create a realistic story, in terms of our equipment and cast. Being that our genre topic was Drama, we had a vision of it involving “high school drama.” We came up with the idea of two boys fighting over one girl, but we struggled in giving the film a meaningful ending. This is where the script supervisor and I came up with idea that the girl would be intentionally killed by one of the boys in revenge of her acting interested in both boys. I knew that we had to emphasis drama through facial expressions and body language, so I made sure to communicate with the cinematographer that in conversational shots we had to go CU or even ECU. Additionally, I collaborated with the set designer and cinematographer to construct a realistic high school environment. We agreed that we should utilize our schools locker area, workout facility, and parking lot to portray high school in a true sense. Once we moved into the production stage of the film, we found that construction noises were inhibiting the quality and consistency in the sound of the film. However, I suggested that we turn off the...
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