The main purpose of this study was to explore the relationships between age, temperament, emotional regulation, creative drama and preschoolers¡¦ creativity. The participants included 116 preschool children sampling from kindergartens in Taipei, Kaohsiung, and Hsinchu City. The employed instruments were The Childhood Temperament Inventory, The Checklist of Creative Drama Instruction, The Checklist of Emotional Regulation Strategy, and The Test of Creativity. The data were collected via observation, interviews, and questionnaires; and the applied analysis methods were Descriptives, One-way Multivariate Analysis of Variance, One-way Univariate Analysis of Variance, Canonical Correlation, and Discriminant Analysis. The main findings in this study were as follows¡G 1.While significant gender differences on temperament were found, no significant differences were found on the preschoolers¡¦ performances in emotional regulation and creativity. 2.The children in the big class outperformed those in the middle class on creativity. 3.Temperament had significant differences on the preschools¡¦ creativity; more specifically, those with positive temperament outperformed those with negative temperament on the overall creativity performance, and the temperament of ¡§persistence¡¨ had the highest correlation with the preschoolers¡¦ performances on ¡§novelty¡¨ and ¡§usefulness¡¨. 4.Emotional regulation had positive influences on the preschools¡¦ creativity; more specifically, the ¡§social strategy¡¨ of emotional regulation had the highest correlation with the preschoolers¡¦ performances on ¡§novelty¡¨ and ¡§usefulness¡¨. . 5.Creativity drama instruction had significant differences on the preschools¡¦ creativity performance as well as on ¡§novelty¡¨ and ¡§usefulness¡¨. 6.Age, temperament, emotional regulation, and creative drama could jointly predict the preschools¡¦ ability group of creativity. Finally, the researcher proposed some suggestions for educational instruction and future studies.

The purpose of this study was to investigate how Teachers¡¦ Drama Workshop established by elementary school teachers, and the systematic and consistent seminars helped increase teachers¡¦ specialty in drama teaching. The feedback to the workshop would be later examined to pass down plans and to develop suitable creative drama curriculum for elementary school. The research outcomes could serve as future reference to drama teaching in performing art. The focus of this study was on how the members in a teachers¡¦ specialized group cooperated, shared and interacted, and on the effectiveness of promoting specialty. This author used action research for investigation, starting from meeting the needs of the subjects involved, holding conversations, finding and solving problems. The conclusions were as follows. 1.Difficulties in promoting performing art curriculum in elementary school included the shortage of teachers, the ineffectiveness of seminars and teachers¡¦ lack of specialized knowledge. 2.The key to improve performing art curriculum and teaching was a systematic teacher training program. 3.Teachers¡¦ specialized groups helped teachers promoting the specialty, and shared and enriched their knowledge. 4.The feedback program helped teachers solving problems, and learned by teaching. 5.Teachers paid more attention on teaching goals when teaching drama. 6.As curricular designs differed in advantages, different designs should be well combined to make good use of all the advantages. 7.Creative drama curriculum in elementary school should include body exploring, sound and facial expression, puppets and masks, improvisation, storytelling, storytelling theater, drama appreciation, drama creation, exhibition and show. 8.There should be more than eight creative drama lessons in a semester and twenty lessons in a school year. 9.The content of creative drama teaching should be altered in proportion as the cognitive development of students changed. To succeed was to inspire students and cultivate their abilities year by year. 10.Designing and developing the Creative drama teaching lessons should experenced some stages, from brewing/preparation, development, integration to realization. During the process, some steps were also crucial, such as analyzing, discussing, designing, practicing, examining and correcting. The researcher offered the following suggestions. 1.The most important mission so far was teacher training. 2.Teachers should join more related seminars to increase their specialized knowledge in creative drama. 3.Creative drama curriculum should be promoted in elementary school to encourage open and multi learning and to help students develop fine personalities. 4.Curriculum should be put into practice step by step, and students¡¦ changes would thus be clearly traced. 5.Teachers should be encouraged to establish specialty groups of performing art, to form unions for strategy exchange so as to share and enrich their knowledge. This author also offered five points to ponder, hoping these research outcomes would be helpful reference for upgrading performing art teaching and enriching students¡¦ learning experience.

Doctor of Philosophy / Department of Curriculum and Instruction / Margaret G. Shroyer / John R. Staver / This study explored the inclusion of creative drama into science teaching as an instructional strategy for enhancing elementary school students' understanding of scientific concepts. A treatment group of sixth grade students was taught a Full Option Science System (FOSS) science unit on Mixtures and Solutions with the addition of creative drama while a control group was taught using only the FOSS teaching protocol. Quantitative and qualitative data analyses demonstrated that students who studied science through creative drama exhibited a greater understanding of scientific content of the lessons and preferred learning science through creative drama. Treatment group students stated that they enjoyed participating in the activities with their friends and that the creative drama helped them to better understand abstract scientific concepts. Teachers involved with the creative drama activities were positively impressed and believed creative drama is a good tool for teaching science. Observations revealed that creative drama created a positive classroom environment, improved social interactions and self-esteem, that all students enjoyed creative drama, and that teachers' teaching style affected students' use of creative drama. The researcher concluded that the inclusion of creative drama with the FOSS unit enhanced students' scientific knowledge and understanding beyond that of the FOSS unit alone, that both teachers and students reacted positively to creative drama in science and that creative drama requires more time.

The purpose of this action-research study is to explore a new pedagogical tool for myself as a teaching artist: Applied Design. My ideas around Applied Design are rooted in the field of Creative Drama, and grew out of a desire to explore theatrical design in the same process-centered way that Creative Drama explores informal and improvisational drama techniques. To this end, I attempt to determine how the use of Applied Design affects both student engagement and student understanding when applied as an interdisciplinary tool to Language Arts curriculum. For the purposes of this study, I introduced Applied Design as a discovery teaching methodology through a one-week Language Arts unit in a local fourth grade classroom. I collected data from the students, their classroom teacher and myself through questionnaires, written work and personal observation. As I examined the data, I discovered positive relationships between Applied Design and both student engagement and student understanding. Students responded to the discovery teaching methods enthusiastically, and embraced each design project with a dedication that appeared to inspire students to push through difficult moments in effort to complete each given task. Although the length of the study and amount of data generated limited my ability to draw widespread conclusions, the evidence suggests that further study in the applications of Applied Design is merited. This study also begins to discuss what such future study might look like, in effort to push the exploration of Applied Design forward. Ultimately, this action research study reinforced my conviction that process-centered theatrical design can serve as a useful tool for myself as a teaching artist, and inspired me to move forward in my understanding and exploration of its applications.

<p>Syftet med studien är att utvärdera och undersöka pedagogers inställningen till det pedagogiska dramat utifrån materialet Livsviktigt. Från syftet har vi formulerat följande frågeställningar:- I vilka situationer används pedagogiskt drama?- Hur anser pedagogerna att eleven utvecklas i samband med det pedagogiska dramat?- Vilken inställning har pedagogerna till pedagogiskt drama?För att besvara frågeställningarna har vi använt oss av en undersökande enkät med både öppna och fasta svarsalternativ. Enkäten besvarades av 102 pedagoger från Värnamo kommuns grundskolor.Resultatet av studien visar att pedagogiskt drama i undervisningen styrker barns självkänsla. Den visar också på en positiv inställning av pedagogerna till det pedagogiska dramat.</p> / <p>The objective of this study is to evaluate the attitude of a teacher in regard to creative drama related to material referred to as Livsviktigt. (The importance of life).</p><p>The following questions have been formulated from the result of the study:</p><p>- What are the situations in which creative drama can be used?</p><p>- How does the teacher consider the development of a student in relation to creative drama?</p><p>- What is the attitude of a teacher in regard to creative drama?</p><p>A questionnaire that invited both specific and non-specific answers has been used as a means of considering the formulation of the listed questions. The questionnaires have been completed by a total of 102 teachers representing all of the Elementary Schools in the Värnamo area.</p><p>The result of the study provides a clear indication that the inclusion of drama in the education of children serves to strengthen their self confidence. There is also an indication that a teacher will develop a more positive attitude toward creative drama.</p>

Syftet med studien är att utvärdera och undersöka pedagogers inställningen till det pedagogiska dramat utifrån materialet Livsviktigt. Från syftet har vi formulerat följande frågeställningar:- I vilka situationer används pedagogiskt drama?- Hur anser pedagogerna att eleven utvecklas i samband med det pedagogiska dramat?- Vilken inställning har pedagogerna till pedagogiskt drama?För att besvara frågeställningarna har vi använt oss av en undersökande enkät med både öppna och fasta svarsalternativ. Enkäten besvarades av 102 pedagoger från Värnamo kommuns grundskolor.Resultatet av studien visar att pedagogiskt drama i undervisningen styrker barns självkänsla. Den visar också på en positiv inställning av pedagogerna till det pedagogiska dramat. / The objective of this study is to evaluate the attitude of a teacher in regard to creative drama related to material referred to as Livsviktigt. (The importance of life). The following questions have been formulated from the result of the study: - What are the situations in which creative drama can be used? - How does the teacher consider the development of a student in relation to creative drama? - What is the attitude of a teacher in regard to creative drama? A questionnaire that invited both specific and non-specific answers has been used as a means of considering the formulation of the listed questions. The questionnaires have been completed by a total of 102 teachers representing all of the Elementary Schools in the Värnamo area. The result of the study provides a clear indication that the inclusion of drama in the education of children serves to strengthen their self confidence. There is also an indication that a teacher will develop a more positive attitude toward creative drama.

The purpose of this study was to create and evaluate the effects of a creative drama curriculum for English Language Learners. It was hypothesized that drama would be helpful in lowering the affective filter--psychological attributes that can impede language acquisition. A group of third graders who had good comprehension of English, yet, were reluctant to speak, and a group of sixth and seventh graders with fledgling English skills participated in the study. Participants' response to the drama curriculum was measured by pretest-posttest, observations, and interviews with both participants and their teachers. Results of the study revealed that drama was successful in considerably reducing the third grade participants' anxiety and increasing their confidence and motivation towards speaking English. There was evidence of positive benefit of the drama with the sixth and seventh graders, but there was little change in participants' anxiety, confidence and motivation towards speaking English.

In the Manifesto on Values (2001), Ubuntu is depicted as one of the ten democratic values and the Department of Education (DoE, 2001) portrays it as one of the most important values to promote citizenry. Ubuntu provides a sense of belonging to a wider community and encourages a child citizen to live as a responsible and constructive member. Utilising a qualitative research mode of inquiry, with an action research approach enabled me to collaboratively design of a socially constructed learning experience, with subject specialists. We explored the value of creative drama to teach Ubuntu as an abstract concept to Grade 3 learners. The focus of this study was on conceptualisation and not the implementation. These learners were exposed to creative drama, however for this study they did not actively engage in any creative drama activities. The main data generation techniques that had been used in this study were semi-structured interviews with a panel of subject experts, after which they had also completed a rubric to convey the strengths and weaknesses of the designed learning experience. This was done in a cyclic manner; as embedded in action research to strengthen the idea of action research already mentioned. From the study and the results of the study, it had become evident that creative drama could be used to strengthen school learners’ understanding of Ubuntu and to incorporate it in their everyday lives to become progressive child citizens and leaders within South Africa. By using the input and knowledge of expert participants, it had also become evident that learning could be made fun and would most likely then be more effective. / Dissertation (MEd)--University of Pretoria 2020. / Early Childhood Education / MEd / Unrestricted

The aim of the study is to investigate the effect of creative drama- based instruction on 7th grade students&rsquo / achievement in probability concept and their attitude toward mathematics. Another purpose of the study is to investigate the gender differences regarding mathematics achievement and attitude. The study was conducted with two 7th grade classes from a public school in the 2010-2011 academic year, lasting 17 lesson hours (six weeks). Twenty-two of the participants received Creative Drama Based Instruction (CDBI), and twenty-one received Regular Instruction (RI). Experimental design was used in which two different learning environments / creative drama based instruction and regular instruction was compared. In order to measure students&rsquo / mathematics achievement Probability Achievement Test (PAT) was used. The participants were given Mathematics Attitude Scale (MAS), in order to quantify the levels of attitude towards mathematics. These instruments were implemented before and after the treatment as pre-test and post-test. Independent samples t-test was performed on gain scores of PAT and MAS. Moreover, two way ANOVA was performed to examine the data. Two way ANOVA results yielded that there was a statistically significant difference between the mean scores of Experimental Group and Control Group in terms of achievement in favor of Experimental Group. Moreover, female students had significantly higher mathematics achievement scores than males. The results of mathematics attitude scale showed that the seventh grade students&rsquo / attitudes towards mathematics were not significantly different with respect to teaching method. Also, it could be stated that gender difference regarding of mean attitude scores was not statistically significant.

Förskolan har en läroplan att utgå ifrån vad gäller innehåll och målsättning i det pedagogiska arbetet. Läroplanen har omarbetats och reviderats och detta har lett till konsekvenser i förskolan som verksamhet. Ett ämne som påverkats är drama som är ett av de estetiska uttrycksformerna där även t.ex. musik, bild och rörelse ingår. Den här studiens syfte är att undersöka vilka möjligheter pedagogerna i förskolan har att arbeta med drama utifrån läroplanen och andra kringliggande ramfaktorer. Genom att analysera både avverkade och aktuella styrdokument för förskolan, samt intervjua yrkesaktiva pedagoger på olika verksamheter framkom det tydligt att handling påverkar konsekvens. Resultatet visar att pedagoger upplever sig styrda av läroplanen, trots läroplanens utveckling från vad som skulle kunna kallas en handbok till ett dokument öppet för egna tolkningar. Drama som ämne kan anses ha låg status där det bortprioriteras, inte av ointresse men på grund av att andra ämnen prioriteras högre. Ramar som tid, kompetens och den politiska styrningen påverkar också det konkreta pedagogiska arbetet. Vilka ramar som pedagogerna själva upplever påverkar dem är ramarna i verskamhetens direkta närhet. Faktorer utifrån var för pedagogerna inte lika synliga. / Swedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.