This paper is a qualitative, theory-based study with a phenomenological, hermeneutic approach and a didactic perspective. The aim of this study is to examine three educators experience of using both Drama in education (DP) and Neurolinguistic programming (NLP) in conjunction with each other, with the aim of changing limiting patterns in individuals and groups. The study examines the following research questions: 1. How does an educator describe their work, using the combination of DP and NLP, with the aim to change limiting patterns? 2. What similarities as well as differences do educators experience between the two methodologies DP and NLP? 3. Why did the educator choose this particular combination? As background there's a brief description of education from a historic point of view and the concept of DP and NLP are explained together with examples of comprehensive research in the field. Following this: learning as theory is presented from the perspective of neuroscience, DP and NLP. Finally the concept of "limiting" patterns is described in detail.Three educators, working with both methods in conjunction, were interviewed and these interviews were compiled, compared and analysed relative to the research questions and theory derived from neuroscience and brain research.The result showes that the educators who were interviewed experienced numerous benefits from using both the DP and NLP methods in conjunction with each other - thus achieving more effective results in changing limiting patterns in people's attitudes, behaviour and outlook. Whilst both methods have similarities and differences, it's noticeable that they bring very different elements to the process. DP is seen as a collective, open and interactive approach that, together with its creative educational aspect, is contributing with a dramatic frame for exploration and visualisation of a particular subject's underlying and dominant patterns. NLP – also frequently based on a dramatic frame - is focused on how these internal patterns are distributed neurologically throughout our senses. The educators believe that DP and NLP used in conjunction creates an effective collaborative formula for change of patterns. Furthermore, NLP offers insights on how the educational approach can be effectively deepened and reinforced. Finally, the study shows that the combination works equally well in both group and individual processes. / Denna studie är en kvalitativ teorinära studie med en fenomenologisk, hermeneutisk ansats och ett didaktiskt perspektiv. Dess syfte är att undersöka tre pedagogers upplevelse av Dramapedagogik (DP) och Neurolingvistisk Programmering (NLP) i kombination, med avsikt att bryta begränsande mönster. Undersökningsfrågorna är: 1. Hur beskriver en pedagog sitt arbete att bryta begränsande mönster med kombinationen DP och NLP? 2. Vad upplever pedagogerna att det finns för likheter och skillnader mellan DP och NLP? 3. Varför har pedagogen valt denna kombination? I bakgrunden redogörs kortfattat för pedagogik ur ett historiskt perspektiv, begreppet DP och NLP beskrivs samt övergripande forskning inom områdena. Därefter redogörs för lärande inom DP, NLP samt ur ett neurovetenskapligt perspektiv. Slutligen redogörs för begreppet ”begränsande mönster”. Intervjuer av tre pedagoger som arbetar med båda metoderna gjordes, sammanställdes och analyserades efter undersökningsfrågorna och teori hämtad från neurovetenskap och hjärnforskning. Resultatet visar att de intervjuade pedagogerna upplever att det finns många fördelar med att kombinera DP och NLP i syfte att bryta begränsande mönster. De har både likheter och skillnader men framför allt tillför de helt olika saker. DP ses som en kollektiv, öppen och interaktiv metod som med sin gestaltande pedagogik tillför former för utforskande och synliggörande av underliggande och styrande mönster. NLP som också många gånger utgår från gestaltande former, är mer fokuserad på hur dessa interna mönster är ordnade neurologiskt via våra sinnen. Pedagogerna anser att DP och NLP är en effektiv kombination i ett förändringsarbete. Vidare kan NLP erbjuda insikter om hur det pedagogiska förhållningssättet kan förstärkas. Slutligen visar studien att kombinationen fungerar väl på såväl grupper som på individuella processer.

TITLE: Use of Drama in Education in lessons of Literary Education in 2nd class of the Primary School AUTHOR: Lenka Hájková DEPARTMENT: Primary Education Department SUPERVISOR: Mgr. et Mgr. Irena Hanyš Holemá, Ph.D. ABSTRACT: This diploma thesis deals with the use of drama education in classes of literary education in the 2nd grade of elementary school. It compares two second classes at elementary school to understanding the main idea in fairy tales through dramatic education and the method of reading with questions. The theoretical part is focused on drama education, its methods, techniques, preparátory games and exercises, Framework Educational Program and literary education. The basis of the practical part was the realization of 5 lessons in dramatic education and 5 lessons of literary education in two second classes on 5 fairy tales with lessons. After 14 days, a test was conducted to determine whether dramatic education contributed in literary classes to improving and understanding the substance. KEYWORDS: Drama in Education, Literary in Education, preparation of the lessons, realization, reflection

Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptors ability to make decisions and to engage in actions, and the communicators ability to influence the receptors opinions and behaviour. This thesis will examine two different practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed.

This thesis focuses on the topic of multicultural education based on elaborated methods and techniques of drama in education. The theoretical part deals with the drama in education, its objectives, methods and techniques, and its inclusion in The Framework Educational Program for Basic Education (FEP), then on the Roma population and its specifics, multicultural education, its goals and its inclusion in the FEP. Through structured drama techniques in the practical part I try to explain school children the history, culture, values and way of life of the Roma population reflected by assimilation policy of the Czech Republic of the last century. Via this drama in education lessons focused on learning the specifics of the Roma population, I make an effort to prevent or influence prejudices. I have chosen to focus on this ethnic minority as it is the largest ethnic group in the Czech Republic and it is exposed to probably most significant racial prejudice. Keywords drama in education, structured drama, multicultural education, Roma population, culture and history of the Roma population, The Framework Educational Program for Basic Education, primary school children

With a view to improve English teaching, this project provides creative teaching methods for English teachers of elementary schools in Taiwan. Storytelling, creative writing, and creative drama are interesting and lively activities that are used to motivate students to learn English.

The South African school curriculum recognises the vital importance of life skills acquisition through the learning area, Life Orientation (referred to in the primary school as Life Skills). The Curriculum Assessment Policy Statement (CAPS) Life Skills (Creative Arts) for the Intermediate Phase promotes drama-based instruction in life skills learning. The curriculum links to Forum Theatre techniques which are aimed at the learner’s holistic development through, among others, social game playing, improvised role-play and devising and performing a problem play which includes audience participation mediated by a ‘Joker,’ a facilitator role usually filled by an experienced and trained teacher. Children learn about the self, their peers and society through reality-based exploration and the conflicts that arise due to socialisation and power-based problems. Cognitive behavioural, existential and experiential learning theories and the theatrical theory and practice of Augusto Boal, who invented Forum Theatre as part of the Theatre of the Oppressed, formed the framework for this performative case study inquiry conducted in a South African primary school. A researcher-designed Forum Theatre intervention was implemented by the Grade 6 (Creative Arts) teacher with four Grade 6 classes over eight weeks in Life Skills (Creative Arts) classes, culminating in Forum Theatre performances by the four classes, respectively. Data were gathered through classroom observation in which the researcher assumed the role of observer-participant, conducted individual and focus group interviews with Grade 6 teachers, did interviews with Grade 6 learners, took video recordings of learners’ classroom activities, recorded the Forum Theatre performances, and collected the learners’ written reflections. The findings indicated: the process adjustments required to facilitate Forum Theatre activities in a primary school setting; effectiveness of experiential learning of life skills through game-playing and discovery; performative pedagogy fostered life skill acquisition; performative pedagogy harnessed nonverbal, embodied learning to build social insight; and describes the teacher experience in implementing a Forum Theatre intervention. Recommendations for practice include teacher training for experiential, explorative, and performance-based teaching in line with the CAPS document, which provides for a range of performative teaching and learning activities to promote effective life skills acquisition in primary school learners. / Educational Studies / Ph. D. (Education)

In this diploma thesis is focus on Drama in Education, which is used mainly in the lessons of the World of Human with overlap into other education. The topic of the diploma thesis was to improve the relations between pupils and thus to influence the climate in the classroom. The thesis is divided into two parts. The theoretical part focus on the content and specific objectives of Drama in Education. It describes in more details the methods and techniques of Drama in Education. In the practical part, is presented a methodical proposal of lessons for students of the 2nd grade of primary school. Each lesson consists of three parts - planning of a lesson, implementation of topic and subsequent reflection. The first topic relates to friendship, the second one relates to class climate, the third is about hurting and the fourth is about bragging. In the lessons plans are used and tried several drama education methods and techniques, which could give the answer to research question. In the empirical part are present two questionnaires. The first questionnaire was given to pupils before the drama lessons and the second questionnaire after the completion of all four lessons. Based on the knowledge gained from the questionnaire survey is determined the impact of the Drama in Education on the relationships...

The background for this study is the immediate readjustment to distance work for drama- and theatrepedagocial-education due to the Covid-19 pandemic during the spring of 2020. Central for these educations is the focus on interplay, aesthetic processes, leadership and physical embodiment, which heavily relies on interaction together with the group in a common physical space. Because of this, the educations were introduced to several challenges when the classroom was replaced with a digital room.   In this study, I have researched teacher’s perceptions of challenges and opportunities’ in regards to distance education through a phenomenographic approach. The empirical data for this study have been gathered through 8 in-depths interviews with teachers at drama- and theaterpedagocial educations in Sweden.   The result shows that the teachers in this study perceive the conditions to operate full time drama- and theatrepedagocial-education on distance are limited. The reasons for this is that the teachers experience essential moments in the education, especially physical embodiment and leadership training, as limiting. However, the teacher describe that they have learned a lot from distance teaching and that they perceive opportunities with some elements of distant teaching.   Opportunities with distant education that the teachers present are the ability to include participants on a digital platform that for different reasons cannot participate in the classroom. The experience of distance work has created possibilities to invite guest lecturers from around the world through a link. Teachers also perceive possibilities to keep in contact with student groups that are spread out in different geographical locations during longer internship periods.   Difficulties with distance education are teacher perceptions of digital education being tiresome for both teachers and students, since energy and focus disappear in distance work. The teachers in this study describe great difficulties with communication in distance education, that group processes come to a halt and that unity deteriorates. The result shows that the teachers experience that participant’s situation becomes vulnerable and uncertain, and that teachers perceive a great loneliness within participants in the distant situation. The result also shows that learning becomes more traditional and the role as a teacher becomes more controlling and relationships between teacher and student becomes more distant. / Bakgrunden till den här studien är den omedelbara omställningen till distansarbete för drama- och teaterpedagogutbildningarna på grund av Covid -19 våren 2020. Centralt i dessa utbildningar är att fokus ligger på samspel, estetiska processer, ledarskap och fysisk gestaltning, vilka i stor del bygger på att undervisningen sker tillsammans med gruppen i samma rum. Därför ställdes utbildningarna inför en hel del utmaningar när klassrummet byttes ut mot ett digitalt rum.  I den här studien har jag med fenomenografisk ansats undersökt lärares uppfattningar om möjligheter och svårigheter med distansundervisning. Studiens empiriska underlag har hämtats från intervjuer med 8 lärare vid drama- och teaterpedagogutbildningar i Sverige. Studien resulterade i ett utfallsrum med 4 beskrivningskategorier: Drama på distans som:  luckor i fundamentet, trubbiga verktyg, separerade arbetsytor, och ny design. Resultatet visar att lärarna i denna studie uppfattar att förutsättningarna för att bedriva drama- och teaterpedagogutbildningar som heltidsstudier på distans som begränsande. Anledningen till detta är att grundläggande moment i utbildningarna, som gemensamt fysiskt gestaltande och ledarskapsträning, är svåra att genomföra. Däremot beskriver lärarna att de fått med sig en hel del ny kunskap och erfarenhet av distansarbetet och ser möjligheter med att använda sig av vissa moment i utbildningarna på distans.  Möjligheter med distansarbete som lärarna i studien pekar på är att det går att inkludera deltagare, som av olika anledningar inte kan närvara i klassrummet, genom att ha med dem på en digital platta. Erfarenheten av distansarbete har även skapat förutsättningar för att bjuda in gästföreläsare från hela världen via länk. Lärarna uppfattar dessutom att det finns möjligheter att hålla kontakt med studentgrupperna då dessa befinner sig utspridda på olika platser för längre praktikperioder.  Svårigheter med distansarbete enligt studien är att lärarna uppfattar det digitala arbetet som tröttande för såväl lärare som studenter. Kommunikationen försvåras, grupprocesser avstannar och sammanhållning deltagarna emellan försämras. Deltagarnas situation blir utsatt och osäker och att lärarna uppfattade en stor ensamhet hos deltagarna i den distanserade situationen. Resultatet visade även på att vid distansarbete blir lärandet mer traditionellt och förmedlande, lärarrollen mer styrande och relationen mellan lärare och student mer distanserad.

Den här studien vill bidra med kunskap kring normkritisk pedagogik inom dramapedagogiken i Sverige. Det genom att belysa det svenska DRACON-projektet ur ett normkritiskt perspektiv. Det svenska DRACON-projektet är en del av det internationella DRACON-projektet vars övergripande syfte var att bygga  en bro mellan drama och konflikthantering. I bakgrunden till den här studien beskrivs dramapedagogik, svensk dramaforskning och internationell dramaforskning utifrån kritiska teorier. Normkritisk pedagogik är en kritisk pedagogik som vänder blicken mot maktstrukturer och privilegier istället för att fokusera på minoriteter eller förtryckta grupper. I det teoretiska perspektivet förklaras och fördjupas begreppet normkritisk pedagogik utifrån feministisk teori, queerteori, postkolonial teori och kritiska vithetsstudier, funktionalitet, intersektionalitet och kritisk pedagogik.   Syftet med den här undersökningen var att genom ett kritiskt makt- och identitetsperspektiv belysa det svenska DRACON-programmet. Det utifrån forskningsfrågorna: Vilka föreställningar om makt och identitet finns inbyggda det svenska DRACON-programmet? Hur förhåller sig dessa föreställningar till den normkritiska pedagogikens syn på makt och identitet?   Studien genomfördes utifrån textanalys av boken DRACON i skolan. Analysen strukturerades med hjälp av en analysmall. Resultatet tyder på att DRACON-programmet i Sverige är inkluderande och försöker ta tillvara på alla deltagares erfarenheter. Samtidigt verkar programmet sakna ett ifrågasättande av kön och genus och fördjupade analyser kring makt. Spår av postkolonialism framträder i någon enstaka lek. / The general aim of this study is to contribute to the knowledge of, so called, norm-critical pedagogy (normkritisk pedagogik) as part of Drama in Education in Sweden. This through looking at the Swedish DRACON-project from a norm-critical point of view. The Swedish DRACON-project is a part of the international DRACON-project which aimed at building a bridge between drama in education and conflict management. Norm-critical pedagogy is a Scandinavian term for critical pedagogy that focuses on the structures of power and privilege, rather than the oppressed. The pedagogy is explained in this paper and has its roots in queer pedagogy, queer theory, feminist theory, postcolonial theory and intersectional perspectives.   The aim of this study was to look at the Swedish DRACON-project from the critical point of view of power, privilege and identity.  The study examines the following questions: What conceptions of power and identity can be found in the Swedish DRACON-program? How do these conceptions relate to norm-critical perspectives of power, privilege and identity?   The examination is done through text analysis of the book DRACON i skolan(DRACON in school). The results indicate that the Swedish DRACON-project is inclusive and tries to seize the experiences of all participants. At the same time the project seems to lack the questioning of gender and the immersing of analyzing power structures.

Deutschlandweit nehmen die Schulen zahlenmäßig von Jahr zu Jahr zu, die ein bilinguales Angebot z.B. als Zweig oder als Modul in ihr Unterrichtsprogramm aufnehmen. Die meisten Angebote sind in englischer Sprache, aber auch andere – vor allem europäische Sprachen – spielen eine Rolle. Mittlerweile gibt es bilinguale Angebote in fast allen Fächern, wobei die gesellschaftswissenschaftlichen Fächer wie z.B. Geschichte und Geographie nach wie vor dominieren. Überraschenderweise spielt das Fach Darstellendes Spiel in der Diskussion um potenziell geeignete bilinguale Fächer weder in der Theorie noch in der Praxis eine nennenswerte Rolle. Mit der Wahl dieses Themas für die vorliegende Dissertationsschrift wird der bilinguale Sachfachunterricht Darstellendes Spiel erstmals in das Blickfeld der Forschung gerückt. Damit werden sowohl dem Sachfach als auch dem bilingualen Unterricht neue Perspektiven eröffnet. In der vorliegenden Dissertation wird folgenden übergeordneten Fragestellungen nachgegangen: Wie kann das bilinguale Sachfach Darstellendes Spiel für die Sekundarstufen I und II der allgemeinbildenden Schulen konzipiert werden? Worin liegt das besondere Potenzial des bilingualen Sachfachunterrichts Darstellendes Spiel? Welches sind seine spezifischen Merkmale? Dabei soll aufgezeigt werden, wo und in welchem Maße der Einsatz der Fremdsprache die sachfachliche Arbeit positiv oder negativ beeinflusst bzw. welche Auswirkungen der Unterricht im Sachfach auf den Fremdsprachenerwerb hat. Zur Beantwortung dieser Fragen wurde eine Auswahl existierender Ansätze zum szenischen Spiel im Fremdsprachunterricht unter Einbeziehung allgemeiner Überlegungen zur Funktion von Theaterspiel analysiert und zu den Besonderheiten des bilingualen Sachfachunterrichts in Beziehung gesetzt. Das auf dieser Basis erstellte Konzept wird in seinen vielfältigen Potenzialen analysiert und ausgelotet und mit Hilfe eines Praxisbeispiels in englischer Sprache veranschaulicht. / The number of schools in Germany which offer to teach one or more subjects in a foreign language (content and language integrated learning = CLIL) is still growing. The subjects often chosen for this type of instruction are Geography and History. Other subjects are less frequently taught in a foreign language. The courses vary in length (a number of school years or only some weeks). Drama is very rarely chosen as a CLIL-subject, and there are hardly any reports of successful teaching of or scientific literature about CLIL Drama. This thesis puts CLIL Drama for the first time in the centre of scientific research, thus opening new prospects for Drama and CLIL. The main questions this thesis attempts to answer are the following: What could a concept for CLIL Drama look like for pupils at state schools aged between 13 and 18? How can the potential value added of CLIL Drama be described? What are its key features? This thesis also points to the advantages and disadvantages of CLIL Drama. In the search for an answer to the above questions the author has analysed existing approaches to teaching a foreign language (mainly English, but also German and French) with the help of drama, including the current German discussion about bilingual teaching at state schools. Furthermore, the author presents an alternative look into what theatre is about in this context. On the basis of the results of her research the author draws up a broad concept for CLIL Drama at German secondary schools. The thesis concludes with an illustration of a CLIL Drama project (in English) launched among 14-year-olds at a German gymnasium.