Fostering Children and Adolescents’ Creative Thinking in Education. Theoretical Model of Drama Pedagogy Training

Abstract

Drama Pedagogy Training (DPT), as other drama-based pedagogies, has been related to several outcomes, including creativity enhancement. This enhancement is commonly proven through the measurement of different creative processes. In our review we systematize characteristics, activities and techniques of DPT that are assumed to be related to creativity in order to have a more comprehensive framework to identify the specific DPT elements that are involved in the enhancement of some of the creative processes of children and adolescents. To this end, we identified five creative processes in experimental studies using DPT: divergent thinking, fantasy and imagination, associative thinking, symbolization, and problem solving. These processes were cross referenced with DPT characteristics, activities, and techniques that were argued to be related to creativity enhancement. Our review will propose a model with two main categories and six elements as follows: (1) technical drama phases which emphasizes the role of narrative and embodiment through (a) corporal and vocal training and (b) main drama techniques (e.g., storytelling and improvisation and role-play), and (2) psycho-pedagogical framework which emphasizes the role of a dialogic space through (c) playfulness and a (d) collaborative, safe space. We also identified (e) feedback as an important element of DPT which belongs to both drama technical phases and psycho-pedagogical framework categories. Along with the model, we explain the creative outcomes associated to each of these elements as a means to attire the attention to drama-based pedagogies for the development of creativity in the educational setting.

Developing children’s socio-emotional competencies through drama pedagogy training: An experimental study on theory of mind and collaborative behavior

“…They also observed that the use of a specific protocol (ref. SAFE protocol) moderated positive students’ outcomes, which corresponds with the description of the psycho-pedagogical framework of DPT ( Celume et al, 2019a ). In the same line, interventions that were identified as more interactive and that, for example, used several DPT elements, such as role playing, were the most successful among young students.…”

“…Drama pedagogy training (DPT; Celume, Besançon, & Zenasni, 2019a ) can be defined as any drama-based training or workshop, created through drama activities and techniques (such as pretend play, improvisation, role-play, etc.) that follows the characteristics of the liberal progressivism tendency from drama pedagogy ( García-Huidobro, 1996 ).…”

“…DPT could be also considered as a specific kind of training within drama based pedagogy (for a review see Lee, Patall, Cawthon, & Steingut, 2015 ), based on drama pedagogy theory ( García-Huidobro; 2004 ) and which is focused only on participant’s socio-emotional and creative development, and thus, not created to enhance any academic field, or to contribute to any subject in school, neither to train participants in any artistic way. According to Celume et al (2019a) DPT is a methodology that encompasses drama activities and techniques through the use of embodiment and narratives, under a particular psycho-pedagogical framework that works with the use of narrative and the construction of a dialogic space ( Celume, Besançon, & Zenasni, 2019b ). DPT can be considered as an active methodology, that works with the cognitive and affective dimensions of the participants emphasizing the importance of playfulness and positive emotions, promoting a safe and caring environment and a positive student-pedagogue relationship ( Garaigordobil & Berrueco, 2011 ; García-Huidobro, 2004 ; Hammond, 2015 ; Rosen, 1974 ) that would develop social and emotional competencies and skills.…”

Examining the Effectiveness of Drama Education Program on the Interaction and Social Skills of Children in Preschool Classes Applying Inclusive Practices

“…Yapılan bir metaanalizde drama yönteminin çocukların bütünsel gelişimleri üzerinde etkili olduğu sonucuna ulaşılmıştır (Ulubey, 2018). Ayrıca yapılan çalışmalarda dramanın prososyal (Şenol, 2019) ve iş birliği, yardımlaşma, özsaygı gibi davranışlar (Snape, Vettraino, Lowson ve McDuff, 2011) ve sosyal duygusal gelişim (Celume, Besançon ve Zenasni, 2019;Celume, Goldstein, Besançon ve Zenasni, 2020) üzerinde etkili olduğu belirtilmiştir. Lorenzetti ve Kruger (2020) okul öncesi çocuklarla yaptıkları çalışmada, drama eğitiminin sosyal becerileri ve etkileşim becerileri üzerinde etkili olan özdüzenleme becerilerinin ve davranış kontrolünün kazanılmasında etkili olduğu sonucuna ulaşmışlardır.…”

How a dialogic space can impact children’s creativity and mood valence in Drama Pedagogy Training: Study with a French 4th grade sample

“…Nevertheless, we understand that unconscious bias could have occured, influencing some emotional or motivational aspects on children, thus inducing them to be more creative in the DPT group. In any case, DPT has a specific framework that needs to be respected, and these emotional and motivational differences in the training could be due to the psychopedagogical framework of DPT (Celume et al 2019) as it cares about the environment in which the activities are carried on. Future work will need to consider a way to control this variable.…”