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How can role be used to impact upon the motivation of student’s writing? Can learning in a creative context cause change in students’ writing? There is a body of literature that examines the use of drama to facilitate development in literacy, and some of it addresses writing. However, most of the classroom based studies in this literature have been undertaken by drama specialists who have extended their curriculum interests to broader fields such as social studies and literacy. Their work has offered a challenge to classroom teachers who are not drama specialists to explore and adopt relevant process drama approaches. This study has been conducted by one such teacher and as such it brings a new and different perspective to the research and to the growing body of knowledge. The current education system has placed strong importance on managing student levels of achievement in writing with the National Standards being introduced as a way of reporting student progress in this area as well as that of reading and mathematics. The Standards aim to make parents more aware of where their children sit in regards to the National levels. Consequently this thesis adopted an assessment format that incorporated the National Standards to assess change in surface and deeper features of writing. The students involved in the study were from one Year Five and Six classroom in a decile ten contributing school in Christchurch. They completed questionnaires at the beginning of the study and were interviewed at the end to survey their thoughts on writing and drama. The classroom teacher was also interviewed to gain her views on student levels of motivation in writing and their needs in the classroom. A series of lessons were then facilitated involving the use of process drama to encourage the students to think independently and tell a story through action before they put pencil to paper. Observations were written during each lesson documenting student responses and interactions to the drama and writing samples and student journals were also collected. A systematic analysis was completed on students’ writing to measure change in their writing features over time. These methods were also followed by the classroom teacher in order to measure reliability of the assessment. Writing samples and student feedback indicated strong improvement in motivation levels and engagement in each task through increased lengths of writing and use of subject-specific vocabulary and emotive language. Results also showed a creative teaching approach can be an effective facilitator of certain aspects of writing in children working at different levels and that the National Standards can be incorporated smoothly and reliably within this type of assessment. Overall, the findings from this study highlight the use of drama as an instructional tool in writing and support the conclusion that these strategies can be incorporated into the teaching of writing for more effective instruction.

The research articles in this portfolio describe and analyse how process drama teachers use the special combination of content knowledge, pedagogical knowledge and knowledge gained in 'lifeworld' experiences (described in this portfolio as their 'professional craft knowledge') in order to promote learning. These publications also provide a detailed description of methods used in pre-service teacher education at the University of Sydney to enhance the development of professional craft knowledge in beginning teachers. The studies in this portfolio are framed within an interpretative research paradigm; the subject matter of the research is the way that teachers and learners in process drama collaborate to construct meaning. The methodology is primarily reflective practitioner research, recently described as one of drama's 'own innovative recommended research designs'. Qualitative methods have been used to collect and analyse relevant data. Separate sources of data are used to check the trustworthiness of the findings, through the process of crystallization : the alignment of sources such as reflective journals, outside observations, video records and oral reflections. Professional craft knowledge is developed by individual teachers as they reflect in action on the choices they see as available to them, as they work with their own classes. Often teachers are not conscious of the expertise they are developing; it quickly becomes tacit, embodied knowledge. However, reflecting upon their actions, teachers can usually explain why they acted as they did. The research articles in this Portfolio make use of reflection in and upon action in order to deconstruct the work of process drama teaching. As a collection these articles also examine how the use of reflective practices in pre-service education can facilitate and enhance the development of craft knowledge before teachers enter the professio / Doctor of Education

Unravelling the Mystery is a qualitative case study that examines the teacher researcher's reflection-in-action as she teaches using process drama. The teacher-researcher taught a class of Year Seven students for a school year. She worked with the students using process drama from 2-5 hours per week. All sessions were recorded and transcribed as part of the reflective practice research. They were then examined to study how the teacher might use reflection-in-action. The data is written as a series of vignettes. The vignettes are used to illustrate reflection-in-action and as a basis for discussion and analysis. In the thesis the data from five of these sessions is presented as vignettes-these vignettes illustrating the teacher's reflection-in-action process. The analysis focuses on the reflection-in-action for the teacher. The vignettes and accompanying analysis for the basis for an illustrative model of the scope of the teacher' reflection-in-action as she works using process drama. The study addresses the following questions: · How might reflective practice inform my teaching? · How can I as a researcher describe and document my reflection-in-action when working as a teacher in process drama? · What is the scope of my reflection-in-action when working as the teacher in process drama? · How might an increased understanding of reflection-in-action be useful to teachers of process drama? These questions are considered in light of the analysis and literature review. The study concludes that reflective practice is valuable to enable teachers to develop their practice. It recommends that this type of research is beneficial to both develop models of practice and to improve the practice of individual practitioners.

The National Project to Counter Stigma and Discrimination was established by the New Zealand government in 1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.

The foundational premise of communicatively-based foreign language teaching approaches is that the activities used in the classroom are 'communicative'; that the language learned is being used to 'communicate'. Genuine communication however is difficult to establish in a traditional classroom setting consisting of desks, chairs and textbooks. This project examines how a specific form of Drama in Education - process drama - can be used to create more authentic communicative situations and learning experiences in the foreign language classroom; experiences that are both intellectually and affectively engaging. It begins with a review of the literature pertaining to the three main areas that provide the backdrop to the project's central research proposition, namely second language acquisition, second language methodology and aesthetic education. The three main protagonists are then introduced, namely social interactionist theories of language acquisition, communicative language teaching approaches (the main focus being on task-based methodology), and process drama. The two supporting characters, change and motivation, also make their entrance. The curtain is then raised to reveal a performance of various teaching and learning experiences of the use of process drama in first and second language settings. This illustrates how process drama operates on a practical level and explores the offered potential for more authentic communication when this approach comes into contact with second language task-based methodology. Literature surrounding unit and lesson planning frameworks from the fields of both second language acquisition and process drama is then examined before the spotlight falls on the proposed 'Foreign language and Process drama' Unit and Lesson planning Framework. Illustrative models of the innovative framework together with concrete examples of its use are provided to represent more clearly how it can facilitate the creation of characters and contexts through which to communicate more authentically in the FL classroom. The closing curtain falls on a reflection of the entire project, which includes recommendations and possibilities for further research.

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No. of bitstreams: 1 DISSERTAÇÃO PRONTA PARA A ENTREGA.pdf: 2016785 bytes, checksum: 711faaa4e6641ee21a0db1c8fdae94e1 (MD5) / CAPES / Fruto do mestrado acadêmico realizado no Programa de Pós-graduação em Artes Cênicas da Universidade Federal da Bahia, a dissertação apresenta uma pesquisa-ação que se empenha em aproximar duas instâncias diferentes da prática teatral: o Process drama - método de ensino de origem inglesa, especializada no trabalho com crianças e adolescentes - e os processos de criação compartilhada - modelos organizacionais utilizados, prioritariamente, nas companhias profissionais. Para começarmos a discussão, nos dedicamos a entender a evolução histórica de cada procedimento, a analisar as ferramentas de que fazem uso para tornar possível suas visões e a explicar para o leitor qual, dentre todas as abordagens possíveis em cada método, é aquela que melhor se adequa à prática que propomos. Por isso, dialogamos com alguns dos principais autores que refletiram sobre as estratégias antes de nós: Beatriz Cabral (2006), Gavin Bolton (2007), David Hornbrook (1991), Flávio Desgranges (2006), Heloise Vidor (2010), Antônio Araújo (2009), Evill Rebouças (2009), Vicente Concílio (2010), Stela Fischer (2003), Rafael Ary (2015), Hamilton Vaz Pereira (2009), Valéria Maria de Oliveira (2005). Ao colocá-los lado a lado, abrimos a oportunidade de olhar para as características que os aproximam e as características que os afastam, podendo vislumbrar uma associação entre ambos que nos permita projetar uma abordagem do ensino de teatro, dentro da educação básica e pública, que se aproxime da prática cênica realizada no meio profissional. Considerando que essa imersão não estaria completa se estivesse limitada apenas a uma aproximação teórica, realizamos uma oficina de oito meses, no contra turno das aulas regulares, com estudantes de 11 e 12 anos, na Escola Municipal São Braz, localizada na cidade de Salvador. Durante 22 encontros, realizamos um mergulho no fazer coletivo ao criarmos, com o máximo de horizontalidade possível nesse contexto, uma apresentação pública, com produção de dramaturgia e de encenação próprias, baseada no romance Mar Morto, do escritor baiano Jorge Amado. Nesse percurso, pudemos abrir questionamentos acerca das potencialidades e das dificuldades de se realizar um processo criativo em compartilhamento, por meio dos dispositivos que selecionamos, no interior de uma estrutura escolar ainda hierarquizada. / As a result of the academic master's degree in the Postgraduate Program in Performing Arts of the Federal University of Bahia, this dissertation presents an action research that strives to approach two different instances of theatrical practice: Process drama - specialized in working with children and adolescents - and the processes of shared creation - organizational models used, as a priority, in professional companies. To begin the discussion, we set out to understand the historical evolution of each procedure, to analyze the tools they use to make their views possible, and to explain to the reader which of all possible approaches in each method is the one that is best appropriate to the practice that we propose. For this reason, we have dialogues with some of the main authors that reflected on the strategies before us: Beatriz Cabral (2006), Gavin Bolton (2007), David Hornbrook (1991), Flávio Desgranges (2006), Heloise Vidor (2005), Stella Fischer (2003), Rafael Ary (2015), Hamilton Vaz Pereira (2009), Valéria Maria de Oliveira (2005) and Evill Rebouças (2009). By putting them side by side, we have the opportunity to look at the characteristics that approach them and the characteristics that keep them apart and can see an association between both that allows us to design an approach to theater teaching, within basic and public education, that approach the scenic practice performed in the professional environment. Considering that this immersion would not be complete if it were only limited to a theoretical approach, we carried out an eight-month workshop in the evening of regular classes with students aged 11 and 12 at the São Braz Municipal School, located in the city of Salvador. During the 22 meetings, we took a dip in collective making by creating, with the maximum of horizontality possible in this context, a public presentation, with the production of own dramaturgy and staging, based on the novel Mar Morto, by the Bahian writer Jorge Amado. In this course, we were able to open questions about the potentialities and difficulties of performing a creative process in sharing, through the devices that we have selected, within a hierarchical school structure.

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