英國戲劇教育家Dorothy Heathcote在1970中葉發明了專家衣缽（Mantle of the Expert）教學策略，這是一種以社會角色為學習框架，整全系統性思考為基礎，引導學生認識世界，進而建構學生個人知識的方法，主張將戲劇視為學習模式發展出學習劇(drama for learning)。經過筆者由文獻的探究發現，過去對此方法的研究，多半專注在方法的功能性運作和效度的驗證上，卻缺乏的是以哲學的反思，去理解這個方法的背後成因。因此，本研究聚焦在這個基礎，以找出隱身在方法背後的思考與教育理念所產生的運作法則。為此，本研究方法採取溫和的詮釋學與默會致知理論，透過詮釋學的方法對蒐集的文獻進行理解、解釋與應用的檢證，以默會致知的理論與方法，向專家衣缽方法進行深究與開展。首先，本論文為Mantle of the Expert的中文譯名重新定義，在重啟文獻研究，修正過去譯名的模糊性，還原Heathcote命名的真實意義，將此名稱重譯為專家衣缽，強調其著重師徒傳承之意。據此，開展了專家衣缽教學模式的底層的運作系統－教育圖像、功能運作、支持的理論、教育美學（educational aesthetics）的定位。 在教育圖像的研究裡，本論文以師生互動模式為研究中心，建置了學生、教師的圖像，進而開顯出動態的師生互動模式，展現Heathcote的教育視野，視好的教學為動態而非靜態模式；在此教學法的功能運作的探究裡，發現Heathcote主張一種貼近人本來的學習模式－在社會中學習，故此，專家衣缽必定在教師引導和學生一起建置的社會狀態下進行致知；在方法的背後支持的理論體系裡，發現了五種理論支撐：Polanyi的默會理論與個人知識；Vygotsky的社會認知發展理論；Goffman的擬劇論、角色框架理論；Hall的文化理論裡的基礎訊息系統；Brecht的社會傾向的疏離劇場的形式與內容。承上述之研究，本論文發現了專家衣缽的真正目的在優質教育，而不只是戲劇藝術教育，Heathcote關注的是教育的普遍性，而非特殊性，因此，專家衣缽呈現出這樣的特質：一、「專家衣缽」典範是一種以創造來引導學習的教學模式；二、「專家衣缽」典範以「角色」（role）作為學習框架；三、專家衣缽典範定位於教育美學的範疇；四、以內容中心玩出能力。本研究企圖以這樣的深究，了解隱身此方法背後的複合式的內容與深層結構，讓專家衣缽這個教學典範成為可以理解與把握的方法，不再神秘。 / Dorothy Heathcote, a British drama educationist, invented “Mantle of the Expert”, an instructional strategy, in the mid-1970s. This is a method based on holistic systematic thinking. It guides students to comprehend the world, and helps construct students’ personal knowledge. She saw drama as a learning model (drama for learning). From the author’s exploration into the literatures, it was found that previous researches focused mostly on the functional operation and verification of its validity of this method, and is lacking in the understanding for the origin of this method with philosophical reflections. Therefore, this dissertation focused on the basis of the method, and tried to find out the thinking behind it and the principles of operation stemmed from her ideas of education. Thus, the research adopted the theories of moderate hermeneutics and tacit knowing, tried to comprehend, explain and apply the literatures collected in a hermeneutic way, and furtherer explored and developed this strategy though the theory and method of tacit knowing. Firstly, the dissertation redefined the Chinese translation of “Mantle of the Expert”. Then it restarted researches on the literatures, resolved the ambiguity of previous translation, and restored the real meaning behind the name given by Heathcote. “Mantle of the Expert” is re-translated as “專家衣缽” to focus on its emphasis on the inheritance between teachers and students. As a result, the operative systems under “Mantle of the Expert”—education-picture, functional operations, supporting theories, and its position in educational aesthetics—were revealed. In the aspect of education-picture, the dissertation took the interactions between teachers and students as the center for research, established the pictures of students and teachers, and revealed dynamic teacher-student interactions. Heathcote’s perspective on education, which sees good instruction as more dynamic than static, was revealed. In exploring the functional operations, it was found that Heathcote suggested a model that is close to the way men to learn—learning in the society. Therefore, in “Mantle of the Expert”, knowing must be acquired in a social situation constructed by students with guidance from the teacher. As to the supporting theoretical systems, five theories were found: Polanyi’s Tacit Theory and Personal Knowledge by Polanyi; Vygotsky’s theory of social cognitive development; Goffman’s Dramaturgical Theory and Role Distance Theory; Hall’s Primary Message Systems in his cultural theory; forms and contents from Brecht’s Theater of Estrangement. From researches mentioned above, the essay found that the real purpose of “Mantle of the Expert” is for quality education, rather than education of dramatic art. She focused on universality of education instead of particularity. Therefore, these qualities are shown in this strategy: First, the paradigm of “Mantle of the Expert” is an instructional model that guides learning through creation; Second, the paradigm of “Mantle of the Expert” uses “role” as the frame for learning; Third, the paradigm of “Mantle of the Expert” is positioned in the realm of aesthetics of education; Fourth, abilities are developed through content-centered playing. With this in-depth exploration, this dissertation tried to understand the complex contents and deep structures hidden behind this method, and made this instructional paradigm an understandable and applicable method that will no longer be mysterious.

South Africa’s education system has undergone substantial changes in the last ten years. The shift to Inclusive Education attempts to provide all learners, regardless of their disability, learning difficulty, or disadvantage with access to education (Department of Education1, 2001). Curriculum 2005, in the context of an Outcomes Based Education (OBE) philosophy was an attempt by the Education Department to address the inadequate ‘Bantu’ education of the past. OBE was intended to replace teacher-centred approaches by encouraging children to become actively involved in the learning process, to gain knowledge as well as skills, and to think independently and creatively (DoE, 1998b). School ‘subjects’ of the past were changed to ‘Learning Areas’ some undergoing dramatic shifts in content and teaching strategies. These new Learning Areas also emerged with alternative assessment practices. Life Orientation (LO) is one such learning area. Many educators were suddenly required to teach these new Learning Areas, despite having little or no training in them. As a result many educators experienced frustration with the demands now placed upon them, and some felt unable to teach effectively. This study used a qualitative actionresearch design to obtain an in-depth understanding of the educators’ capacities to change their teaching practices in their Life Orientation classrooms. Six educators in a public primary school setting participated in a series of workshops aimed to introduce them to drama methods to be used in their Life Orientation teaching. The workshops were highly experiential in nature and were designed with the specific personalities and needs of each educator in mind. The results of the research indicate that educators are highly responsive to training, provided that they feel acknowledged as individuals and provided that the training builds upon their current expertise rather than attempting to change their practices altogether. Another key finding from the training was the opportunity for the educators to engage in the training as human beings with their own difficulties and frustrations being openly acknowledged. Many of the educators experienced the workshops as therapeutic and reported that this made the training both useful and personally fulfilling.

Adolescence is a turbulent time and a critical transformational phase during which major physical, emotional, cognitive and social shifts occur. The objective of this study is to explore ways in which female adolescents can acquire anger management skills. The study proposes that emotional competency is cultivated as a result of the neurological plasticity of the brain and by applying learning material based on the work of scholars in the fields of neuroscience and Applied Drama. Adolescence is an opportune time for girls to learn emotional competency skills as the incomplete development of the prefrontal area of the brain makes them more inclined to risk taking and less aware of logical thinking processes. The study indicates that anger floods the body with secretions like cortisol and adrenaline, blocking logical thinking. Angry incidences can have destructive consequences for relationships. The empirical study includes discussions of training levels for anger management, such as the identification of anger-related emotions and anger styles, understanding anger, and curbing angry expressions through assertive communication. As anger management is a practical aptitude, the empirical study applied selected Process Drama conventions (as modes of Applied Drama), specifically role play, tableaux, Mantle of the Expert and dramatized poetry. The benefit of these conventions lies in the facility with which they can alternate between dual modes of engagement and learning content. Process Drama launches the workshops’ participants into a make-believe world in which they can identify with a situation from the inside out while simultaneously observing the situation from the outside in, a phenomenon called metaxis. The female adolescent, while protective of her social relationships, can safely enter a fictitious world and face the problems raised by anger without jeopardizing her privacy or dealing with real-life emotions. The convention of dramatized poetry enabled creative expression as the participants wrote their own poems to personalize their insight into their need for anger management. While the methodology was being practised, it was also assessed. As the outcomes of the learning objectives were the participants’ responsibility, I could assess during the activities if they accommodated learning objectives in their biography. In this study the participants were, for example, not able to fully utilize the skill of assertive communication. The integrity of the methodology of Process Drama for girls was affirmed when it was successfully combined with the principles of brain-based learning. The literature review and the outcomes of the empirical study confirmed that Process Drama adheres to the principles of brain-based learning which is, inter alia, physiological, social and emotional, and occurs in tandem with the developmental phase of the participant. The research study is the culmination of various disciplines and an endeavour to present a multimodal anger management programme that incorporates the adolescent female on a cognitive, emotional and physical level, and in a sound collaborative environment. / Thesis (DPhil)--University of Pretoria, 2013. / lk2014 / Drama / DPhil / Unrestricted

I detta arbete undersöks bordsrollspel som pedagogisk metod. Spelets komponenter, berättande, drama och spel, undersöks i detalj och i förhållande till bordsrollspel. Bordsrollspel som pedagogisk metod är ett mer eller mindre obefintligt forskningsområde, och detta är ett försök att sammanställa de empiriska undersökningar som gjorts för att lägga en grund till vidare forskning. Komponenternaberättande, drama och spel ärallahörnstenar i bordsrollspel som metod. Komponenternas fördelar belyses var för sigoch även tillsammans inom ramen för bordsrollspel. Detta arbete försöker även poängtera skillnader mellan bordsrollspel och andra former om rollspel som mer frekvent än det tidigare används inomundervisning. Resultatet av arbetet visar att bordsrollspel, om änrelativt oprövat,har stor potential som metod inom litteraturundervisning. Grunden till detta resultat är att berättelsen ger metoden en tydlig form och hjälper eleverna sedet lästai ett sammanhang; drama hjälper eleverna anta nya identiteter och öppnar för nya perspektiv samtidigt som flera minnessystem aktiveras; spelet lägger tydliga regelramar för undervisningen och dess element har visatsig vara motiverande i stor utsträckning. I bordsrollspel samspelar dessa tre komponenter.