The thesis charts development of drama education, related changes in education system, specific forms and possibilities of drama teachers education. It focuses more detailed on the period from the 60th of the 20th century (the beginning of constitution the field of drama education) to the end of the nineties (changes related with the establishment of drama education at universities). The development is divided into six periods by significant changes in the developent of drama teachers education. The thesis follows drama teachers' education system transformations, describes education courses and seminars (their aims, contents, forms, methods, etc.), outlines the possibilities of education of drama teachers today. Powered by TCPDF (www.tcpdf.org)

This Diploma Thesis researches the position of drama education at a first level at elementary schools in Prague and Central Bohemia. The Diploma Thesis is divided into two parts. The theoretical part describes the overall drama education, its principles, methods, objectives, content, and its representation in the Framework educational program. The practical part inquires answers to research questions by questionnaire survey, observation and interviews. It deals with the degree of integration of drama education into the teaching process, confirming of methods application and techniques of drama education in the tuition and indicate positive and limiting factors in the application of drama education in the tuition. Keywords drama education, elementary school, Framework educational program, School educational program, methods of drama education

The aim of the thesis is to present the phenomena of game that is an inspiration for many methods of teaching French, as well as to point out the idea of all the other options how to teach children independently of a schoolbook. The objective is not to downgrade the schoolbook, which definitely belongs to the traditional teaching, but to emphasise the role of the game that is not less important. The work defines the areas (drama, music and diverse types of games) which are closely related to the game. Furthermore, in teaching French it focuses on dramatic education being postulated as an ideal mean to the whole child's personality activation, and on the development of the ability to react autonomously in a foreign language. The work covers the analysis of two schoolbooks and deals with the question whether game activities or dramatic education elements are included. In conclusion there is a description of the project realised in school year 2010-2011 which is aimed to teaching without schoolbook.

The subject of my task deals with the work of disabled theatre performers with the aim to analyze and describe the entire process of creation of a theatre performance in an amateur assemble. Furthermore, the benefit of the dramatic production for both personal as well as social development of the disabled performers, derived from the theoretical assumptions, was evaluated. The work at first highlights the features and classification of the metal retardation degree and is trying to inform about very special expressive approaches in both therapeutics and pedagogy. Much attention is paid to the drama-related therapies, such as dramatherapy and especially teatrotherapy which will underline the outcome of the whole creation process - a performance. The dramatic production itself, set within the framework of the expressive abovementioned therapies, is influenced by the way of the dramatic education and, therefore, its fundamental principles and methods of its creation are presented as well. Through the common instruments employed in the quality research, i.e. the observations and interviews with the participants in the drama-creation scheme, the whole process of the performance creation from rehearsal to the premiere is explored. The research was conducted in a Prague research body dealing with leisure...

Experienced by thousands of children every year, professional theatre for young audiences TYA) is still a relatively new and understudied phenomenon in Canada. The purpose of this research has been to learn why teachers bring their students to the theatre, specifically Young People’s Theatre (YPT), and to determine how these connect to the perceptions of those who work at and with the theatre. In order to understand the complexities of the impetus to bring students to YPT, the limitations and successes teachers encounter in doing so, this ethnographic study was situated at the intersection of spatial and curriculum theories and has included surveys, interviews and participatory observation. This research provides greater understanding of the challenges and benefits of including theatre-going in one’s educational repertoire. These new insights contribute to contemporary scholarship on aesthetic education and arts-based community building and provide opportunities for further research about teaching and learning through theatre.

Experienced by thousands of children every year, professional theatre for young audiences TYA) is still a relatively new and understudied phenomenon in Canada. The purpose of this research has been to learn why teachers bring their students to the theatre, specifically Young People’s Theatre (YPT), and to determine how these connect to the perceptions of those who work at and with the theatre. In order to understand the complexities of the impetus to bring students to YPT, the limitations and successes teachers encounter in doing so, this ethnographic study was situated at the intersection of spatial and curriculum theories and has included surveys, interviews and participatory observation. This research provides greater understanding of the challenges and benefits of including theatre-going in one’s educational repertoire. These new insights contribute to contemporary scholarship on aesthetic education and arts-based community building and provide opportunities for further research about teaching and learning through theatre.

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula.

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula.

This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.

Adults working as teachers and doctors can find it difficult to communicate well with young people about the issues that affect their wellbeing and learning and thus miss opportunities to contribute when their clients experience adversity. Drama is often used as a pedagogical tool to assist people to develop their communication skills. Dramatic portrayals however, can reinforce rather than challenge limiting stereotypes, and there is the potential for learning through drama to contribute to a patronising world-view and lead to the assumption that a set of formulaic approaches can bridge the communication divide. There is thus a need for research that engages both theoretically and technically with the use of drama as a tool for applied learning. In this thesis, a reflective practitioner methodology is used to explore the use of drama as a method in participatory enquiry and as a tool in the professional education of teachers and doctors. Use of the practitioner perspective permits analysis of the alignment between theory and practice. The Learning Partnerships project provides the context within which to conduct this enquiry. In this project the researcher leads drama workshops that bring together classes of school students and tertiary students completing their studies in medicine or education. The adolescents work as co-investigators with the teachers and doctors, exploring how to communicate effectively in the institutional contexts of schools and clinics.