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The little princess was merrily playing in the garden with her ball; tossing it up into the air and bounding it down on the ground. As she played she danced around, humming and singing little snatches of tunes to herself. She was completely unaware of the evil-looking creature creeping up behind her. Suddenly, the evil witch stretched out her arms and, with fingers pointing at the little princess she loosed an evil-sounding yell. The little princess looked up first in amazement and then in horror. Then, she yawned sleepily and fell back on the ground fast asleep. The witch then pronounced upon her the fate that she would slumber for a hundred years until prince should awaken her

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-11T11:12:32Z No. of bitstreams: 1 Gabriel Veiga Catellani.pdf: 3456068 bytes, checksum: 1d15a2d6dbe89dcc433dacc175cfb1bb (MD5) / Made available in DSpace on 2017-12-11T11:12:33Z (GMT). No. of bitstreams: 1 Gabriel Veiga Catellani.pdf: 3456068 bytes, checksum: 1d15a2d6dbe89dcc433dacc175cfb1bb (MD5) Previous issue date: 2017-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research is the result of an investigation that started from the search for the understanding of the teaching practice and the implementation of theatrical techniques as support for didactic formation and for the identity constitution of the teacher who teaches in higher education. We studied some of the teachers who taught Didactics for Higher Education in the Master Project, a course that I created more than two decades ago and turned completely to the application of techniques from the Theater in the didactic training of the teacher who teaches in higher education. communication and strategic support in the classroom. For further clarification, this paper brings a chapter devoted entirely to the explanation and conformation of the Master Project, as well as outlines the profile of the teachers and content that the course offers. In-person interviews were conducted with five teachers from the Master Project and later analyzed. The theoretical framework that supports and supports this study starts from the intersection between the importance attributed to the teacher's identity formation (Dubar, 2005), the cognitive, affective and expressive aspects of it (Almeida, 2004), the understanding of how learning happens of this adult teacher (Placco, 2006), as well as the techniques that guide the formation of the actor (Stanislavisky, 1996). The hypothesis that underlies this thesis is: From the point of view of the teachers who teach in the Master Project the Didactic Material for Higher Education - when there is use of the techniques coming from the Theater in the didactic formation of the teachers - these contribute to their identity constitution and for their teaching practice. We conclude that there is a clear influence of what teachers learn from theatrical techniques, and that they apply in the Master Project, in the direction of their constitution as teachers. They recognize themselves as such and, more than that, from participating in the Master Project, they recognize themselves as different / Esta pesquisa é o resultado de uma investigação que partiu da busca pela compreensão da prática docente e da implementação de técnicas teatrais como suporte para a formação didática e para a constituição identitária do professor que leciona no ensino superior. Foram estudados alguns dos professores que lecionam a matéria Didática para o Ensino Superior no Projeto Mestre, curso criado por mim há mais de duas décadas e voltado integralmente para a aplicação de técnicas advindas do Teatro na formação didática do professor que leciona no ensino superior, como suporte comunicacional e estratégico em sala de aula. Para um maior esclarecimento, este trabalho traz um capítulo dedicado integralmente à explanação e conformação do Projeto Mestre, bem como delineia o perfil dos professores e de conteúdo que o curso oferece. Foram realizadas entrevistas presenciais com cinco professores do Projeto Mestre e posteriormente analisadas. O quadro teórico que dá suporte e fundamenta este estudo parte da intersecção entre a importância atribuída à formação identitária do professor (Dubar, 2005), os aspectos cognitivos, afetivos e expressivos do mesmo (Almeida, 2004), a compreensão de como acontece a aprendizagem desse adulto professor (Placco, 2006), bem como as técnicas que norteiam a formação do ator (Stanislavisky, 1996). A hipótese que fundamenta esta tese é: A partir da ótica dos docentes que lecionam, no Projeto Mestre, a matéria Didática para o Ensino Superior – quando há utilização das técnicas advindas do Teatro na formação didática dos professores –, estas contribuem para sua constituição identitária e para sua prática docente. Concluímos que há uma clara influência daquilo que os professores aprendem a partir das técnicas teatrais, e que aplicam no Projeto Mestre, na direção da sua constituição enquanto professores. Eles se reconhecem como tal e, mais que isso, a partir da participação no Projeto Mestre, se reconhecem diferentes

Thesis (MA)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This study duplicates the research done by Vedeler (1997) in which she investigates dramatic playas a format for" literate language". Particular attention is given to the limitation she identified in her study, namely that the same results might not be obtained in studies using children from other cultures/ socio-economic environments. This study using children from another cultural! socio-economic environment, in this case a particular South African environment, was undertaken to determine whether or not her postulation that, sociodramatic play elicits literacy, was true. The extent to which Vedeler' s findings are transmittable to a third world context was also investigated. In this study Vedeler's methodology was implemented as far as possible. The results of this study partially confirm Vedeler' s postulation that studies usmg different participants could produce different results. They also partially contradict her postulation. The present study confirms that cultural context probably affects the results obtained in duplicating Vedeler's experiment. However, sufficient evidence was found to confirm Vedeler' s hypothesis that participation in sociodramatic play results in the use of more advanced syntactic language by children. The conclusion can be drawn that, although the findings in her research can be generalised to different contexts, strong account will have to be taken of various factors. These factors are the nature of the cultural context in which the experiment is conducted, the development of the child in this context and the influence this context has on the child's language development. / AFRIKAANSE OPSOMMING: Die studie is il duplisering van Vedeler (1997) se studie wat ondersoek ingestel het na dramatiese spel as il formaat vir "geletterde taal". Die doel van die huidige studie was om die leemte wat Vedeler in haar studie geidentifiseer het, naamlik dat die resultate met kinders van ander kulture/ sosio-kulturele omgewings as deelnemers mag verskil van haar resultate, aan te spreek. Die huidige studie waarin kinders van il ander kulturele/ sosio-ekonomiese omgewing, in hierdie geval il spesifieke Suid-Afrikaanse omgewing, gebruik is, was onderneem om vas te stelof haar postulasie, naamlik dat sosiodramatiese spel aanleiding gee tot geletterdheid, korrek is. Daar is ook ondersoek in hoe h mate Vedeler (1997) se resultate binne il derdewêreld konteks veralgemeenbaar is. Die huidige studie het so na as wat moontlik was die metodiek van Vedeler gevolg. Die resultate in die huidige studie verskaf gedeeltelike bevestiging van Vedeler (1997) se postulasie dat die resultate met ander deelnemers van háár resultate mag verskil. Dit verskaf ook gedeeltelike weerlegging van haar postulasie. Die huidige studie bevestig dat die kulturele konteks waarskynlik die resultate wat vanuit die duplisering van Vedeler se eksperiment verkry is, geaffekteer het. Voldoende bevestiging is egter gevind vir Vedeler se hipotese dat deelname in sosiodramatiese spel aanleiding gee tot meer gevorderde sintaktiese taal in kinders. Die gevolgtrekking kan gemaak word dat, alhoewel die bevindings van haar navorsing binne verskillende kulturele kontekste veralgemeenbaar is, daar met die invloed van verskillende faktore noukeurig rekening gehou sal moet word. Hierdie faktore behels die aard van die kulturele konteks, die ontwikkeling van die kind binne hierdie konteks en die invloed wat die konteks op die kind se taalontwikkeling het.

Thesis (MDram (Drama))--University of Stellenbosch, 2005. / In Britain provision is made for students with a low Basic Skills level (literacy and numeracy) to continue with their post-GCSE education in a low level vocational course. These low level courses aim to teach students basic, life and vocational skills necessary to progress to the next level. This study aims to find a pedagogy which is suited to the needs of these marginalised students and transforms them from spectators into spect-actors. Two programmes were designed, implemented, managed and measured by this study in order to find the pedagogy best suited to the needs of these students. Programme 1 was based on ideas by the educationalists Kolb, Petty, Honey and Mumford; and aimed to empower students with the basic and life skills necessary for progression. Programme 1 failed as the mostly narrative pedagogy was associated with a similar pedagogy used in schools. Assessment methods were unsuitable and the course paid more attention to the needs of the group than the needs of the individual. Programme 2 aimed to actively involve students in the learning of skills essential to progression and was based on theatrical techniques. Augusto Boal’s Theatre of the Oppressed techniques, especially Forum Theatre, formed the basis of the student-centred programme. Boal’s interactive theatre techniques, together with ideas taken from Aristotle, Artaud, Brecht, Heathcote and Freire formed the pedagogy of an interactive course where the focus fell on the needs of the individual student. This study found that Programme 2 was successful. Students took to the taskbased interactive course where all solutions to problems were found by means of active investigation, no theorem was learned without application and no action took place without a purpose. Students changed from spectators into spectactors with a view that the world is not stagnant but transformable. Achievement and success rates back up the findings. The interactive pedagogy using theatre techniques to teach can be applied across the curriculum and it is suggested that such courses should run alongside main stream academic courses to accommodate the learning of all students.

Assignment (MEd(Psyc))--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: This literature review highlights, with particular reference to the South African context, the emotional needs of learners with special educational needs (SEN) and stresses the importance of therapeutic intervention for these learners if educators wish to promote optimal academic, social and personal development. Due to South Africa's current economic climate a cost effective and time efficient intervention programme that is accessible to a large number of learners is essential. Action and drama techniques are proposed as possible therapeutic tools, which could potentially be implemented by educators, as therapeutic agents, within the education system. Educators would take on the central facilitation roles within these groups. The roles of director and co-director in this context have consequently been given particular cognizance. This literature review concludes that the use of action and drama techniques offers the following benefits: ~ The techniques appear to be effective treatment options for all learners with special educational needs. including those with limited verbal communication skills ~ The techniques appear to be most effective in a group setting and as such, possess the potential to reach a large number of learners. ~ Literature indicates that the techniques are adaptable and may be implemented at various levels and in diverse contexts. For example, it appears that the techniques may be implemented at a basic level in the classroom, or in more depth in a therapeutic group scenario. ~ The techniques may be implemented in a holistic manner, e.g. psychodrama model, in isolation, or be integrated with other approaches or theories. ~ Literature suggests that the techniques allow learners to gain more insight into their functioning, to work through unresolved emotions and to develop new and more functional behaviours. ~ The techniques appear to be time efficient in that literature indicates that they are conducive to brief therapy. ~ Training educators as directors and co-directors offers a potentially cost effective and accessible intervention option for South Africa. / AFRIKAANSE OPSOMMING: Hierdie literatuur bespreek sekere hoogte punte, met spesifieke verwysing na die Suid-Afrikaanse konteks, die emosionele behoeftes van leerders met spesiale onderwys behoeftes (SEN). Dit plaas klem op die belangrikheid van terapeutiese intervensie vir hierdie leerders indien opvoeders ten doel het om optimale akademiese, sosiale en persoonlike ontwikkeling te bevorder. Weens Suid-Afrika se huidige ekonomiese klimaat is 'n koste-effektiewe en tyds-doeltreffende effektiewe intervensie program wat toeganklik is vir 'n groot getal leerders, absoluut noodsaaklik. Aksie- en dramategnieke word voorgestel as moonlike terapeutiese middels, wat potensieel deur opvoeders geimplementeer kan word as terapeutiese middels, binne die onderwys stelsel. Opvoeders sou dan die sentrale fasaliterings rolle binne hierdie groepe inneem. Die rolle van 'n regisseur en mede regisseur in hierdie konteks het gevolglike spesifieke aandag gekry. Hierdie literatuuroorsig kom tot die gevolgtrekking dat die gebruik van aksie- en dramategnieke die volgende voordele bied: ~ Die tegnieke blyk om effektiewe behandelingsopsies te wees vir leerders met beperkte verbale kommunikasie vermoëns );> Die tegnieke blyk mees effektief te wees in 'n groepsverband en as sulks, beskik dit oor die potentiaal om 'n groot getalleerders te bereik. );> Die tegnieke is aanpasbaar en kan geïmplimenteer word op verskeie vlakke en in diverse kontekste. 'n Voorbeeld hiervan blyk te wees dat die tegnieke geimplimenteer kan word op 'n basiese vlak in die klaskamer, of meer in diepte in 'n terapeutiese groep scenario. );> Die tegnieke kan geïmplimenteer word op 'n holistiese wyse, byvoorbeeld 'n psigodramamodel, in isolasie, of kan geïntigreer word met ander benaderings of teorieë );> Die tegnieke laat leerders toe om meer insig te verkry in hul funksionering, om deur onopgeloste emosies te werk en nuwe en meer funksionele gedrag te ontwikkel );> Die tegnieke blyk meer tyds-effektief te wees deurdat die literatuur aandui dat dit kortstondige terapie aanhelp );> Die opleiding van opvoeders as direkteure en mede-direkteure bied 'n potensieel-koste effektiewe en toeganklike intervensie-opsie aan Suid-Afrika

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this research paper an investigation into applied theatre as medium for community development in the Stellenbosch area is conducted. An initial investigation was launched to determine whether there are currently organizations in the Stellenbosch area that uses applied theatre for the purpose of community development. This investigation concluded that there are organizations currently in the Stellenbosch area that make use of community theatre, but not necessarily for the purpose of community development. After further research, it was found that there are organizations in the greater South Africa who make use of other forms of applied theatre as a medium for community development such as theatre for development and theatre-ineducation. Consequently, brief overviews of the different forms of applied theatre are given, explained and discussed under the following three categories: applied theatre in education, applied theatre in the community and applied theatre in the workplace. From this description it was determined that community theatre and theatre in education is the most appropriate forms of applied theatre for community development. An empirical study was launched to investigate existing and/or completed applied theatre projects in the Stellenbosch area as well as the greater South Africa to determine which projects have been undertaken, which forms of applied theatre has been used and what the focus and outcomes of the projects was. Interviews were conducted with specific organizations to determine how applied theatre is being applied as medium for community development. Following the existing projects and the identified forms of applied theatre that could be used for community development, it was decided to conduct and launch a theatre for development project in the Stellenbosch area. There is currently no similar theatre for development projects and the feasibility of such a project has been questioned in a practical manner in a case study. The case study was launched at a school in the Stellenbosch area where a project that deals with the importance of school attendance were undertaken with a group of Grade 7 students. After completion of the research study it has been determined that applied theatre can be used as a medium for community development in the Stellenbosch area. Although there are several challenges to face such as finance and planning associated with the execution of an applied theatre project, it is possible for such a project to be potentially successful. / AFRIKAANSE OPSOMMING: In hierdie navorsingstudie word daar ondersoek ingestel na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing. Hierdie navorsing rus op drie bene, naamlik ’n literatuurstudie, ’n empiriese ondersoek in die vorm van onderhoude en ’n gevallestudie in die vorm van ’n teater vir ontwikkeling-projek. Eerstens word ’n bondige oorsig van die verskillende vorme van toegepaste teater gegee. Die verskillende vorme word uiteengesit en bespreek onder die volgende drie kategorieë, naamlik: toegepaste teater op onderwysgebied, toegepaste teater in die gemeenskap en toegepaste teater in die werkplek. Uit hierdie omskrywings is bepaal dat teater vir ontwikkeling, gemeenskapsteater en teater-in-die-onderwys oënskynlik die mees gepaste vorme vir gemeenskapsontwikkeling is, alhoewel die begrip toegepaste teater oor die algemeen verandering van een of ander aard ten doel stel. ’n Empiriese ondersoek is geloods na bestaande en/of afgehandelde toegepaste teaterprojekte in die Stellenbosch-omgewing, sowel as die groter Suid-Afrika om te bepaal watter projekte is reeds aangepak, watter vorme van toegepaste teater gebruik word en wat die fokus en uitkomste van die projekte is. Daar is gevind dat organisasies in die Stellenbosch-omgewing wat wel teater as medium vir ontwikkeling gebruik, meestal fokus op gemeenskapsteater. Organisasies in die groter Suid-Afrika maak egter ook gebruik van ander vorme van toegepaste teater vir gemeenskapsontwikkeling, soos byvoorbeeld teater vir ontwikkeling en teater-in-die-onderwys. Na aanleiding van die bestaande projekte en die geïdentifiseerde vorme van toegepaste teater vir gemeenskapsontwikkeling is daar besluit om ’n teater vir ontwikkelings-projek in die Stellenbosch-omgewing te loods. Daar is tans geen soortgelyke teater vir ontwikkeling-projekte nie en die lewensvatbaarheid van so ’n projek is op praktiese wyse ondersoek in ’n gevallestudie. Die gevallestudie is geloods by ’n skool in die Stellenbosch-omgewing waar daar met Graad 7- leerders ’n projek aangepak is wat handel oor die belangrikheid van skoolbywoning. Na afloop van die navorsingstudie is daar bepaal dat toegepaste teater wel suksesvol as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing gebruik kan word en in sommige gevalle reeds gebruik word. Daar is wel verskeie uitdagings, onder andere met betrekking tot finansies en beplanning, wat gepaard gaan met die uitvoering van ’n toegepaste teaterprojek. Alle aanduidings is egter dat sulke projekte ’n beduidende impak op ’n gemeenskap kan hê.

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Critical theory forms part of the foundation of the South African school curriculum. The development of critical thinking is part of the general aims of the curriculum. This study will investigate the possibility of developing critical thinking through the use of drama as a teaching method in the subject Life Orientation in the further education and training phase (FET) Grades 10-12. This problem statement will be researched through a quantitative literature study. The school curriculum underwent a transformation since 1994 from a content- and teacher driven curriculum to an experience- and student centred approach to teaching. New subjects were also included in the curriculum such as Life Orientation. There are, however, various implementation problems with regards to Life Orientation. These implementation problems can mainly be attributed to the insufficient in- and pre service training that teachers receive and their inability to use progressive teaching methods. The Life Orientation curriculum does, however, provide opportunity for the development of critical thinking skills. The concept of critical theory will be investigated as philosophical and theoretical basis for this study. The influence of critical theory on the critical pedagogy of Freire will be discussed to show the relationship between education and critical theory. Furthermore, the influence of critical theory on the development of Brecht’s Epic theatre will also be investigated. Finally, a definition for critical thinking will be put forward, after which the question whether critical thinking is developed through the school curriculum will be investigated. Different approaches to drama as a teaching method is briefly discussed. Dorothy Heathcoat’s approach to drama in education is chosen as a focus for this study as she uses drama as a teaching method to teach subject content and to develop thinking skills through reflection. Heathcote uses Brecht’s Epic theatre techniques to alienate the students in order for them to critically reflect on the content that is being taught. Process drama is a more accessible approach to drama in education, but it uses the same core elements namely improvisation, role-play and reflection. Process drama consists of an improvised role-play where the class collectively takes part and the teacher-in-role steers the educational experience through questions that leads to reflection. It is during this reflection that critical thinking is developed. Process drama can be used to teach the content of Life Orientation and develop critical thinking. It, however, requires the teacher to be the director, actor, writer, teacher and self-audience. During the planning of the process drama lesson the teacher also has to follow a certain process where the theme, contexts, roles, dramatic focus, tension elements and signs for the lesson is identified. To illustrate how drama as a teaching method can be used in Life Orientation, three lesson plans are provided. / AFRIKAANSE OPSOMMING: Kritiese teorie vorm deel van die grondbeginsels waarop die Suid-Afrikaanse skoolkurrikulum gebou is. Kritiese denke en die ontwikkeling daarvan is ook deel van die algemene doelstellings van die kurrikulum. Hierdie studie ondersoek die moontlikheid of kritiese denke bevorder kan word deur drama as onderrigmetode te gebruik binne die vak Lewensoriëntering in die verdere onderwys en opleidingsbaan (VOO) Grade 10-12. Daar sal van ’n kwalitatiewe navorsingsbenadering gebruik gemaak word om die probleemstelling te ondersoek in die vorm van ’n literatuurstudie. Die skoolkurrikulum het sedert 1994 getransformeer vanaf ’n inhouds-, onderwysergedrewe kurrikulum, na ’n ervaringsleer- en leerdergesentreerde benadering tot onderwys. Daar is ook nuwe vakke toegevoeg tot die kurrikulum, soos Lewensoriëntering. Daar is egter heelwat implementeringsprobleme met Lewensoriëntering en dit kan grotendeels toegeskryf word aan die swak in- en prediensopleiding wat onderwysers ontvang en hulle onvermoë om progressiewe onderrigmetodes te gebruik. Die Lewensoriëntering kurrikulum leen hom egter daartoe om kritiese denke te . As filosofiese en teoretiese basis vir die ondersoek word kritiese teorie omskryf. Die invloed van kritiese teorie op die kritiese pedagogie van Freire word bespreek om die verband tussen onderwys en kritiese teorie aan te dui. Die invloed wat kritiese teorie gehad het op die ontwikkeling van Brecht se Epiese teater word ondersoek. Daarna word kritiese denke gedefinieer en word daar ondersoek ingestel of kritiese denke deur die skoolkurrikulum ontwikkel word. Verskillende benaderings tot drama as ’n onderrigmetode word kortliks bespreek, waarna Dorothy Heathcote se benadering tot drama-in-die-onderwys as fokus vir die studie bepaal word, omdat sy drama as ’n onderrigmetode aanwend om vakinhoud te onderrig en denkprosesse te ontwikkel deur refleksie. Heathcote gebruik Brecht se Epiese teater-tegnieke om die leerders te vervreem en krities te laat reflekteer oor die inhoud wat onderrig word. Prosesdrama is ’n toegankliker vorm van Heathcote se benadering tot drama-in-die-onderwys, maar dit gebruik dieselfde kernelemente soos improvisasie, rolspel en refleksie. Prosesdrama bestaan uit geïmproviseerde rolspel waartydens die klas kollektief deelneem en die onderwyser-in-rol die leerervaring stuur en vrae aan die leerders stel wat hulle lei in refleksie. Dis tydens hierdie refleksie wat kritiese denke bevorder word. Prosesdrama kan gebruik word om die inhoud van die vak Lewensoriëntering te onderrig en kritiese denke te ontwikkel. Dit vereis wel dat die onderwyser die regisseur, akteur, skrywer, onderwyser en selftoeskouer word. Tydens die beplanning van ’n prosesdramales, moet die onderwyser ’n proses volg waar hy/sy moet besluit wat die tema, konteks, rolle, dramatiese fokus, spanningselemente en tekens gaan wees wat tydens die les gebruik gaan word. Om te illustreer hoe drama as onderrigmetode aangewend kan word binne die vak Lewensoriëntering, word drie lesplanne opgestel en bespreek.

published_or_final_version / Applied English Studies / Master / Master of Arts in Applied Linguistics