The aim of my research was to introduce drama, in the form of theatre for development processes, to local Grahamstown Primary School teachers, and to work closely with one teacher to explore theatre for development in the classroom, as a means of introducing both environmental education and learner-centred, constructivist teaching methodologies. I started my research by interviewing Primary School principals as well as sending out questionnaires to teachers, to survey their understanding and practice of drama and environmental education in the school curriculum and to invite them to participate in the research project. In collaboration with Educational Drama and Theatre students, I developed two workshops to introduce theatre for development processes such as image theatre and role-play to the teachers. Nine teachers attended this workshop which was video-taped. After the workshop I gave two lessons at a local school, in partnership with a teacher. Throughout this process I kept a research journal. All action components of the research were followed up with individual interviews, group discussions and a focus group. Although the study gave rise to multiple themes, I chose to highlight two: Firstly, Curriculum 2005 advocates a move towards more learner-centred,constructivist and process-orientated pedagogies. All of the participants in this study, including myself, had intentions of adopting a new approach tq education and teaching but found that we often reverted back to earlier learnt roles of product-orientated, text-based, authoritarian approaches to education which we originally had rejected. Secondly, I reflect on how we set out viewing environmental education, education, drama and research as a process and yet all the participants, including myself, continually tried to 'put on' the perfect performance in the form of a drama, a learning experience and research. This project was a participatory research project. The textwork of the research reflects a post-structural orientation. It has been written in the form of a drama to represent the many voices of the participants, but also to question the role of research in society and make research more accessible to non-academic readers. I also intend to perform the research process at a later stage.

Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition, / Master of Arts (Hons) (Performance)

This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education / Doctor of Philosophy (PhD)

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Based on theories from: Educational or Process Drama. Improvisaiional Theatre. Drama Therapy and Psychology: this thesis is an in depth exploration of a methodology for educational drama that can be used lo examine values. This method proposes a system that will assist participants to discover and assess their own altitudes and bring them into dialogue with other value systems. The theoretical focus of this thesis was drawn from selected theorists: Roai. Iz/.o. Panely, Vogler and Heathcole amongst others: which conlribuled to the establishment of a practical methodology that provides a process of self discovery through improvisational drama and role-play. The dichotomous relationship between art and nature (perceived rcalitx), allows the participant lo engage in the discourse of self evaluation and social conscientisaiion. The methodology is based on the narrative structure of myth and the archetypes that populate mythic landscapes. Myths relate the journey of a hero, who undergoes personal growth as the result of a change of perspective. This occurs during the hero's journey from her ordinary world to a special world where adventure and danger awaits. The hero must find the elixir that will heal her own wounds and the wounds of her communitw Ihe archetypes play a unique role in helping the hero lo face her own desires, values and altitudes and to lest these \ allies in the Ileal of physical battle or emotional turmoil. With Participatory Action Research as main methoclologv. the thesis used questionnaires, interviews, journal entries and dramatic workshops for data gathering. The longitudinal nature of this exploration look place over a period of two years and the cohort group comprised of adolescent girls and boys, aged 14 to 16 years. The research found that the method was very successful for inciting critical discussion and moral debate. In the safety of the dramatic context, the cohort group gained new understanding about the conflict between the good of the community verses the individuars desires. Consequently they were able to come to terms with those desires that influence their behaviour and talk about these in relation to other values. Keywords: Values interrogation, educational drama, process drama, drama therapy, drama journeys, improvisation, role-play, social conscicntisation. Tcmenos, dramatic play, educational play, archetypes, psychological transference, meaning making process, practical methodology, dichotomy. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.

To me, emotions have been a source of self-discovery and self-acceptance. / Thesis (M.Ed.) - University of KwaZulu-Natal, Durban, 2004.

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.

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