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1999
Dramatizations as a response activity during literature study provide a vehicle for students to use language, both verbal and nonverbal, in an educational context. A study focused on a group of five students who chose to use story dramatizations as one way to create their interpretations of the book, "The Slave Dancer" (Fox, 1973) . The study, which explored possibilities of how these fifth-grade students, the classroom teacher, and the researcher could co-construct meaning for the novel, combined two research paradigms: action and interpretive research. Data collection was a recursive process; key sources of data were audio-and video-tapes of a small group responding to literature; field notes of classroom observations; a teacher journal and interview; photocopies, videotapes, or student work samples; and interviews of each student who participated in the literature group. The recursive research process was one of revisiting the data, narrowing it down, making interpretations, and describing it. During their reading, journaling, and discussion of the book, the students created two drama projects for "The Slave Dancer." Detailed transcripts of their interaction in the dramatizations show that the students had comprehended the novel and shared that understanding with their classmates. (Contains a list of children's literature and 19 references.) (NKA)
Scenario: A Journal for Performative Teaching, Learning, Research, 2021
This paper presents and outlines the design and implementation of a pilot program based on activities of dramatization of children literary books aiming at developing language skills of primary school students in English as a foreign language, participating in interactive, drama play and creative activities This project was implemented to students of the fifth grade of primary schools of Larissa (Greece) in a sample of 15 students. The collaboration, creativity, and the engagement with English literature were the main features of the program. The learning environment of the program was either the municipal center of creativity "Kalikatzoura Pasalidou" or the municipal gym. When the center of creativity was the place of learning, students analyzed the English children's literature books, achieving the acquisition of the new vocabulary and participating in creative writing activities. When the municipal gym was the place of instruction, students participated in activities of performing theatrical plays developing spoken language and intonation of the words. The evaluation and feasibility of the program has been realized through a) a pre-and a post -test and b) by keeping a Journal by the teacher. It became so obvious that the particular application had a beneficial effect on the development of speaking and writing skills of learners and enhanced their motivation to participate in drama activities.
The Reading Teacher, 2009
This article reports on a small-scale participatory research project exploring student’s use of imagination and verbal expression trough drama. It focuses on findings from video recordings made on the theme ‘Dreams and Nightmares’. Konstantin Stanislavski’s method of ‘magic if’ for actors and the Neuro-Linguistic Programming method of Bandler and Grinder for visualising images from our inner world were encountered. The use of drama video recording as a ‘raw footage’ data-collection method is discussed, along with the implications of drama as a resource to improve verbal expression and negotiation.
The art of reading refers to the act of representing and interpreting text through oral dramatic reading. To the dismay of many teachers, reading is becoming a "lost art." Students are expected to apply specific literacy techniques rather than use their imagination to leam to enact text. Based on a study of the reading perceptions of natural oral dramatic readers, this article explores the use of oral interpretation to transform reading into an aesthetic experience which promotes personal engagement, and create a learning atmosphere where comprehension is natural and relevant to the reader. If we indeed desire to "leave no child behind," we must acknowledge the uniqueness of each child and provide all students with a means to express that uniqueness during literacy learning. The use of dramatic interpretation as part of the reading process validates the experience of the reader by demonstrating through performance the various associations, generalizations, assumptions, histories, and applications of what each student brings to the classroom.
The teaching CLIL approach seeks to teach two subjects in one -a content subject and a language. In dramatization, students learn, not only a language but also the subject of theatre, history, among others. Dramatization also teaches learners personal development and social skills, and as educational policies do, it also enhances open-3 mindedness and cultural communication, the use of other languages, and thinking skills in the classroom; the ability to apply knowledge and use "know how" to complete tasks and solve problems. That is why, I strongly believe, dramatization can be such a complete teaching method to be applied to the curriculum in education.
This investigation is focused on how to teach literary terms through drama, as it was mention before, drama can help teachers to teach a lot of topics and this case it's not the exception because through it, educators can teach important literary concepts and at the same time develop both areas: theory and practice. On the one hand, it can be thought through dramatic literature and on the other, the show. For teachers represent a challenge to teach students with innovating and creative ideas. Drama is important in order to incorporate different projects into classes, because it can help to improve the participation of the students also can be used to teach a lot of topics and to develop the four skills, such as, listening, speaking, reading and writing. Besides that, students get more confident, give them an opportunity to work with their partners and they can be more creative. 4 5
Beijing International Review of Education
The article introduces the field of educational drama to new readers by outlining foundational concepts and source literature, and some historical roots. Using the well-known folk tale of Hansel and Gretel (Brothers Grimm) as point of departure, the article describes a practical workshop example – with a rationale of the suggested activities.
Early Childhood Education Journal, 2007
This article examines how drama education strategies enrich children’s understanding and excitement of a story before they read, preparing them for a deeper exploration and appreciation of the story. Following a book’s basic storyline, drama strategies guide children through an honest, spontaneous enactment of a story’s key events without slavishly recreating them. Children become engaged in a character’s plight by making it their own, facing each situation with a similar sense of surprise and excitement. Afterwards, the children have a rich, parallel experience from which they then approach reading the book.
Journal of Literacy Research, 1995
Much current theory about response to literature stresses the reader's active role in constructing meaning, with reader, text, and context affecting the responses of individual readers (Beach, 1993). Response to literature, like most classroom interaction, tends to take a linguistic form. In a supportive classroom environment, however, a range of response media can potentially mediate students' transactions with literature. The present exploratory study used stimulated recall to elicit a retrospective account from two alternative school students who choreographed a dance to depict their understanding of the relationship between the two central characters in a short story. In their account they indicate that in composing their text they (a) initiated their interpretation by empathizing with the characters, (b) represented the characters' relationship through spatial images and configurations, and (c) used the psychological tool of dance to both represent and develop their...
Literacy, 2021
This article explores the intersections of drama and reading, specifically focusing on approaches that are situated within "drama in education." Supported with a retrospective analysis, this article portrays the research, related practice and possible futures in drama education in relation to literacy and in particular to reading fiction as meaning making practice. This study is situated in a reassertion of the value of relational literacies through imaginative practices that dramatic modes generate and support. The article disrupts common misconceptions about the purposes and effects of drama in reading and establishes prominent research discourses and definitions across the history of drama and reading practices. By locating paradigmatic and practical opportunities in our analysis of contemporary research, we bring visibility to the intricacies of drama in education as a generative pedagogy in reading as relational meaning making work.
Studies in English Language Teaching, 2014
This paper presents and outlines the design and implementation of a pilot program based on activities of dramatization of children literary books aiming at developing language skills of primary school students in English as a foreign language, participating in interactive, drama play and creative activities This project was implemented to students of the fifth grade of primary schools of Larissa (Greece) in a sample of 15 students. The collaboration, creativity, and the engagement with English literature were the main features of the program. The learning environment of the program was either the municipal center of creativity "Kalikatzoura Pasalidou" or the municipal gym. When the center of creativity was the place of learning, students analyzed the English children's literature books, achieving the acquisition of the new vocabulary and participating in creative writing activities. When the municipal gym was the place of instruction, students participated in activities of performing theatrical plays developing spoken language and intonation of the words. The evaluation and feasibility of the program has been realized through a) a pre-and a post-test and b) by keeping a Journal by the teacher. It became so obvious that the particular application had a beneficial effect on the development of speaking and writing skills of learners and enhanced their motivation to participate in drama activities.
Much current theory about response to literature stresses the reader's active role in constructing meaning, with reader, text, and context affecting the responses of individual readers . Response to literature, like most classroom interaction, tends to take a linguistic form. In a supportive classroom environment, however, a range of response media can potentially mediate students' transactions with literature. The present exploratory study used stimulated recall to elicit a retrospective account from two alternative school students who choreographed a dance to depict their understanding of the relationship between the two central characters in a short story. In their account they indicate that in composing their text they (a) initiated their interpretation by empathizing with the characters, (b) represented the characters' relationship through spatial images and configurations, and (c) used the psychological tool of dance to both represent and develop their thinking about the story. Their thought and activity were further mediated by the social context of learning, including the communication genres of the classroom, their own interaction, their teacher's intervention, and the stimulated recall interview itself. Their account illustrates the way in which reader, text, and context participate in a complex transaction when readers construct meaning for literature. Their experience also illustrates the ways in which the values of an instructional setting influence the extent to which learners may take advantage of the psychological tools available to them for growth.
2010
The big shift is to move from holding the information and doling it out like charity to creating the circumstances where it is imperative to inquire, search out, and interrogate the information we locate. If at present it isn't possible to merge the work of adults and the work of students because we don't value the contribution young children can bring to cultural development of the world's good, we can rely on proven drama systems to create 'the mirror to nature' and harness, through identification and empathy, the life knowledge which children will bring generously to meet us half-way.
This study explored the effect of using drama as a learning tool on the improvement of college students' English ability after a three-week intensive course. Applied drama techniques were used in the first week as orientation activities to familiarize students who had not been exposed to this kind of learning method, such as verbal games, body movements, mimes, strategic interaction and role-play. The second week was devoted to learning through three process dramas. Process drama refers to educational drama that is created by the participants. It may make use of a story's beginning, middle, and end to explore, develop, and express ideas and feelings through dramatic enactment. It is, however, always improvised drama, participant centered, and not intended for an audience. In the third week, the students used Readers Theatre format to perform a script created from their learning and improvisation content in the second week.
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