Childrens’s self-efficacy was investigated by applying a Drama in Education (DiE) project in class. The intervention took place in Primary Schools in Perfectures of Argolida and Arcadia in the Peloponnese Peninsula in Greece. A combination of qualitative and quantitative methods were employed to twelve, one-hour DiE workshops, carried out in twelve consecutive weeks. Analysis of qualitative and quantitative data collected over a small sample of 48 fourth grade children revealed an improvement in childrens’ self-efficacy, suggesting that DiE methods are beneficial for children. Further investigations on larger and different populations are therefore highly recommended as a means of establishing solid conclusions on the effect of DiE on perceived self-efficacy.
Konstantina Kyrimi and Asterios Tsiaras
The aim of this research is to demonstrate the benefits of teaching complex, abstract concepts through a drama-based approach. We explore the way in which, as well as the extent to which several drama techniques may enhance the comprehension of complex, abstract concepts. This pilot study was carried out with fourteen pupils aged 11 to 12 years old at a Primary School in Attica, Greece. The participants were taught the concepts of ‘Pattern’ and ‘Interdependence’ in a playful and expressive manner, into an experiential, mostly kinaesthetic, context. The research was conducted in three phases according to the action research model, integrating elements of grounded theory. The evaluation of the effects was based on content analysis in the pupils’ definitions of the concepts. The results show that embodiment through drama enhanced the pupils’ ability to grasp the aforementioned concepts since their final definitions were more insightful, thus communicating a more thorough understanding.
Dr. Simos Papadopoulos and Evi Mamali
This article offers a perspective drawn from student staff partnership on accessibility in actor training and education as preparation for and in relation to the creative performance industries. Drawing from issues of representation, culture and identity are explored, and new aspirational models of access are identified that may offer a new perspective for academics and practitioners working in actor training settings and conservatoires. In this article, we strive to debate this new perspective through a collaborative student staff co-authorship, for both of whom access and identity are key aspects of their professional learning and teaching experiences.
Anna McNamara and Ellen Armstrong
This article will focus on the possibilities of Pritney method for promoting curiosity, emotions, and collaboration in early childhood education studies (ECEC), especially through the combination of puppetry and opera, a combination which is considered to be valuable in creating aesthetic and pedagogical moments.
The Pritney method and field-research is assessed among children in day care in a class of twenty 4−5-year-olds and class of approximately ten 1−3-year-olds. The research also centres around200 university students in the middle of a project on opera and puppetry in their ECE programme (2018), and studies implemented by zoom (n=60 students, 2020). Opera is about strong emotions (see Trevarthen 2012, 263), and puppetry is a vehicle to make feelings visible (Lintunen, 2009, Majaron 2012, 11, Scheel, 2012). Puppetry and opera can be used in collaboration, and they are combined in this ECE programme as a part of the university studies in drama and literary arts. The article will present some findings from cases in which puppetry and opera have been used experimentally with ECE students, and subsequently with children in day care.