self and other. If reading the local papers and talking to parents is any indication, Education, it seems, is asked to play a greater role in the upbringing of our students. The schools are responsible for ensuring that the students are well fed and adequately supervised not just during school hours, but before and after as well. Schools are expected to keep up with the rigors of ensuring that the students are practiced in the almighty disciplines of reading, writing, arithmetic and now, technology skills. This will somehow propel them into the economic demands of the new millenium. But the impact of the culture and the community from which the students come - the histories of their experiences as individuals and as a group- are seldom explored. L Intuitively, I am drawn to my own stories when trying to make sense of the stories that swirl and swish amongst the myriad of moments that collectively comprise each experience. The influence our narratives have on the way we understand and learn is explored in this paper. Sandwiched in between the stories is a study of how using Drama as an instructional technique can be used to explore our narratives and expand on our ways of knowing and understanding, particularly how it is experienced by the English as a Second Language (ESL) learner. . Twenty-six grade five and six students from a multi-cultural, suburban community were observed. The students participated in a two-month, tri-weekly unit on basic drama methods, which culminated in a final class narrative performance. Four ways of data collection were employed. A static camera (i.e. a video camera that remained in a fixed position on a tripod in one of the classroom corners) was used throughout each lesson to record the events and to supply another view to the multi-perspective data collection. Student journals as well as a personal narrative from each participant (a video portrait) were collected. The classroom teacher also kept a journal and made observations about her students throughout the unit period. This dissertation was not limited to the stories of the students in the classroom as this journey precipitated a desire, indeed a need, to tell my own stories of daughter, mother, sister, student, teacher and friend. Since our physical experiences, our stories and our ways of understanding are integrally intertwined, this (re) search honored narrative as a way of including these aspects in the dissertation.

Based on theories from Applied Drama, Dramatherapy and Psychology, this thesis explores the application of applied drama workshops with a group of educators at a school for children with barriers to learning, with a view to not only enhance their personal and professional development, but to facilitate positive outcomes for the children whom they teach, due to their implementation of various applied drama techniques into their teaching programmes. The theoretical focus of this thesis was drawn from theorists including Carl Rogers, regarding the Humanistic approach and Emunah regarding the creative methodology, amongst others, which contributed to the establishment of a practical methodology that provided a process of self- discovery and empowerment through the applied drama workshops. (Emunah, 1994). With Participatory Action Research as the primary research methodology, the thesis used applied drama workshops, classroom application of various techniques, journal entries, questionnaires and interviews for data collection. The longitudinal nature of this exploration took place over a period of eighteen months, with the group being comprised of special needs’ educators. The research found that the workshops were highly successful as the catalyst for positive change in the participants, encouraging sharing and reflection previously suppressed in their professional setting, thus provoking personal growth and empowerment. Furthermore, professional growth and new explorations in their teaching methodology positively materialised. The group gained greater understanding about themselves, one another and the children they were teaching as the workshops heightened their perceptions. Consequently the participants generally became more tolerant and empathic of one another and towards the children. The children in the participating educators’ classes participated enthusiastically, and developed in their socialisation and selfconfidence. Their communication skills improved and they externalised their inner feelings more readily. The participating educators did not highlight any negatives regarding applied drama as a medium in the school. If anything, as the researcher, I was overwhelmed that the results were unanimously so positive, with not a single participant reporting that they felt that its implementation had not been beneficial. The research project thus reportedly had a constructive outcome for all those who either participated or were directly influenced by the project. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.

The negative effects of climate change are contributing to the growing complexity of issues challenging livelihood sustainability and are further threatening already vulnerable communities. In response to these challenges, new means of conceptualising problems needs to be investigated so as to adequately deal with the multi-dimensional issues that arise. Central to this are means of communication and participatory interaction with vulnerable communities in the development of adaptation strategies. Theatre has been identified as an effective means of inspiring change through a process of critical self-reflection and personal empowerment, making it a pertinent tool for climate change communication. This research demonstrated how theatre was used in the process of knowledge translation for climate change adaptation within the community of Amaoti, KwaZulu-Natal. Knowledge was gathered from the community through two processes; a vulnerability analysis that examined five main vulnerability components, and a theatre engagement process that resulted in the production and performance of a play, Fish Out of Water. The vulnerability analysis – conducted through a selection of participatory rural appraisal tools - determined that the community was particularly vulnerable with regards to water. In addition to this, it faced a series of social challenges, including high levels of disunity, high crime rates and poverty. This analysis was central to the development of adaptation strategies, which Fish Out of Water communicated through its performance, contextualised in the translated vulnerability knowledge. Responses to the play were analysed, indicating that the climate change information had been successfully communicated and that theatre itself was an effective means of communication. In addition to this, it was determined that this process had also contributed a greater sense of awareness of social issues and had inspired people to take actions to change their behavioural patterns. New social considerations were made, contributing to a comprehensive understanding of situational dynamics that could inspire change. While positive conclusions were drawn from this with regards to the use of theatre in climate change communication, significant challenges were experienced during the process indicating a series of more fundamental issues that need to be addressed. High levels of apathy, difference of value systems and constraining family-dynamics need to be taken into account if the implementation of such processes is to be successful. / Thesis (M.Sc.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.

The purpose of this study was to describe the levels of sociodramatic play among three and four year old Mexican-American migrant children by determining the frequency of sociodramatic play behaviors of these children. In addition, this study was designed to ascertain whether children's sociodramatic play behavior differed according to the sex of the child and the age of the child. The statistical design of this study also allowed for the investigation of Mexican-American migrant children to determine if they differ in occurrences on sociodramatic play behavior when placed in different play group combinations: same age, different sex; different age, same sex; different age, different sex.Forty-eight three and four year old Mexican-American migrant children were observed to determine the amount of sociodramatic play displayed. Children, in groups of four, were observed in a structured play setting for a total of 30 minutes over six five-minute periods. During each of the five-minute sessions, two trained observers focused attention exclusively on one child and recorded specimen observations of his play behaviors.The two observers, trained during four in-field training sessions and who also participated in four field testing sessions, were employed in the study to observe Mexican-American migrant three and four year old children to determine if any of the six elements of sociodramatic play identified by Sara Smilansky, Ohio State University, 1968, were present. The six elements of sociodramatic play are: (1) imitative role play, (2) make-believe in regard to objects, (3) make-believe in regard to actions and situations, (4) persistence, (5) interaction, (6) verbal communication.An observation record designed for the study was employed by the two observers to record specimen records of the child's play behaviors. Following the recording of play behaviors, frequency of play behaviors for each of the six elements of sociodramatic play was determined for each child in the study. A total play score across the six sessions were ascertained for each subject.Frequencies of play behaviors were descriptively analyzed to describe levels of play and statistically analyzed to determine the significance of differences in sociodramatic play according to sex, age, play groupings, and interaction effects among these variables.The statistical technique used was an analysis of variance performed on transformed data.The frequency of sociodramatic play among three and four year old Mexican-American migrant children appeared to be low. The following percentages were computed by comparing frequencies of occurrences with total possible occurrences of behavior: three year old males engaged in some aspect of sociodramatic play 2.6 percent of the total possible time; three year old females, 7.4 percent; four year old males, 9.8 percent; four year old females, 9.8 percent. When comparing sociodramatic play between Mexican-American migrant males and females, females scored significantly higher (p <.02) than males. When comparing differences in sociodramatic play between three and four year old Mexican-American migrant children, four year olds scored significantly higher than three year olds (p <.02). Although some differences did occur when children were placed in different play group combinations: same age, different sex; different age, same sex; different age, different sex; the differences were not statistically significant.

The foundational premise of communicatively-based foreign language teaching approaches is that the activities used in the classroom are 'communicative'; that the language learned is being used to 'communicate'. Genuine communication however is difficult to establish in a traditional classroom setting consisting of desks, chairs and textbooks. This project examines how a specific form of Drama in Education - process drama - can be used to create more authentic communicative situations and learning experiences in the foreign language classroom; experiences that are both intellectually and affectively engaging. It begins with a review of the literature pertaining to the three main areas that provide the backdrop to the project's central research proposition, namely second language acquisition, second language methodology and aesthetic education. The three main protagonists are then introduced, namely social interactionist theories of language acquisition, communicative language teaching approaches (the main focus being on task-based methodology), and process drama. The two supporting characters, change and motivation, also make their entrance. The curtain is then raised to reveal a performance of various teaching and learning experiences of the use of process drama in first and second language settings. This illustrates how process drama operates on a practical level and explores the offered potential for more authentic communication when this approach comes into contact with second language task-based methodology. Literature surrounding unit and lesson planning frameworks from the fields of both second language acquisition and process drama is then examined before the spotlight falls on the proposed 'Foreign language and Process drama' Unit and Lesson planning Framework. Illustrative models of the innovative framework together with concrete examples of its use are provided to represent more clearly how it can facilitate the creation of characters and contexts through which to communicate more authentically in the FL classroom. The closing curtain falls on a reflection of the entire project, which includes recommendations and possibilities for further research.

This study investigates Japanese primary school students’ and teachers’ responses to educational drama as a pedagogical tool in their English language classes. Along with the participants’ responses, the applicability of educational drama as a teaching method for the Japanese teachers is also discussed. The study was conducted in Japan as ateacher-researcher using participatory action research methods. The participants of the study are three Year Six classes and their teachers in a public primary school in Japan. Educational drama is introduced as an alternative teaching and learning method to these participants who have had no experience of drama in education.

Thesis (M.A.)--University of Toronto, 2004. / Adviser: Mary Kooy.

Thesis (M.A.)--University of Toronto, 2005. / Includes bibliographical references (leaves 96-106).

Thesis (M.A.) (Hons.) -- University of Western Sydney, Nepean, 1998. / Bibliography : p. [181-188].

Thesis (Ed.D)--Teachers College, Columbia University, 1990. / Typescript; issued also on microfilm. Includes appendices. Sponsor: Ray McDermott. Dissertation Committee: William Sayres. Bibliography: leaves 159-165.