‘”All of them […] want to shape me like a Plasticine figure and they expect gratitude for it. Yet, I do not submit to it as I simply want to create myself and my life. But how to accomplish this difficult task?” (pupil)’ (Dudzikowa 1985).
In the postmodern world relations between people are composed of casual interactions, which are distinguished by the creation of a peculiar collection of ‘masks being alternately put on’ (Bauman 2000). This happens because we live in a world which sanctions illusion and relativity, fake actions and values as well as a range of mediocre copies instead of originals. In such a situation it is difficult to remember what is real (Benton 2001).
This paper describes the results of a pilot study conducted in Poland by Alicja Galaska and Katarzyna Kraso? which was aimed at finding out the answer to the following research question: Does the kinaesthetic interpretation of the text influence the level of self-creative potential and the process of self-reflection? If so, how does it happen? The research took the form of a particular experiment which was conducted in the third form at one primary school in the Silesian Province.
Alicja Galaska and Katarzyna Kraso
For the last four years Hilary Lee-Corbin has initiated and conducted a research project aimed at introducing Shakespeare to primary children in an accessible and active manner. The initial idea was that by doing this children would be able to approach Shakespeare more easily when they come to study his works in the secondary school. Children’s attitudes towards Shakespeare have been explored in this study using Personal Construct Psychology and Repertory Grids, Stimulated Recall and Semi-structured Interviews.
By using extracts of Shakespeare’s plays children’s and students’ ideas were blended to form a Play in a Day which has proved to be extremely successful over the past four years. The results appear to demonstrate that the children who had experienced a Play in a Day had a generally positive attitude towards Shakespeare and this appeared to be maintained into the secondary years. Comparisons of attitudes between these children and their peers who had not experienced Play in a Day were different in that the former appeared to regard Shakespeare more favourably.
Exposition: Imparting information necessary for an understanding of the story but not covered on stage; events or knowledge from the past, or occurring outside the play, which must be introduced for the audience to understand the characters or plot. (Wilson 1998:445).
This paper reports on the development of an ethnographic performance (a play based on research data), which was written and performed as part of an educational ethnography. The research project focused on the participation of boys in the Drama classes at a coeducational government school in the city of Melbourne, Australia. As an educational ethnographer, Richard Sallis collected data on boys taking part in the drama classes at the school, and this formed the basis of the plotline, themes and characters of the script of an ethnographic performance referred to in this paper as an ‘ethnodramatic script’. This is an account of some of his key findings regarding conducting an ethnodramatic project with drama teachers and students in a school setting.
A majority of classrooms in India reflect a culture that promotes rote learning among children focusing on the product rather than the process of learning. Processes that compel accumulation of information rather than the attainment of knowledge in children dominate the classrooms. Against this backdrop, the present study by Charru Sharma makes an effort to incorporate drama as an intervention tool and assess its efficacy in Indian primary schools.
The results of her study appear to indicate that Drama facilitates creativity in children through active participation and point towards the relevance of creative drama in creating vibrant and lively learning spaces in Indian primary schools and as an interventional strategy for developing creative classrooms.
This paper describes the role that human development plays in drama activities. It is based on studies that were carried out in several Polish cities by Kamila Witerska. The main research question of the study was: What are the features of drama as a teaching-learning method at different levels of education?
The research studies appear to show that the basic and essential differences concerning the properties of drama are dependent on stages of development of students and deal with the three aspects of human development:
The research project which is reflected in this paper explores the relationship between these dimensions as they relate to the drama process.
In what Williams (1975) described as a dramatised world, a great deal of children’s historical knowledge is acquired through dramatised versions of historical events. As the characters who actually took part in historical events become the dramatis personae of re-enacted accounts, their stories are edited not only to meet dramatic necessities but the social, psychological and cultural needs of both storytellers and audience. The process of popularising history in this way thus becomes as much about the effects of events on people as the events themselves, so mirroring debates within history education regarding the teaching of ‘facts’ and the development of empathy.
In this article Andy Kempe explores how stories of evacuees and other ‘war children’ have been dramatised in traditional playscripts and through structured ‘process dramas’ in schools in the British Isles. It argues that drama and history as curriculum subjects may find common ground, and indeed complement each other, in the development of a critical literacy concerned not so much with either fact or empathy as with interrogating both why and how stories are told.