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In the United States, early childhood educators are expected to follow the trend to enforce academic curriculum for preschoolers. This effort diminishes the value of play in the young developmental years of children. The purpose of this study was to explore the type of activities and strategies that promote development of language and literacy skills of preschool children while playing in a dramatic play center. Vygotsky's sociocultural theory teaches that children acquire skills through play and discovery in a developmentally appropriate environment. The study was conducted within a qualitative framework using a case study approach. How parents and teachers encourage and support the development of literacy skills in preschoolers during play were explored. The participants in this single site case study were 10 young children attending a university campus preschool, their parents, and their teacher. Data were collected through observations of the children and interviews with the parents and the preschool teacher. Video transcripts and field notes were analyzed to understand the data collected. Coding was implemented to understand the patterns and themes that emerged from the collected data. Modeling, asking questions, props, and books were identified activities and strategies that supported oral language development and literacy skills in young children during dramatic play. The parents and the preschool teacher encouraged and supported the development of oral language and literacy skills through providing opportunities through play for children to build vocabulary by expressing themselves and understanding others. Varied experiences with an assortment of props and books were identified as supporting children's development. This study recommends and extends the understanding that play in dramatic play centers in preschools can support the development of oral language and literacy skills which could create positive social change in early childhood education programs.

The study was designed to determine the effect a dramatic play activity had on the content of a story retelling of kindergarten students. Approximately 35 students were randomly sampled to form experimental and control groups. Both groups engaged in a read aloud activity, followed by brief discussion, and an independent illustration of the story. The experimental group participated in a creative reenactment of the story prior to the illustration activity. Students in both groups then retold the story to the researcher. Retellings were transcribed and scored for: Story Retelling Analysis score (Morrow, 1988); percentage of characters recalled; percentage of plot episodes recalled; and the presence of story language, inferential statements, and a distinct beginning, middle, and end. Anecdotal data are described narratively.

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This thesis will illustrate how pretend play can be used in the home for educational purposes. The major emphasis of the work will be emergent literacy, however, application principles can be applied in all subject areas. Parents who desire to expand their child's literacy skills while exposing the child to an arts enriched home environment need ideas and tools developed with supportive research to strengthen and focus their efforts. These tools will greatly expand parental resources by offering several principles as a guide for adapting existing classroom materials for home use. The following Seven Components form the core foundation for adapting pretend play materials to aid the home learning environment curricula: (1) Child as Active Participant (Vygotsky; Piaget). (2) Parent as Role Model for Dramatic Play and Literacy, serves as Facilitator, and Co-player (Haight and Miller; Vygotsky). (3) Physical environment could be anywhere: car, office, or bedroom. (4) Resource material: should be able to use common found objects in home, with limited preparations or expense. (5) Play Content needed to provide elements of literacy: cognitive learning, symbol representation, oral language, self-expression, listening and comprehension (Goodman). (6) Promote creative and fun learning experience with a relaxed, informal atmosphere. (7) Play should be process and discovery oriented, and not for performance (Brown and Pleydell; Tuge). This thesis will also examine the preliminary results of a study for parents and children who applied a curriculum developed with the core components and explored the participants' interest level in such activities. Recommendations for further research will also be made.

Drawing is valued as a non-verbal assessment tool to measure children's conceptual development and emotional state. Drawing has also been described as a problem-solving activity and unique symbol system. Although drama has been known to facilitate learning in other symbol systems, such as reading and writing, and to bring about advances in perspective taking and understanding of emotion, its impact on drawing has not been previously examined. In this study, Kindergarten and first grade children were instructed to draw a happy tree, sad tree, and angry tree before and after a 10-hour drama intervention. Half of the children participated in the intervention while the remaining children were members of a control group who participated in the regular school program. Consistent with expectations, children who participated in the drama program showed significantly greater improvement from pretest to posttest in drawing emotion compared to control children. Their drawings of emotion improved in clarity, that is, they depicted more clearly the emotion they were instructed to convey. Participants in the drama program also used significantly more highter level drawing strategies. The results suggest that the experience in emotional perspective taking provided by dramatic play may generalize to the domain of drawing and enhance expression.

Cette thèse a pour objectif de montrer le lien de cause à effet, entre l’arrivée de la forme du théâtre dans le théâtre des pièces pré-classiques de 1630 à 1650 et la construction de l’identité du comédien à partir des pièces de Rotrou, le Véritable Saint Genest, Desmarets,Les Visionnaires, Gougenot La Comédie des comédiens, Scudéry La comédie des comédiens,et Corneille, l’Illusion Comique, dont certaines empruntent le personnage-comédien ouvertement, ou le sous-entendent. Afin d’expliquer l’arrivée dans l’Histoire du comédien professionnel, l’étude s’organise selon un panorama historique de l’identité du comédien depuis l’Antiquité jusqu’au Moyen-âge, au moment de la disparition du mystère et de la fermeture de la Confrérie de la Passion et de la Résurrection de Notre Seigneur Jésus-Christ,prouvant ainsi l’avancée du comédien. Puis, la redéfinition des genres dans lesquels s’inscrira la forme du théâtre dans le théâtre permettra de constater le passage de l’identité religieuse à l’identité professionnelle du comédien avec la réhabilitation du genre de la comédie longtemps éclipsé dans l’Histoire. Le relevé des figures de comédiens de milieux sociaux différents, artisans, marchands, nobles, comédiens de foire, comédiens italiens, permettra de déterminer le profil du comédien français, son identité professionnelle et sociale. Le jeu dramatique du comédien par la liberté de création et l’imaginaire des auteurs dramatiques connaît une évolution. Se pose alors la question de l’identité psychologique du comédien,dans son rapport à la mimésis, à l’identification ou non de son personnage dans le jeu, en référence à l’éthique qui se redéfinit. / This thesis has for objective to show the link of cause with effect, between the arrival of theform the play within the play of the pre-classic period from 1630 till 1650 with theconstruction of the identity of comedian from the piece of Rotrou Le Véritable Saint Genest,Desmarets The Visionaries, Gougenot The comedy of the comedians, Scudéy The comedy ofthe comedians, and Corneille The comic illusion, the character-comedian of which someborrow openly, or imply him. To explain the arrival in the History of the professionalcomedian, the study gets organized according to a historic panorama of the identity of thecomedian since Antiquity to the Middle Ages, at the time of the disappearance of the mysteryand the closure of the Brotherhood of the Passion and the Resurrection of our Lord Jésus-Christ, proving the advance of the comedian. Then, the redefining of the genre in which willjoin the form of the play within the play will allow to notice the passage of the religiousidentity in the professional identity of the comedian with the rehabilitation of the genre of thecomedy for a long time ecclipsé in the History. The statement of comedians’figures ofdifferent social backgrounds, craftsmen, traders, noble persons, comedians of fair, Italiancomedians, will allow to determine the profile of the french comedian, its professional andsocial identity. The dramatic play of the comedian by the freedom of creation and theimagination of the playwrights knows an evolution. The question of the psychological identityof the comedian, its relationship in the mimesis, the identification or not of his character in theplay, in reference to the ethics redefines.

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Text in Afrikaans / Een van die funksies van die Kerk is om vir sy lidmate te sorg. In die praktyk wil dit voorkom asof die Kerk se sorg meer gerig is op die adolessent en die volwassene. Vanwee verskeie faktore ontvang kinders baie min of geen sorg in die vorm van pastorate sorg of pastorate beraad nie. 'n Gespreksmetode van beraad slaag nie altyd as daar met kinders gewerk word nie. In die veld van die psigoterapie en maatskaplike werk word daar algemeen gebruik gemaak van spelterapie wanneer daar met kinders gewerk word. Laasgenoemde kan ook in die pastoraat met kinders gebruik word sonder om die unieke karakter van pastoraat verlore te laat gaan. Die Kerk kan langs hierdie weg ook sy pastorate verantwoordelikheid teenoor kinders nakom. / One of the functions of the Church is to care for people. The children, however, are often neglected with more attention being paid to the adolescent and adult. Moreover, the verbal approach used when pastors work with children who experience difficulties do not seem to address this fully. Play therapy, on the other hand, appears to be a useful means of addressing this deficiency. It is often used in psychotherapy and social work and can be used to good effect in the caring of the Church for children. Play therapy enables the pastor to fulfill the Church's obligation to care for children, without disregarding the unique character of pastoral care and pastoral counselling. / Practical Theology / M. Th. (Practical Theology)

O foco principal deste estudo volta-se para a fala no jogo dramático, a fala que acrescenta ao significado semântico a expressão sonora, sua musicalidade. O caminho que leva a este estudo, no entanto, é fundamental para sua compreensão. A sensibilidade, a invenção, presentes nos jogos e brincadeiras durante minha infância, prosseguiram até a concretização da vida profissional. A EMIA, Escola Municipal de Iniciação Artística, é o lugar que, além de apresentar estas características, estimulou a pesquisa constante. A Música, área da minha formação, pôde ampliar seus limites e adentrar o universo do Teatro. A pesquisa da sonoridade da fala no jogo dramático apoia-se em procedimentos da música contemporânea, acompanhando o mesmo foco enfatizado por Jean-Pierre Ryngaert a respeito da utilização dos procedimentos teatrais. Ryngaert é uma referência central neste estudo. O grupo que se apresenta como objeto experimental da pesquisa é formado por alunos da FAAM, da Licenciatura e do Bacharelado de Canto. Além de o trabalho estar diretamente voltado para a materialidade sonora e expressiva da fala, este estudo também aponta para possibilidades no campo da Educação Musical. A poesia é a matéria prima que dará corpo à nova materialidade durante as improvisações. É a partir das discussões com os alunos na \"Roda de conversa\" que o texto poético vira fala e que a fala vira pura poesia. A \"Roda de conversa\" instala-se como grande forma neste estudo, na medida em que se alastra fora da sala de aula e passa a criar um espaço ainda mais amplo, incluindo o diálogo com as vozes dos autores escolhidos como convidados nesta grande roda. O jogo dramático concebido por Ryngaert, enriquecido pela pesquisa sonora da fala aqui apresentada, busca a possibilidade da ampliação do universo sensível e artístico dos participantes através da integração de duas linguagens artísticas, o Teatro e a Música. O campo de pesquisa que acolhe este estudo é o Ensino da Arte. / The main focus of this study directs itself to the speech in the dramatic play. The speech that adds to the semantic meaning its own sound expression, its musicality. The way taken to this study, however, is fundamental or essential to understand it. The sensibility and the invention, both present in the plays and games of my childhood have evolved to the concretion of my professional life. EMIA, the Municipal School of Artistic Initiation, is the place that has not only accepted these characteristics but also stimulated this constant research. Music, my major, could expand its limits and get into the Theatre universe. The research on the sonority of the speech in the dramatic play sustains itself over contemporary music procedures, accompanying the same focus emphasized by Ryngaert, who is the main reference in this study, in the use of theatrical procedures. The group presented here as the experimental SUBJECT of this research is formed by bachelor and undergraduate students of FAAM. Besides the fact that this work is faced to the speech\'s sound and expressive materiality, it is also sustained over educational aspects, showing opening possibilities in the Educational Music field. Poetry is the feedstock/raw material that will shape up the new materiality that will rise over the improvisations. It is from the discussion process made with the students in the \"Conversation Circle\" that the poetic text becomes speech, and the speech becomes pure poetry. The \"Conversation Circle\" settles itself as the major form in this study; it spreads out of the classroom and starts to create an even wider space, which includes dialogs with the chosen authors\' voices as guests in this great circle. The dramatic play as conceived by Ryngaert, enriched by the sound research of the speech which is presented here seeks a possibility to extend the sensitive and artistic universe of the participants through the integration of these two distinct artistic languages: The Theatre and Music. The Field research that determinates this study is the Teaching Art.