This thesis analyses the dramatizations of larger epic units, which have appeared on the Czech national (or regional) shows of children's theatre since 1989. After characterizing the role of dramatic text created for the theatre played by children, the work attempts to establish the evaluation criteria for the dramatization of the investigated area. With regard to the artistic and educational objectives, the work compares the composition, language and thematic basis of selected texts. At the centre of attention are those means of adaptation which acquire particular significance especially in connection with a child actor; ways of creating adult characters, the depiction of the inner world of children's heroes etc. The main task of this text analysis is to answer the question about how far the authors were able to get within the narrow borders brought on by focusing on child actors up to fifteen years of age.

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Thesis (M.A.)--University of Melbourne, Dept. of History, 2007. / Typescript. Includes bibliographical references (leaves 62-68).

Förskolan har en läroplan att utgå ifrån vad gäller innehåll och målsättning i det pedagogiska arbetet. Läroplanen har omarbetats och reviderats och detta har lett till konsekvenser i förskolan som verksamhet. Ett ämne som påverkats är drama som är ett av de estetiska uttrycksformerna där även t.ex. musik, bild och rörelse ingår. Den här studiens syfte är att undersöka vilka möjligheter pedagogerna i förskolan har att arbeta med drama utifrån läroplanen och andra kringliggande ramfaktorer. Genom att analysera både avverkade och aktuella styrdokument för förskolan, samt intervjua yrkesaktiva pedagoger på olika verksamheter framkom det tydligt att handling påverkar konsekvens. Resultatet visar att pedagoger upplever sig styrda av läroplanen, trots läroplanens utveckling från vad som skulle kunna kallas en handbok till ett dokument öppet för egna tolkningar. Drama som ämne kan anses ha låg status där det bortprioriteras, inte av ointresse men på grund av att andra ämnen prioriteras högre. Ramar som tid, kompetens och den politiska styrningen påverkar också det konkreta pedagogiska arbetet. Vilka ramar som pedagogerna själva upplever påverkar dem är ramarna i verskamhetens direkta närhet. Faktorer utifrån var för pedagogerna inte lika synliga. / Swedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.

The thesis deals with the work of Mgr. Jiřina Lhotská and her contribution to the drama in education in the South Bohemia County. The process of drama in education teaching and its basic elements are described in the theoretical part of the thesis. In the second part focuses on the character of Jiřina Lhotská, her career and contribution to the drama in education teaching. Furthermore, the practical part also contains interviews with individuals who profoundly influenced Jiřina Lhotská the pedagogue. The interviews with her colleagues and students with whom she has cooperated during various stages of her career (up until now) is also included therein. The lists of Jiřina Lhotská's creative activities, selected scripts of certain acts, as well as some photographs form part of multiple appendices.

This diploma thesis is focused on the analysis of different alternative methods of teaching foreign languages and the possibilities and limitations of their usage in traditional school teaching. The theoretical part is focused on the definition of the terms alternative method and superlearning method and then it concentrates on an analysis of two methods which belong to the group of superlearning methods. Because there are many such methods, and they are very similar to each other, I decided to choose methods which are the biggest examples in the sub-category of superlearning. Those are Suggestopedia, as a method which was the first to be called as superlearning and many of other methods are its modification and Drama methods which, the past years or decades have been gaining more popularity. The practical part is focused on the usage of the analyzed methods or their parts during the traditional teaching of foreign languages. I am designing alternative possibilities of presentation, revision and evaluation of learning material.

(in English): The master's thesis deals with the use of dramapedagogy in grammar teaching in Czech for foreigners. The issue is explored through a pilot study focusing on the instruction of past tense in a university course in Germany. For the purpose of the study, the drama grammar method, which combines explicit grammar exploration and acting in communication situations has been modified. Firstly, the paper specifies the chosen grammatical structure didactically. Secondly, the options of using dramapedagogy in foreign language teaching are introduced. The focus lies on the methods theatre pedagogy (metoda jevištního tvaru) and drama grammar. The presented pilot study examines three research questions (referred to as VO). According to VO1, subjects taught through the drama grammar method will achieve better results in grammar. VO2 verifies if applying dramapedagogy influences the consolidation of student's linguistic performance in a long-term perspective. VO3 expects that using dramapedagogy will increase student's motivation.

The diploma thesis is focused on development of cooperative skills within one selected class of elementary school, which lead to improved climate class. To meet the objektive of choosing tools drama education, its methods and exercises. The thesis is divided into two parts. The theoretical part is based on psychological content, it characterized by cooperation, it deals with the cooperative learning and the role of the teacher. It justifies need to develop cooperation between pupils. The drama in education discussed in conjunction with cooperation and describes its methods and exercises. The practical part is used quality research for monitoring, analyzing, implementing and reflecting cooperation in third grade of elementary schools. This thesis seeks to use dramatic methods as tools for the development of cooperative skills of pupils.

Theatres and museums share many similarities with each other. Therefore, it can be beneficial for museums to use the potential that performance and museum theatre can provide. The aim of this analysis is to gain a better understanding for museums’ reasons to use drama as an educational method and the different forms of drama that are being used. The following research is a comparative analysis of the use of the theatrical play “The Wider Earth” at London’s Natural History Museum as an educational tool and the active use of creative drama in Swedish museums. The main source material consists of qualitative textual data, collected by means of semi-structured interviews with staff members of all participating museums. For an additional perspective, an interview was conducted with one of the theatrical play’s visitors and my own observations of the play were considered. The theoretical frame for this analysis consists of performance theory, Susan Bennett’s model of theatre audience’s experience and Dorothy Heathcote’s and Gavin Bolton’s view on drama as a learning medium. The empirical source material was analysed by means of content analysis. The results show that more could have been done to incorporate “The Wider Earth” into the museum’s educational program to achieve a better visitor experience. The Swedish museums that are part of this research use different forms of creative drama, but the overarching goal is to combine memorable experiences with education. The main conclusion to this research is that the museum visitor plays a considerable part in every form of creative drama in the museum space because the holistic experience is created by visitor and museum together. This is a two years master’s thesis in Museum and Cultural Heritage Studies.