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This study has been an investigation of children's views of drama in education. It invited children to reflect on the dramatic process as used by a classroom teacher in the context of integrated units of study. The specific research question addressed was: What are children's conceptions of drama when used by a non-specialist classroom teacher as an integral part of learning? Children, ages 10-12 years, were observed and then interviewed in a semi-structured manner. The data were analyzed according to the phenomenographical research methodology. This suited the intent of the study in that the aim of phenomenography is to discover and describe the world as seen by participants. The results were presented in the form of conceptions which are descriptions representing the various ways people view, experience or conceptualize their experiences. Seven such conceptions, falling into three different groups, were discovered. The first group identified three ways in which children viewed drama as a purposeful strategy used by a teacher: (a) drama is a tool, (b) drama is a way of linking, and (c) drama is a novel way of teaching. The second group identified three ways in which children viewed themselves participating in the dramatic process: (a) drama is something one must take part in, (b) drama is play, and (c) drama takes on a life of its own. The third group dealt with one specific area of drama and identified role taking as being like the donning of a cloak. Insights from the study centered around three major observations: (a) the importance of understanding the meaning making of learners, (b) the importance of reflection, and (c) the power of drama in education as an educational strategy. Implications for educators and recommendations for further research were derived from these themes. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

The objective of this study was to support the claim that drama education is no "mere frill" in the curriculum but is, in fact, important to the formation of attitudes and values in young people. The study moved in two directions. The literature was explored to establish a position on what is intended by the terms "attitude" and "drama education" and to demonstrate a connection between these two terms. Following a review of the literature which demonstrated that there was reason to believe that children's attitudes to ageing and to old people are less than ideal, the two strategies of a practical investigation were begun. In examining the attitudes of Grade 5 children to the elderly and to the ageing, quantitative and qualitative investigations were undertaken. The quantitative investigation employed the Children's Attitude Towards the Elderly (CATE) (Jantz, Seefeldt, Serock, and Galper, 1976) instrument to examine attitudes in one control and two experimental groups. The qualitative investigation consisted of the analyses of: (a) interviews with the teacher, and children of both experimental groups during and after the three units of drama education, (b) pre- and post-drawings by children from these groups, (c) the reflections written in their journals by children of the experimental groups after the drama education units, and (d) field notes taken during participant/observation in the drama classroom. The experimental groups were taught drama employing two different methods. Group A pursued the topic "Young People/Old People" in the drama classroom in child-directed drama, while Group B explored the same topic in teacher-directed drama. The results of both strategies were compared and contrasted under the rubrics of the theoretical positions on "attitudes" and on "drama education" adopted for the study. The research results converged to support the claim that, for the children of both experimental groups, doing drama had asssisted them as they rebuilt their attitudes to old people and to ageing. No such improvement had occurred for the Control Group. Positive attitude change consisted in (a) greater knowledge of old people and ageing, (b) a diminution in the fear of ageing and old people, (c) positive feelings toward the elderly, and (d) identification with the interests, feelings, goals, and means of elderly people. In addition, the qualitative study revealed that some children recognized that drama caused them to re-value the people in their own lives. / Education, Faculty of / Graduate

My thesis is about educating through play. I have been playing, experimenting, thinking, and living my thesis for eight teaching years. At times insight has come with certainty and passion; more often, insight has not come, or it has been diluted or made problematic. I have read educational philosophy, and history, and psychology; I have experimented with evaluative models; I have tried product and process approaches. No matter how fancy the language that I use, no matter how simple and direct the models I create, no matter how intricate and accountable my evaluative strategies are, teaching and learning work best when the heart is at the centre of the enterprise. Becoming educated is learning how to love: to wonder, to question, to quest. Educating is about loving, about finding ways to bring people confidence, and hope, and openness. Play bridges the opposition between order/chaos. It helps me locate the generative, constructive forces in our schools. As a reader of this thesis, I invite you to become a play director. The stories told here do not live on the pages. They do not even really live in the spaces between text and active reader. The only way for these stories to live is if they're played to life through performance. I invite you to read these stories about writing, and community, and culture in the classroom as a producer would read a playscript. To that end, this thesis is presented in the form of a performance kit which contains theory on acting and directing, specific production strategies, the scripts themselves, and background information on the generation of these scripts. I believe that this extended metaphor—teacher as director, students as players, community as audience—can serve as a useful aid to bring play back to the multi-vocal theoretical literature of our discipline and to the stories enacted daily in our classrooms. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

Thesis (Ph.D.)--University of Melbourne, Faculty of Education, 2007. / Typescript. Includes bibliographical references (leaves 243-254).

Thesis (Ed. D)--UCLA, 2009. / Vita. Includes bibliographical references (leaves 153-165).

The current study aimed at exploring the potential benefits of integrating process drama, an interactive teaching methodology, into Life Education curriculum on anti-school bullying. The program effectiveness was evaluated through the enhancement in students’ empathy, including both cognitive and affective empathy, helping behavior and tendency as well as their knowledge on the basic concepts of bullying. Data was collected through self-reports. 141 S.2 students were recruited and randomly assigned to two groups, experiencing an anti-bullying intervention program through process drama (experimental) or conventional teaching methods (control). The study found that students in both groups showed enhancement in all three aspects, while the increase in affective empathy and helping tendency of the experimental group was significantly larger than the control group. / published_or_final_version / Educational Psychology / Master / Master of Social Sciences

A research report submitted to the Drama for Life division of Wits School of Arts, Faculty of Humanities, for the award of the degree of Masters in Applied Drama at University of the Witwatersrand, 2015 / This research report evaluates an exploration of how Applied Drama methods can aid the pedagogy of Human Rights and encourage an attitude of responsibility towards human rights among young adult caregivers at the Rena la Lona Creative Centre in Soweto, South Africa. Human Rights are basic standards which inform the standard of living among people so that they live in dignity. In the context of this study, Human rights education through Applied Drama methods is the means through which people are empowered and are given a sense for responsibility. The study consisted of the use of Applied Drama methods to articulate the education of equality and Human rights. This was done through a practice-based research framework wherein the research is informed by collective practice and also relies on theoretical findings. The first chapter articulates the background and justification of study. Chapter two focuses on the literature and methodology that inform the study. Chapter three explores the research findings through an analysis of the methods used and the learning derived from the practice. Chapter four concludes with the reflection around the research results. The conclusion asserts that the explored Applied Drama methods can be used as a tool for holistic education of the South African Bill of Rights within an informal education setting such as the Rena la Lona Creative Centre.

Teenage pregnancy in South Africa, especially amongst teenage learners has become a national crisis with an estimated average of 5000 girls between the ages of 12 and 19 falling pregnant in one school year (Headlines Africa, 2012). This study focused on how process drama was applied with adolescent learners at Supreme Educational College in Johannesburg, to investigate the causes and consequences of teenage pregnancy. Process drama requires participants to create and assume roles, identify and explore images and stories drawn from fictional worlds that relate to the participants’ own personal experiences. Through process drama workshops, teenagers were able to engage with challenging situations as a way of acquiring new knowledge about teenage pregnancy. Three major themes emerged as contributing factors to teenage pregnancy, namely, parental negligence and abuse, negative peer pressure and poverty. The learner’s engagement within the dramatic process was enhanced by means of dialogue, negotiation and reflection with the teacher adopting the role of facilitator and co-participant. The fictional world created by the drama enabled the learners to relate and identify with problematic aspects of teenage pregnancy. The study concludes that process drama offers an aesthetic space for teenagers to develop a deeper understanding of themselves in relation to their lived experiences. The study recommends process drama as a powerful interactive medium that needs to be implemented in schools to grapple with intractable issues such as teenage pregnancy.

教師學習「戲劇教學法」近年成為了教師專業發展的一種方式。不少外國的研究發現「戲劇教學法」課堂與一般課堂有很大的不同，當教師們學習掌握這些課堂時，這個學習過程本身對教師來說可能已經是一次專業發展的機會。然而，在香港，不單此方面的研究甚少，甚至連「戲劇教學法」的實踐或研究都甚少。不少前線教師甚至會對這種教學法有一定的誤會。 / 本研究旨於以「教師學習」的角度探討教師們學習「戲劇教學法」的過程。首先會檢視教師們如何就這種教學法的獨特本質，包括其教學意義、對教師來說的困難及挑戰、以及如何克服，進行意義理解。同時本研究亦會以「系統思維」的理論來分析教師們學習「戲劇教學法」時的各項學習條件，從而了解不同學習條件會如何對他們的學習產生影響。而本研究亦會透過分析教師們的學習過程，了解教師們的相關學習需要怎樣的支援模式。最後，本研究會分析教師們的學習結果，藉此了解相關學習過程，在「教師專業發展」的角度來說，對教師們產生了甚麼樣的影響。 / 因此，本研究採用質化研究的方法，並選取了五間學校，運用訪談與觀察相結合的方法，研究十四位教師透過校外到校前線支援的方式學習「戲劇教學法」的過程。研究發現，教師們在學習過後，對相關教學法的意義理解各有不同程度不同層次的轉變。教師們的學習結果，以及他們自己關於教學上的轉變，都各有不同。而教師們的轉變達到甚麼層次，則明顯受到各項學習條件的影響。 / 總括而言，教師學習「戲劇教學法」之後，自己亦會產生一定的轉變。當中的轉變包括對相關教學法的理解，以及對教學本身的反思。而轉變的程度和層次則受到相關的學習條件影響。本研究按教師們的學習經歷，提出有利於教師學習「戲劇教學法」的支援模式與學習條件的建議，可供日後參考。 / Teachers Learning Drama-in-Education has become a kind of Teacher Professional Development method recently. Several Overseas researches found that Drama-in-Education lessons different from ordinary lessons vastly. When teachers learn to use the techniques of Drama-in-Education, they might also get a chance for their professional development. However, such researches are very few in Hong Kong, so do the implementation of and research on Drama-in-Education. Many teachers in Hong Kong even have misconceptions about Drama-in-Education. / This research aims at investigating the process of teachers learning Drama-in-Education from the perspective of Teacher Learning. First of all, this research will investigate how teachers made sense of the special natures of this kind of teaching method, including the value for teaching and learning, the challenges and difficulties for teachers, and how to overcome. Also, this research will analyze the different learning conditions when teachers learnt Drama-in-Education from System Thinking approach, in order to understand the effect of different learning conditions on their learning. This research will also analyze the learning process of the teachers, in order to understand which kind of mode of support are needed for teachers to learn Drama-in-Education. Finally, the results of teachers learning will also be analyzed, to understand such learning process, in term of Teacher Professional Development, resulted in what kind of impacts on teachers. / Hence, this research will adopt Qualitative Research Method, and had chosen five schools. By interviews and observations, this research studied the learning process of fourteen teachers learning to use Drama-in-Education through frontline external support. This research found that after the learning process teachers changed in different degree and level in terms of the sense making of such teaching method. Their learning result and also the change on their own teaching varied across teachers. The level of change obviously depends on those learning conditions. / To conclude, teachers themselves did change to certain extent after they had learnt Drama-in-Education. That include the sense making of respective teaching method and also the reflection on their own teaching. The degree and level of change was affected by the learning conditions. This research based on the learning experience of the teachers, suggested some favourable mode of support and learning conditions for teachers learning Drama-in-Education, for future reference. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 梁承謙. / Thesis (Ed.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 452-462). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liang Chengqian. / Chapter 第一章： --- 問題陳述 / Chapter 第一節 --- 研究背景 --- p.p.1 / Chapter 一、 --- 戲劇教育的發展與推行 --- p.p.2 / Chapter 二、 --- 香港教師對「戲劇教學法」的理解 --- p.p.6 / Chapter 第二節 --- 研究目的 --- p.p.10 / Chapter 第三節 --- 研究問題 --- p.p.12 / Chapter 第四節 --- 研究意義 --- p.p.13 / Chapter 第二章： --- 文獻綜述與評析 / Chapter 第一節 --- 戲劇教育的概念及其理論 --- p.p.17 / Chapter 一、 --- 戲劇教育的理論及其演進 --- p.p.18 / Chapter 二、 --- 戲劇教育的本質 --- p.p.21 / Chapter 2.1 --- 藝術融入教育的意義 --- p.p.21 / Chapter 2.2 --- 戲劇教育的基本概念 --- p.p.22 / Chapter 2.3 --- 戲劇教育活動的「社交及互動」特質 --- p.p.26 / Chapter 2.4 --- 戲劇教育活動的「即時自發」特質 --- p.p.28 / Chapter 2.5 --- 戲劇教育活動的「個人及參與」特質 --- p.p.30 / Chapter 2.6 --- 戲劇教育活動引發的「情緒投入」 --- p.p.33 / Chapter 三、 --- 戲劇作為學習媒介的特質 --- p.p.36 / Chapter 3.1 --- 戲劇作為學習媒介的基本概念 --- p.p.36 / Chapter 3.2 --- 戲劇作為學習媒介與讓學生經歷有質素的過程 --- p.p.40 / Chapter 3.3 --- 戲劇作為學習媒介與把經歷概括化及概念化 --- p.p.42 / Chapter 3.4 --- 「戲劇教學法」的課堂特點與帶領課堂原則 --- p.p.45 / Chapter 四、 --- 教師學習「戲劇教學法」的挑戰 --- p.p.49 / Chapter 第二節 --- 教師學習及其專業發展模式 --- p.p.55 / Chapter 一、 --- 學習理論的演變 --- p.p.55 / Chapter 1.1 --- 知識的類別 --- p.p.55 / Chapter 1.2 --- 認知學習觀點與處境學習觀點 --- p.p.60 / Chapter 二、 --- 「教師學習」概念的更新 --- p.p.63 / Chapter 2.1 --- 教師教學信念的改變 --- p.p.64 / Chapter 2.2 --- 「反思」作為教師學習手法 --- p.p.69 / Chapter 2.3 --- 「學習社群」作為教師學習條件 --- p.p.73 / Chapter 2.4 --- 「教學的概念」作為教師學習條件 --- p.p.74 / Chapter 三、 --- 教師學習及專業發展的系統理論架構 --- p.p.75 / Chapter 3.1 --- 系統思維下的教師學習條件 --- p.p.79 / Chapter 第三節 --- 近期的研究發展 --- p.p.85 / Chapter 第三章： --- 概念框架與研究方法 / Chapter 第一節 --- 理論框架與研究問題. --- p.p.92 / Chapter 第二節 --- 研究方法 --- p.p.102 / Chapter 第三節 --- 研究設計 --- p.p.105 / Chapter 一、 --- 研究對象 --- p.p.105 / Chapter 二、 --- 資料的搜集、整理與分析 --- p.p.106 / Chapter 第四節 --- 研究效度、 --- p.p.110 / Chapter 一、 --- 研究效度 --- p.p.110 / Chapter 二、 --- 研究倫理 --- p.p.111 / Chapter 三、 --- 研究限制 --- p.p.112 / Chapter 第四章： --- 學習「戲劇教學法」的五所學校教師的經歷 / Chapter 第一節 --- 小學中文科：K校的故事 --- p.p.114 / Chapter 一、 --- K校推行「戲劇教學法」的背景與條件 --- p.p.114 / Chapter 二、 --- K校教師們的背景與學習「戲劇教學法」的經歷 --- p.p.116 / Chapter 三、 --- K校推行「戲劇教學法」的結果 --- p.p.117 / Chapter 第二節 --- 小學英文科：H校的故事 --- p.p.119 / Chapter 一、 --- H校推行「戲劇教學法」的背景與條件 --- p.p.119 / Chapter 二、 --- H校教師們的背景與學習「戲劇教學法」的經歷 --- p.p.121 / Chapter 三、 --- H校推行「戲劇教學法」的結果 --- p.p.123 / Chapter 第三節 --- 中學通識科：C校的故事 --- p.p.124 / Chapter 一、 --- C校推行「戲劇教學法」的背景與條件 --- p.p.124 / Chapter 二、 --- C校教師們的背景與學習「戲劇教學法」的經歷 --- p.p.126 / Chapter 三、 --- C校推行「戲劇教學法」的結果 --- p.p.128 / Chapter 第四節 --- 中學英文科：S校的故事 --- p.p.129 / Chapter 一、 --- S校推行「戲劇教學法」的背景與條件 --- p.p.129 / Chapter 二、 --- S校教師們的背景與學習「戲劇教學法」的經歷 --- p.p.130 / Chapter 三、 --- S校推行「戲劇教學法」的結果 --- p.p.132 / Chapter 第五節 --- 特殊學校中文科：F校的故事 --- p.p.135 / Chapter 一、 --- F校推行「戲劇教學法」的背景與條件 --- p.p.135 / Chapter 二、 --- F校教師們的背景與學習「戲劇教學法」的經歷 --- p.p.137 / Chapter 三、 --- F校推行「戲劇教學法」的結果 --- p.p.138 / Chapter 第六節 --- 教師學習跨校個案比較及小結 --- p.p.140 / Chapter 第五章： --- 教師學習「戲劇教學法」的理解意義過程之綜合分析 / Chapter 第一節 --- 教師本身對「戲劇教學法」的理解及認知基模 --- p.p.144 / Chapter 一、 --- 教師們學習前對「戲劇教學法」的理解與認知基模 --- p.p.145 / Chapter 二、 --- 教師們學習後對「戲劇教學法」的理解之轉變 --- p.p.150 / Chapter 第二節 --- 教師對「戲劇教學法」的本質之理解意義過程 --- p.p.156 / Chapter 一、 --- 關於「個人及參與」的理解意義過程 --- p.p.156 / Chapter 1.1 --- 教師們關於「個人及參與」於教學上的意義之理解 --- p.p.156 / Chapter 1.2 --- 教師們關於「個人及參與」的困難及挑戰之理解 --- p.p.159 / Chapter 1.3 --- 教師們如何克服「個人及參與」的困難及挑戰 --- p.p.164 / Chapter 二、 --- 關於「社交及互動」的理解意義過程 --- p.p.169 / Chapter 2.1 --- 教師們關於「社交及互動」於教學上的意義之理解 --- p.p.169 / Chapter 2.2 --- 教師們關於「社交及互動」的困難及挑戰之理解 --- p.p.173 / Chapter 2.3 --- 教師們如何克服「社交及互動」的困難及挑戰 --- p.p.176 / Chapter 三、 --- 關於「即時自發」的理解意義過程 --- p.p.179 / Chapter 3.1 --- 教師們關於「即時自發」於教學上的意義之理解 --- p.p.179 / Chapter 3.2 --- 教師們關於「即時自發」的困難及挑戰之理解 --- p.p.181 / Chapter 3.3 --- 教師們如何克服「即時自發」的困難及挑戰 --- p.p.184 / Chapter 四、 --- 關於「情緒投入」的理解意義過程 --- p.p.188 / Chapter 4.1 --- 教師們關於「情緒投入」於教學上的意義之理解 --- p.p.188 / Chapter 4.2 --- 教師們關於「情緒投入」的困難及挑戰之理解 --- p.p.192 / Chapter 4.3 --- 教師們如何克服「情緒投入」的困難及挑戰 --- p.p.193 / Chapter 五、 --- 關於「讓學生經歷有質素的過程」的理解意義過程 --- p.p.194 / Chapter 5.1 --- 關於「讓學生經歷有質素的過程」的要求及困難 --- p.p.195 / Chapter 5.2 --- 如何克服「讓學生經歷有質素的過程」的要求及困難 --- p.p.198 / Chapter 六、 --- 關於「把經歷概括化及概念化」的理解意義過程 --- p.p.205 / Chapter 6.1 --- 關於「把經歷概括化及概念化」的要求及困難 --- p.p.206 / Chapter 6.2 --- 如何克服「把經歷概括化及概念化」的要求及困難 --- p.p.211 / Chapter 七、 --- 關於帶領「戲劇教學法」課堂的原則之理解意義過程 --- p.p.214 / Chapter 7.1 --- 關於「教學內容」方面的帶領課堂原則 --- p.p.216 / Chapter 7.2 --- 關於「教學指示」方面的帶領課堂原則 --- p.p.220 / Chapter 第三節 --- 關於理解意義過程的綜合分析及小結 --- p.p.228 / Chapter 第六章： --- 教師學習「戲劇教學法」之學習條件及過程的綜合分析 / Chapter 第一節 --- 教師學習「戲劇教學法」之學習條件：教師的認知基模方面 --- p.p.235 / Chapter 一、 --- 教學的概念 --- p.p.236 / Chapter 二、 --- 目標感 --- p.p.241 / Chapter 三、 --- 概念輸入 --- p.p.248 / Chapter 四、 --- 反思 --- p.p.252 / Chapter 第二節 --- 教師學習「戲劇教學法」之學習條件：教師的學習處境方面 --- p.p.260 / Chapter 一、 --- 時間框架 --- p.p.260 / Chapter 二、 --- 團隊感 --- p.p.273 / Chapter 三、 --- 行動 --- p.p.285 / Chapter 四、 --- 學生回饋 --- p.p.292 / Chapter 第三節 --- 教師學習「戲劇教學法」之學習過程 --- p.p.301 / Chapter 一、 --- 校外支援期間教師的學習過程 --- p.p.301 / Chapter 1.1 --- K校教師的學習過程 --- p.p.303 / Chapter 1.2 --- H校教師的學習過程 --- p.p.309 / Chapter 1.3 --- C校教師的學習過程 --- p.p.312 / Chapter 1.4 --- S校教師的學習過程 --- p.p.317 / Chapter 1.5 --- F校教師的學習過程 --- p.p.324 / Chapter 二、 --- 校外支援完結後教師再實踐或教導其他人的學習過程. --- p.p.328 / Chapter 第四節 --- 相關學習條件及學習過程的綜合分析及小結 --- p.p.342 / Chapter 第七章： --- 教師學習「戲劇教學法」引發的轉變及學習結果 / Chapter 第一節 --- 教師學習「戲劇教學法」引發的轉變 --- p.p.353 / Chapter 一、 --- 相關概念 --- p.p.354 / Chapter 二、 --- 相關知識與技能 --- p.p.365 / Chapter 三、 --- 相關思維習慣 --- p.p.373 / Chapter 四、 --- 教學信念、習慣及對教學之理解 --- p.p.383 / Chapter 第二節 --- 教師學習「戲劇教學法」的學習結果之綜合分析 --- p.p.395 / Chapter 第八章： --- 結論、討論及建議 / Chapter 第一節 --- 研究結果概述 --- p.p.406 / Chapter 第二節 --- 研究結論 --- p.p.423 / Chapter 一、 --- 教師學習「戲劇教學法」的困難 --- p.p.424 / Chapter 二、 --- 相關學習需要示範、實踐及學校支持等條件的配合 --- p.p.426 / Chapter 三、 --- 教師的轉變與相關學習的意義 --- p.p.429 / Chapter 第三節 --- 相關理論的討論與反思 --- p.p.431 / Chapter 第四節 --- 相關政策的建議 --- p.p.434 / Chapter 一、 --- 教師學習「戲劇教學法」的條件與支援 --- p.p.434 / Chapter 二、 --- 教師學習「戲劇教學法」的起點與難點 --- p.p.436 / Chapter 三、 --- 教師學習「戲劇教學法」的進一步發展 --- p.p.438 / Chapter 四、 --- 在香港更有系統地推行「戲劇教學法」 --- p.p.441 / Chapter 第五節 --- 研究貢獻 --- p.p.443 / Chapter 一、 --- 理論貢獻 --- p.p.443 / Chapter 二、 --- 專業實踐貢獻 --- p.p.444 / Chapter 第六節 --- 研究限制及對未來研究的建議 --- p.p.446 / Chapter 一、 --- 本研究的研究限制 --- p.p.446 / Chapter 二、 --- 對未來研究的建議 --- p.p.447 / Chapter 附件一： --- 訪談問題 --- p.p.451 / 參考文獻 --- p.p.452