Articles

Erika PiazzoliThe silent gaps in the data: What do participants say (and do not say) about engagement when experiencing process drama to learn an additional language?

This paper reports emergent findings from a reflective practitioner study on the aesthetics of process drama for teaching and learning additional languages (AL/process drama). In particular, in this paper I focus on the construct of ‘engagement’. Firstly, I sketch a conceptual framework to depict the nature of engagement in AL/process drama. Next, I problematize the notion of ‘researching engagement’ in languages/drama education. I then draw on one case study, to explore what participants say, and what they do not say, on being engaged. I refer to examples from data analysis, where I cross-referenced different methods, and different perspectives, exposing some silent gaps in the data. This strategy led to new meanings in the participants’ perspectives. Finally, I consider the role of the researcher as an ‘intercultural speaker’ when conducting research in languages/drama education.

An earlier version of this paper was presented at the 2011 National Drama Conference, in Swansea (Wales).

Erika Piazzoli

Brian LighthillMaking Shakespeare their "buddy"

This article is based on a paper presented by Dr. Brian Lighthill at the RSC Worlds Together symposium, Tate Modern, London. October 7th, 2012 and is a brief summation of four years of observations and action research in one Warwickshire secondary school (2006-10). The research project explored whether Shakespeare studies should have an ongoing place in the curriculum? In this article I map out the arguments for and against Shakespeare study then describe the modus operandi of the research process. A debate follows on how to make Shakespeare ‘relevant’ for young learners’ – if the students are to own Shakespeare’s production can the issues in the fictional stories be made relevant to their real life world? I then summarize the research methodology and case study analysis and, at some length, discuss the discoveries made from many in-depth interviews and questionnaires with seven randomly selected students, their parents and teachers over four years. Finally I explore the way forward for Shakespeare studies. This paper interrogates two questions: „Have Shakespeare’s plays any relevance to the lives of young people today – or is it just a load of ‘Bardolatry’?„ And, to miss-quote Monty Python’s The Life of Brian, ‘What have Shakespeare studies done for us?’

Brian Lighthill

Josefa PaceUnderstanding Multimodal Communication of Dramatic Elements in Titus Andronicus and The Importance of Being Earnest

This paper presents a mini ethnographic study focusing on students’ discussions of dramatic elements in the plays and films of Titus Andronicus and The Importance of Being Earnest. Students’ reflections display their understandings of multimodal communication with respect to movement (stage direction, scene transitions), size (camera angles), sound (dialogue and music), color (mood), and shape/structure (format of play- circular, elliptical, linear). The study reinforces the idea that theatre is meant to be heard and seen. It incorporates physical, intellectual, and pansenual elements. Theatre is understood to be a metaphorical representation. In this introductory course, watching a film based on a piece of dramatic literature that was read was relational.

The paper will show research in literacy pedagogy. Based upon theory and upon research practices, a reexamining of beliefs and practices regarding literacy pedagogy have deemed researchers to concur that methodologies and teaching practices in the 21st century should keep abreast with the fast-paced demands that society is proposing. This kind of study lent itself to be mindful of the kinds of multiple adaptations that a visual presentation may have when applying the dramatic points from a play to a movie.

Josefa Pace

Publisher: National Drama Publications

ISSN 2040-2228

©2013 National Drama - Drama Research: international journal of drama in education

© Copyright National Drama 2013

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