The ‘good enough’ drama: reinterpreting constructivist aesthetics and epistemology in drama education

Rasmussen, Bjørn

doi:10.1080/13569783.2010.512187

Cited by 31 publications

(25 citation statements)

References 10 publications

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“…), to devise short pieces of fiction. Fictional roles, time and space help the pupils to communicate their understanding in an aesthetic way to themselves and their fellow participants (Rasmussen, 2010;Neelands & Goode, 2010;Neelands, 1984Neelands, , 2009. Drama incorporates elements of theatre to facilitate the student's cognitive, physical, social and emotional development and learning.…”

Section: Drama Education and Creativitymentioning

confidence: 99%

“…The use of drama in education can be seen as an alternative to scripted schooling and an answer to the challenges of the postmodern knowledge culture, which aims for deeper conceptual understanding by preparing students to create new knowledge (Toivanen, 2012a(Toivanen, , 2012b. Drama education represents the concepts of experiential (Kolb, 1984) and socio-constructive learning (Liu & Matthews, 2005;Rasmussen, 2010).…”

Section: Drama Education and Creativitymentioning

confidence: 99%

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Creative Pedagogy - Supporting Children’s Creativity Through Drama

Toivanen¹,

Halkilahti²,

Ruismäki³

2014

EJSBS

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Drama education is still a rather young field of science. Thus, there is an obvious need to conceptualize the elements and factors related to drama education fostering children's creativity. What kind of learning environment supports children's creativity? Which aspects of drama education nurture children's creativity? Children's creativity is often referred to as 'little c creativity ', LCC, (Craft 2001). Subjectivity is an intrinsic character when defining children's creativity since it is not determined by society. The article aims to perceive and build a theory of tuition supporting children's creativity in the context of drama education. The objective of this theory-based article is to characterize the terminology of creativity in drama education. Based on prior research, the purpose of the article is to construct a model of tuition fostering children's creativity. This theoretical model is contemplated through drama education. In a creative learning environment of drama the children are provided with rich experiences and their active role in learning is emphasized. Interaction is an essential part of learning process making learning itself a social activity. Creative environment supports children's imagination and inner motivation. In addition, the atmosphere is permissive. These elements also create a potential for group creativity. According to research (Kim 2010), the need to support children's creativity is obvious. Furthermore, children's creative development should be considered on two levels: the individual creativity of each pupil and the group creativity of the whole class. Drama education has the potential to nurture pupil's creativity through its experiential, social and children-activating nature.

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Section: Drama Education and Creativitymentioning

confidence: 99%

Section: Drama Education and Creativitymentioning

confidence: 99%

Creative Pedagogy - Supporting Children’s Creativity Through Drama

Toivanen¹,

Halkilahti²,

Ruismäki³

2014

EJSBS

View full text Add to dashboard Cite

show abstract

“…Educators should know what they teach, how they teach, and why they teach in order to achieve their goals. Teachers' beliefs about the purposes of education consist of their knowledge, thoughts, values, and images (Dean et al, 2007;Kempe, 2009;Rasmussen, 2010). Beliefs are assumed to act as filters through which one sees the world (Pajares, 1992).…”

mentioning

confidence: 99%

A Case Study of Drama Education for Kindergarten Children in the United States: Drama Specialists' Beliefs and Practices

Wee¹

2011

Child Studies in Diverse Contexts

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This case study examines two drama specialists' perspectives on the purpose of drama education and how their visions and beliefs are reflected in their drama practices during a sixweek kindergarten drama program. Two experienced drama specialists who have worked at public elementary schools located in the Midwestern United States were the main participants of this case study. Using a qualitative case study method, in-depth observations and semistructured interviews were carried out. Findings show that the drama specialists believed the purpose of drama education to be the building of self-confidence, creativity, awareness of the arts and respect for others. Both congruent and inconsistent relations between their beliefs and their teaching practices were observed. Based on these findings, an understanding of how specialists' beliefs and practices contribute to a broader understanding of drama education is further discussed.

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“…In this way drama contributes to what prominent science educators in the constructivist tradition had in mind as 'discourse communities' in classrooms aimed at establishing shared meanings rather than assimilation through independent learning or by merely being told science content (Duveen & Solomon, 1994;Watts et al, 1997;Driver et al, 1994). Rasmussen (2010) sees the particular sociolinguistic functions of drama as crucial in meaning making. According to Wertsch (1991), socio-cultural approaches are fundamental to the development of language and culture and even the way we think.…”

Section: Perspectives From Drama In Science Educationmentioning

confidence: 96%

Drama and learning science: an empty space?

Braund

2014

British Educational Res J

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Constructivist teaching methods such as using drama have been promoted as productive ways of learning, especially in science. Specifically, role plays, using given roles or simulated and improvised enactments, are claimed to improve learning of concepts, understanding the nature of science and appreciation of science's relationship with society (Ødegaard 2001, Unpublished Dr. scient., Dissertation, University of Oslo). So far, theorisation of drama in learning, at least in science, has been lacking and no attempt has been made to integrate drama theory in science education with that of theatre. This article draws on Peter Brook's notion of the theatre as the ‘empty space’ (Brook 1968, The empty space, Harmondsworth, Penguin Books) to provide a new theoretical model acting as a lens through which drama activities used to teach science can be better understood and researched. An example of a physical role play is used to ground the theory. The paper concludes by suggesting areas for further research.

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The ‘good enough’ drama: reinterpreting constructivist aesthetics and epistemology in drama education

Cited by 31 publications

References 10 publications

Creative Pedagogy - Supporting Children’s Creativity Through Drama

Creative Pedagogy - Supporting Children’s Creativity Through Drama

A Case Study of Drama Education for Kindergarten Children in the United States: Drama Specialists' Beliefs and Practices

Drama and learning science: an empty space?

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