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Indiana University-Purdue University Indianapolis (IUPUI) / El teatro es un género mixto en el sentido que combina el lenguaje con elementos plásticos o espectaculares junto con una gran variedad temática y así se presta como vehículo que abarca los cinco estándares nacionales de la enseñanza de una segunda lengua: comunicación; cultura; conexiones; comparaciones; comunidades. El aprendizaje de una segunda lengua a través de la actuación dramática tiene beneficios para el aprendiz de índole personal y de carácter social. El aprendizaje se realiza mediante el uso de lenguaje auténtico, cuidadosamente metido en contexto y enmarcado en la matriz de la pragmática...

Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers looks for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.

The diploma thesis is focused on monitoring the influence of methods and techniques of drama education with the use of specific thematic books by the writer and painter Daisy Mrázková on the formation of a positive climate of the first class of primary school. The work is divided into two parts - theoretical and practical. The theoretical part presents professional terminology in the field of school climate, approaches, methods and tools for its measurement. It also acquaints readers with a professional view of the characteristics of younger school age pupils, who are the main subjects of the implementation of the practical part of the work, and with professional concepts related to drama education. At the same time, it briefly introduces the person of Daisy Mrázková and the key topics of her children's books, which are closely connected with the observed elements of the school classroom climate. In my own introduction to the practical part, I set a goal and related research questions. The process of creating the final form of the climate measurement tool - the used questionnaire - is also presented in more detail here. During the second week of schooling, the first measurement of selected elements of the classroom climate was performed in the given class, and subsequently a total of nine drama...

The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the &quot / Cape Coloured&quot / and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.

My diploma thesis is about prevention of the most risky behaviour on primary school which is bullying. Prevention is presented through the methods and strategie sof drama education. In the theoretical section acquaints readers with important informations of bullying and substance of drama in education, which are the basis for a comprehensive understanding of this issue. The theoretical part is also the basis for creating bullying prevention project using the methods and strategies of drama education, presented and reflected in the practical part. The practical part is also the result of a questionnaire, which is focused on opinion surveys of teachers of primary schools to prevent bullying and the use of methods and techniques of drama in this issue. KEYWORDS: Drama in Education, methods and strategies, risky behaviour, bullying, prevention, classroom, primary school

This Master's thesis focuses on educational institutions in the city of Aš. It isn't concerned just with elementary schools but covers the overall educational system in this town. The main aim is to find out which schools incorporate drama in education into their educational programs and to what extent. This work further analyzes which educational goals are selected by the teachers. The theoretical part analyses general educational programs for different school types and the role of drama in education in these documents. The practical part covers all educational institutions in Aš and discusses how many of them included the dramatic education into their programs. Powered by TCPDF (www.tcpdf.org)

The aim of this diploma work is to show possibilities of a role play in teaching english, using different methods of drama in education, which leads pupils to deeper understanding and starting the work and its influence of pupil's experience and pupil's taking part in solving problems with the situation and remembering cognitive and emotional benefits of a role play afterwards to motivate pupils for next learning. This diploma work describes aims and methods of nowdays ways of teaching foreign languages, explains new trends in teaching young learners (primary school). It describes their psychological development in age 6 to 11 and try to explain how it has an influence in teaching languages at primary schools. It causes the main differences between teaching adults and young learners. Teaching languages through methods of drama in education brings different approach to teaching. It develops teaching in two levels - in cognitive knowledge and in emotional experiences.

This mixed methods study investigated second through fifth grade teachers’ perceptions of Curriculum-Based Readers Theatre (CBRT) as a relevant approach for teaching English Language Learners (ELLs). Quantitative survey data were collected from 18 teachers who worked at the school with the largest population of ELLs in a large South Florida school district. The surveys investigated teachers’ current use of ESOL instructional strategies prior to participating in a CBRT professional development session as well as their ability to identify ESOL instructional strategies embedded within the approach after professional development and classroom implementation. Qualitative data were collected in the form of interviews and discussion board transcripts from eight participants, who were also members of a school-based Readers Theatre Professional Learning Community (PLC). Transcripts were used to investigate how participants implemented CBRT in their classrooms as well as how they described their identification and application of ESOL instructional strategies during implementation. The impact of PLC participation on CBRT implementation and identification of ESOL instructional strategies was also investigated. The findings indicated that participants recognized various ESOL instructional strategies embedded in the CBRT approach. In addition, data indicated that participants viewed CBRT as an effective means for delivering various ESOL instructional strategies. Both quantitative and qualitative data analysis led to similar conclusions and revealed that CBRT incorporates various ESOL instructional strategies that are recognized as effective for teaching ELLs. Teachers reported using CBRT at various points during instructional units and across all content areas. Implications and suggestions for future research are offered for the instruction of ELLs, the benefits of CBRT and other similar approaches, the design of school-based professional development, and the infusion of ESOL instructional strategies within teacher education and inservice professional learning experiences. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2013.

This thesis investigates the expertise of applied theatre practitioners and proposes a concept of 'responsivity' to define their skills, knowledge, qualities and understanding. Practice-responsive research methods were devised to analyse how artists make decisions in-action in a range of applied theatre practice in community, education and health contexts. Research included the use of reflective dialogues following observations of practice, stimulated by joint researcher-practitioner reflection on a video recording of the observed session. Working from detailed analysis of this observed practice and dialogic reflection, new vocabularies are introduced and developed, with the aim of better articulating particular skills and approaches. The role of applied theatre practitioners is multi-faceted and primarily focussed on facilitating positive outcomes for the participants. Planning activity is informed by projected outcomes for the work and the context of practice, such as environment, nature of the participants, individual identities, etc. Practitioner skills build on art form knowledge and the ability to guide activity to create performance outcomes, alongside a concern for aesthetic and ethical issues of the work, as well as social and political awareness of the context. Adaptations to moment-by-moment activity reflect their ability to facilitate engagement and nurture interactive exchange. I suggest that, to manage these multiple demands, practitioners demonstrate heightened attendance to issues of inter-subjectivity and empathy, thereby developing an enhanced expertise in response to the work and the people and contexts involved in that work. The thesis proposes that responsive approaches are common to practitioners and enable her/him to make good choices within the moments of practice. Applied theatre's responsive-ness is indicative of a prioritisation of participant experience, however, the research also revealed the way in which a responsive ethos impacted and enriched the practitioners through supporting their own generative engagement with the work. The critical framework of responsivity proposed in this thesis acknowledges the importance of impact for all participants, including the artists. Whilst the methods and outcomes of applied theatre have received scholarly attention, this research focusses on how practitioners themselves define their expertise, embracing a consideration of skills learning and development. The concepts of response and dialogue informed this investigation in a number of significant ways, and as a result responsivity is proposed as a key methodological imperative for applied theatre research as well as the substantive focus of my thesis. This mode of operating as artists and researchers is particular to applied theatre's overarching aims to be socially responsive, politically engaged, ethically considerate and emancipatory. Responsivity is offered as a way to distinguish applied theatre practice from other performance participation and as an underpinning ethos for understanding the expertise of applied theatre practitioners.