‘Drama is like reversing everything’: intervention research as teacher professional development

Stinson, Madonna

doi:10.1080/13569780902868820

Cited by 40 publications

(14 citation statements)

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“…In that way, the teacher's authoritative mask is lost and interaction is encouraged aiming for discussion and negotiation with pupils and their active involvement in the education process (Upitis et al, 2001). At first, teachers were reluctant to apply drama as a teaching method as they felt they lacked knowledge (Fynn, 1997), or because of time constraints (Stinson, 2009). However, with drama experience, knowledge and skills, they began implementing creativity in a more efficient way, and started applying drama in school subjects for various educational purposes (Oreck, 2006).…”

Section: The Importance Of Drama In Educationmentioning

confidence: 99%

“…Na taj se način gubi učiteljeva autoritativna maska i potiče se interakcija s ciljem raspravljanja i pregovaranja s učenicima kao i njihova aktivnog uključivanja u odgojno-obrazovni proces (Upitis i drugi, 2001). U početku su se učitelji ustručavali primjenjivati dramu kao metodu poučavanja zbog nedostatka znanja (Fynn, 1997) ili zbog vremenskog ograničenja (Stinson, 2009). Međutim, s dramskim iskustvom, znanjem i vještinama počeli su kreativnost implementirati na učinkovitiji način i dramsko iskustvo primjenjivati u nastavnim predmetima za različite odgojno-obrazovne svrhe (Oreck, 2006).…”

Section: Važnost Dramske Umjetnosti U Odgoju I Obrazovanjuunclassified

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Opinions of Future Primary Education Teachers on the Application of Drama in Education (DiE)/Mišljenja budućih učitelja primarnog obrazovanja o primjeni dramskog odgoja u nastavi

Vukojević

2018

Croatian Journal of Education

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The paper presents the results of the research which examined the relationship between the sense of competence of future primary education teachers for DiE and their opinions on the importance of applying DiE in teaching. The research was carried out on a sample of N=225 students. The participants were students of the Faculty of Teacher Education in Zagreb (N=95) with the Čakovec branch (N=69) and Petrinja branch (N=26) as well as students of the Faculty of Humanities and Social Sciences in Split-Department of Teacher Education (N=35). Research results show that students have an affinity for DiE although only 15% of the participants consider themselves competent for applying DiE.

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Section: The Importance Of Drama In Educationmentioning

confidence: 99%

Section: Važnost Dramske Umjetnosti U Odgoju I Obrazovanjuunclassified

Opinions of Future Primary Education Teachers on the Application of Drama in Education (DiE)/Mišljenja budućih učitelja primarnog obrazovanja o primjeni dramskog odgoja u nastavi

Vukojević

2018

Croatian Journal of Education

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“…However, recent studies have unveiled a degree of resistance in some AL teachers, new to process drama, when implementing the approach in the classroom. Despite admitting it was a helpful tool to promote language learning, two cohorts of teachers from two independent studies manifested resistance (Araki Metcalfe 2008;Stinson 2009) in using process drama independently in the classroom. I believe this apparent contradiction might stem from trying to adopt an instrumental stance, when working with an aesthetic mode.…”

Section: Introductionmentioning

confidence: 99%

Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching

Piazzoli

2012

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This paper was presented at the conference ‘Plot me no plots: Theatre for University Language teaching’ held at the University of Padua in October 2011. The presentation included a practical demonstration of the teacher-in-role strategy and a discussion. Process drama is an experiential approach that has been gaining momentum in the field of language teaching; it is a genre of applied theatre in which the participants, together with the facilitator, engage in the co-construction of a story. As an improvised dramatic form, it encourages negotiation of meaning through the process of experience and reflection. In this article, I reflect on the nature of the collaborative process between teacher and participants in process drama, drawing on my doctoral research on the aesthetics of process drama for teaching additional languages. In this research, I worked with three cohorts of adult language learners, studying Italian as a Second Language (L2), and three cohorts of teachers of Italian (L2) new to drama. I draw on classroom data to illustrate two of the main dramatic strategies of the form: ‘teacher-in-role’ and ‘mantle of the expert’. I introduce these strategies, situate them in a theoretical context and discuss issues and implications when teaching to engage, rather than to entertain.

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“…The teachers appeared to always be under time pressure, with one participant in particular, Faye, only willing to commit to a small amount of time. She was the only participant who didn't seem to fully 'buy in' (Stinson 2009) to the work.…”

Section: Research Strugglesmentioning

confidence: 99%

The teacher as co-creator of drama: a phenomenological study of the experiences and reflections of Irish primary school teachers

McDonagh

Finneran

2017

Irish Educational Studies

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This dissertation explores the 'lived' experience of seven primary school teachers co-creating drama in an Irish context. Co-creating drama can best be described as the coming together of teacher and students in a creative enterprise. The experience centres on the notion of the teacher as a co-artist, whereby they enliven qualities of creativity such as a "willingness to play, experiment, be a partner with learners, and to take risks" (Craft 1997, p89). Co-creating is distinguished by the autonomous behaviour of the students and the artistic act of creating something of value to the group. It resonates distinctly within the theoretical frame of constructivism, as well as with more current inquiries of collaborative and creative drama practices.Classroom drama in an Irish context remains largely under-researched. It is argued that the knowledge base for teacher education should come from the teachers' experiences in the classroom, but there has yet to be an in-depth study of teachers' lived experiences of drama education in Ireland. In order to address this, a phenomenological inquiry was conducted into the experiences of teachers cocreating drama, with a view to gaining an in-depth understanding of the experience as perceived by them. Through a series of interventions and interviews, the teachers' experiences and reflections were explored in order to portray the essence of the phenomenon. The analysis of the interviews has led to a multi-faceted understanding of co-creating drama. Three main themes emerged. The teachers discuss the practical implications of navigating the co-creating experience, the importance of teacher commitment, and the outcomes of co-creating drama.

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‘Drama is like reversing everything’: intervention research as teacher professional development

Cited by 40 publications

References 12 publications

Opinions of Future Primary Education Teachers on the Application of Drama in Education (DiE)/Mišljenja budućih učitelja primarnog obrazovanja o primjeni dramskog odgoja u nastavi

Opinions of Future Primary Education Teachers on the Application of Drama in Education (DiE)/Mišljenja budućih učitelja primarnog obrazovanja o primjeni dramskog odgoja u nastavi

Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching

The teacher as co-creator of drama: a phenomenological study of the experiences and reflections of Irish primary school teachers

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