Prenant le parti de la valeur mutative du psychodrame psychanalytique, cette recherche vise une description métapsychologique de ce qui en fonde l'efficacité, comme de ses spécificités dans la mise en oeuvre des desseins psychothérapiques de la psychanalyse. L'exemple du renforcement pulsionnel propre à l'adolescence questionne les capacités de symbolisation et de montage pulsionnel permis tant par l'appareil psychique que par les dispositifs (de prothèse ou de détour) que sont les dispositifs psychothérapiques. Trois études longitudinales constituées par des récits de cures psychodramatiques d'adolescents donnent un appui à la construction d'une « figurabilité» spécifiquement psychodramatique grâce à trois opérateurs, nommés le « narratif », le « scénique » et le « dramatique ». Le but de cette recherche est la fabrique métapsychologique de ces opérateurs à l'intersection de la pratique en séance et de la littérature psychanalytique. La notion freudienne de « figurabilité » sert de cadre à la construction de ces opérateurs et à ce qu'ils articulent des capacités de symbolisation du psychisme et de celles d'un dispositif de psychothérapie. La continuité d'un éprouvé de subjectivation permis par l'opérateur du « narratif » se complète des spécificités fictionnelles de la narrativité psychodramatique. De salutaires contournements des mécanismes de censure et une plus ample fréquentation de la réalité psychique soutiennent ainsi la mise en forme des quantités pulsionnelles. La circulation de la notion de « scène » dans la métapsychologie décrit la dimension processuelle que soutient l'opérateur du « scénique ». Si la mise en scène est au service du saisissement conscient, elle opère aussi par le recours à l'hallucinatoire. Ce que la scène du psychodrame permet d'une distinction des objets et contraint d'un commerce avec eux est un facteur subjectivant d'« objectalisation » qui fait contrepoids au repli narcissique. L'objet fabriqué par le psychodrame naît des capacités d'accordage de la scène psychodramatique, celles-ci étant décrites à travers leur usage singulier de la transitionnalité. Enfin, l'opérateur du « dramatique » déploie la fécondité des modes de présence de l'acte dans la représentation psychodramatique. L'excitation véhiculée par le jeu en groupe appelle un travail constant de mise en forme qui utilise divers médiums expressifs. L'objet est à la fois celui qui provoque les quantités d'excitation et celui qui en soutiendra la liaison. L'activité figurative s'articule à une activité pare-excitante qui peut relancer l'activité régulatrice du refoulement. Entre impression et expression, l'activité esthétique du jeu de l'acteur consiste en la modulation des valeurs attribuées aux représentations. Le « dramatique » peut alors se définir comme un art des variations en quête de sens. Les objets de sens issus de ces variations d'affectation sont ensuite détaillés comme visée topographique et subjectivante des entrelacs entre réalité matérielle et réalité psychique. Par sa mise en jeu et en scène, une place de représentation est plus aisément donnée ou re-donnée au transfert afin d'en défaire la potentialité agissante. Pour finir, le dernier récit clinique permet de montrer l'utilité et le caractère structurant de ces opérateurs dans la mise en scène adolescente du second acte de la dramaturgie oedipienne. / Granting that psychoanalytic psychodrama can effect change, this project seeks to produce both a metapsychological description of the basis for its effectiveness and an account of the specific ways in which it pursues the therapeutic aims of psychoanalysis. The example of adolescent drive reinforcement raises questions about the capacities for symbolization and for the organization of drives that are made possible as often by the psychic apparatus as by the mechanisms (whether of prostheses or of detours) of psychotherapy. Three longitudinal studies, narratives of psychodramatic treatments of adolescents, anchor the construction of a specifically psychodramatic "figurability" with three modalities, the "narrative", the "scenic", and the "dramatic". This research project aims to produce a metapsychological account of these modalities at the intersection between clinical practice and the psychoanalytic literature. The Freudian notion of "figurability" serves as the framework for constructing these modalities and for representing their capacity to symbolize the psyche and to articulate a psychotherapeutic instrument. The continuity of an experience of subjectivization permitted by the "narrative" modality is completed by the fictional specificities of psychodramatic narrativity. Salutary evasions of the mechanisms of censorship and increased commerce with psychic reality thus support the shaping of drive quantities. The circulation of the notion of "scene" in metapsychology describes the dimension of process that is supported by the "scenic" modality. If the staging is at the service of a conscious awareness, it also operates through recourse to the hallucinatory. What the scene of psychodrama permits regarding a distinction of objects and constraints regarding interactions with them, is a subjectivizing factor of "objectalization" that provides a counterweight to narcissistic retreat. The object created by the psychodrama grows out of the capacities for harmonization of the psychodramatic scene, the capacities being described through their singular use of transitionality. Finally, the "dramatic" modality unfolds the fecundity of the modes of presence of the act in psychodramatic representation. The excitement conveyed by group play-acting calls for a constant work of shaping which uses various expressive media. The object is at once the one that provokes quantities of excitement and the one that will support their linking. The figurative activity is articulated with a protective shield that can relaunch the regulating activity of repression. Between impression and expression, the aesthetic activity of the actors performance consists in the modulation of the values attributed to the representations. The "dramatic" can then be defined as an art of variations in search of meaning. The meaningful objects that emerge from these variations of affectation are then scrutinized as the topographic and subjectivizing aim of the interlacings between material reality and psychic reality. By being set into play and put on stage, a place of representation is more easily given or restored to the transference so as to undo its "agieren" effective potentiality. In conclusion, the last clinical narrative makes it possible to show the utility and the structuring character of these modalities in the adolescent staging of the second act of the Oedipal drama.

The main concern of this thesis was to investigate the possibility of implementing a Western Classical music listening programme for teacher training through integrated arts in Early Childhood Development (ECD). The outcome of this thesis suggests that it is possible to train musically untrained teachers at a one-day practical workshop how to introduce young learners in an acceptable and enjoyable way to Western Classical music. At these workshops, teachers had to dress up in homemade fantasy outfits to depict different characters in stories to music which they had to dramatize. The costumes turned the listening activity into a fun-filled experience which ensured the success of the training. The teachers were mostly generalists without any previous specialized music training. These teachers needed knowledge and skills to integrate the arts in the Early Childhood learning programme. In this programme, a selection of Western Classical music pieces is vividly brought to life through storytelling, dramatization, creative dance movements, instrumental play and the visual arts. Example lessons from the proposed listening programme were implemented during a pilot study in Mauritius with Creole and French speaking ECD teachers who were unfamiliar with Western Classical music. It became evident through the main research study that took place in underprivileged areas in Gauteng, Limpopo and Mpumalanga provinces in South Africa that most black African teachers were also unfamiliar with this music style. Both the pilot study and the main research showed that the methodology of the proposed listening programme is suitable for the training of ECD teachers from different cultures and language groups. Teachers in remote areas made it their responsibility to look for, find or fabricate resources for costumes they could not afford. It has proved to be an effective method that can be implemented at grass-roots level in underprivileged areas and used as a guideline for the integration of the arts throughout South Africa and other countries. The study concludes with recommendations to implement the proposed listening programme at all primary schools in South Africa. / Thesis (DMus)--University of Pretoria, 2007. / Music / DMus / unrestricted

The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.

This diploma thesis deals with activating teaching methods and their application into a teaching process in music education. The theoretical part deals with specific methods; e.g. comics, pantomime, reflection, visualization of listening activities, live pictures, or didactic games. The choice of selected methods depends on the particular class sample in which the methods of music education were used. Besides that, it reflects the range of the thesis itself. The practical part focuses on the implementation of activating methods in the educational process. The research was realized at the first stage of elementary education, the classes and activating methods were chosen to cover all the grades. The age of middle childhood has typical features which are essential for the development of musical skill and abilities. The range of the first stage of elementary schools is beneficial for the full implementation of the methods into music lessons. The end of the thesis brings some examples of materials showing how to work with these methods in the music education process. The working sheets are meant for students of music education and other courses as a source of inspiration helping with cross-curricular cooperation.

The aim of the study is to bring knowledge about educator's experiences of and perceptions about dramatizing based on children's books in preschool and how it can promote children's learning and development. Semi-structured qualitative interviews were used as a method. Some interviews were conducted online through Zoom and other interviews were answered in paper. The choice to use online interviews was made due to the prevailing Covid19 pandemic.  Results show that educator's have experiences of and perceptions of dramatizing based on children's books. In this study som examples of methods are presented which are being used to dramatize childrens books. According to the educator's, dramatization based on children's books can promote children's learning and development by the children developing and strengthening their self-confidence, ability to process emotions, social interaction and their thoughts. The conclusion of the study shows that it’s of great importance to start from the children's interest in and attachment to specific children's books. Children can be scaffolded by the educator with the help of props to develop their own actions and to immerse themselves in the story in the dramatization.

Prenant le parti de la valeur mutative du psychodrame psychanalytique, cette recherche vise une description métapsychologique de ce qui en fonde l'efficacité, comme de ses spécificités dans la mise en oeuvre des desseins psychothérapiques de la psychanalyse. L'exemple du renforcement pulsionnel propre à l'adolescence questionne les capacités de symbolisation et de montage pulsionnel permis tant par l'appareil psychique que par les dispositifs (de prothèse ou de détour) que sont les dispositifs psychothérapiques. Trois études longitudinales constituées par des récits de cures psychodramatiques d'adolescents donnent un appui à la construction d'une « figurabilité» spécifiquement psychodramatique grâce à trois opérateurs, nommés le « narratif », le « scénique » et le « dramatique ». Le but de cette recherche est la fabrique métapsychologique de ces opérateurs à l'intersection de la pratique en séance et de la littérature psychanalytique. La notion freudienne de « figurabilité » sert de cadre à la construction de ces opérateurs et à ce qu'ils articulent des capacités de symbolisation du psychisme et de celles d'un dispositif de psychothérapie. La continuité d'un éprouvé de subjectivation permis par l'opérateur du « narratif » se complète des spécificités fictionnelles de la narrativité psychodramatique. De salutaires contournements des mécanismes de censure et une plus ample fréquentation de la réalité psychique soutiennent ainsi la mise en forme des quantités pulsionnelles. La circulation de la notion de « scène » dans la métapsychologie décrit la dimension processuelle que soutient l'opérateur du « scénique ». Si la mise en scène est au service du saisissement conscient, elle opère aussi par le recours à l'hallucinatoire. Ce que la scène du psychodrame permet d'une distinction des objets et contraint d'un commerce avec eux est un facteur subjectivant d'« objectalisation » qui fait contrepoids au repli narcissique. L'objet fabriqué par le psychodrame naît des capacités d'accordage de la scène psychodramatique, celles-ci étant décrites à travers leur usage singulier de la transitionnalité. Enfin, l'opérateur du « dramatique » déploie la fécondité des modes de présence de l'acte dans la représentation psychodramatique. L'excitation véhiculée par le jeu en groupe appelle un travail constant de mise en forme qui utilise divers médiums expressifs. L'objet est à la fois celui qui provoque les quantités d'excitation et celui qui en soutiendra la liaison. L'activité figurative s'articule à une activité pare-excitante qui peut relancer l'activité régulatrice du refoulement. Entre impression et expression, l'activité esthétique du jeu de l'acteur consiste en la modulation des valeurs attribuées aux représentations. Le « dramatique » peut alors se définir comme un art des variations en quête de sens. Les objets de sens issus de ces variations d'affectation sont ensuite détaillés comme visée topographique et subjectivante des entrelacs entre réalité matérielle et réalité psychique. Par sa mise en jeu et en scène, une place de représentation est plus aisément donnée ou re-donnée au transfert afin d'en défaire la potentialité agissante. Pour finir, le dernier récit clinique permet de montrer l'utilité et le caractère structurant de ces opérateurs dans la mise en scène adolescente du second acte de la dramaturgie oedipienne. / Granting that psychoanalytic psychodrama can effect change, this project seeks to produce both a metapsychological description of the basis for its effectiveness and an account of the specific ways in which it pursues the therapeutic aims of psychoanalysis. The example of adolescent drive reinforcement raises questions about the capacities for symbolization and for the organization of drives that are made possible as often by the psychic apparatus as by the mechanisms (whether of prostheses or of detours) of psychotherapy. Three longitudinal studies, narratives of psychodramatic treatments of adolescents, anchor the construction of a specifically psychodramatic "figurability" with three modalities, the "narrative", the "scenic", and the "dramatic". This research project aims to produce a metapsychological account of these modalities at the intersection between clinical practice and the psychoanalytic literature. The Freudian notion of "figurability" serves as the framework for constructing these modalities and for representing their capacity to symbolize the psyche and to articulate a psychotherapeutic instrument. The continuity of an experience of subjectivization permitted by the "narrative" modality is completed by the fictional specificities of psychodramatic narrativity. Salutary evasions of the mechanisms of censorship and increased commerce with psychic reality thus support the shaping of drive quantities. The circulation of the notion of "scene" in metapsychology describes the dimension of process that is supported by the "scenic" modality. If the staging is at the service of a conscious awareness, it also operates through recourse to the hallucinatory. What the scene of psychodrama permits regarding a distinction of objects and constraints regarding interactions with them, is a subjectivizing factor of "objectalization" that provides a counterweight to narcissistic retreat. The object created by the psychodrama grows out of the capacities for harmonization of the psychodramatic scene, the capacities being described through their singular use of transitionality. Finally, the "dramatic" modality unfolds the fecundity of the modes of presence of the act in psychodramatic representation. The excitement conveyed by group play-acting calls for a constant work of shaping which uses various expressive media. The object is at once the one that provokes quantities of excitement and the one that will support their linking. The figurative activity is articulated with a protective shield that can relaunch the regulating activity of repression. Between impression and expression, the aesthetic activity of the actors performance consists in the modulation of the values attributed to the representations. The "dramatic" can then be defined as an art of variations in search of meaning. The meaningful objects that emerge from these variations of affectation are then scrutinized as the topographic and subjectivizing aim of the interlacings between material reality and psychic reality. By being set into play and put on stage, a place of representation is more easily given or restored to the transference so as to undo its "agieren" effective potentiality. In conclusion, the last clinical narrative makes it possible to show the utility and the structuring character of these modalities in the adolescent staging of the second act of the Oedipal drama.

This study concerns school reform in Malta. Under the policy framework ‘For All Children to Succeed’ (Ministry of Education, Youth & Employment, 2005) [henceforth referred to as FACT], Maltese state schools embarked on the process of being organized into networks called ‘colleges’. These consisted of primary and secondary schools according to geographical location, under the leadership of the Principal – a newly-designated role hierarchically above that of the individual Heads of School. The purpose of my research is to explore relations of power in a Maltese college. My study gives prominence to both theory and methodology. The theoretical research question investigates how networking unfolds among the various leadership hierarchies in school governance in a Maltese college. This is explored through the performance of policy-mandated collegiality; the circulating relations of power; and leadership distribution. My study is framed within a postmodern paradigm and adopts a Foucauldian theoretical framework, more specifically his concepts of power, discipline, governmentality, discourse, and subjectification. Data for my case study are collected through semi-structured, in-depth interviews; observation of a Council of Heads meeting; and a documentary analysis of FACT. Narrative is not only the phenomenon under exploration, but also the method of analysis, and mode of representation. Thus, I attempt to answer my methodological research question that investigates the ways a researcher negotiates the methodological tensions and contradictions in the conduct of qualitative inquiry in order to construct knowledge differently. The Maltese college is viewed as a surveillance mechanism by both the Principal and the Heads, with collegiality being regarded as a straitjacket imposed by the State through a policy mandate. However, there is unanimous agreement on conscription being the only way forward for Maltese state schools. Different degrees of ‘support’ and empowerment exist, according to the directives of the Principal and the State. College setup is problematized on geographical clustering and college streaming, due to which it may end up defying the primary aim of networking by clustering students from particular areas in isolation, resulting in social injustice and educational inequality. This study exposes a strong sense of sectoral isolation among the Heads – a situation being mirrored at macro-level with very few opportunities for inter-networking among colleges. There is an asymmetrical power flow among the college schools, both within the same level and across different levels. Despite the policy FACT mandating distributed leadership, hierarchical forms of accountability are still inherent within the system, bringing out a tension between autonomy and centralization.

The thesis looks at the Czech life of the Flowers for Algernon short story written by Daniel Keyes. It aims to present an analytical comparison of the short story translations and dramatizations created in the Czech cultural environment and to define their invariants. The theoretical part of the thesis informs the reader about the life and work of Daniel Keyes and depicts the process of creation of the short story in question. Furthermore, it outlines its main themes and stylistic features, as well as its reception both in the U. S. and abroad. Special attention is paid to the reception in Czechoslovakia, or rather the Czech Republic, namely to the two short story translations (Černý, 1976; Markus, 2003) and the three original dramatizations (Říhová, 1988; Hruška, 1993; Heger, 2010). All pieces of work are presented in their broader socio-cultural context, with due regard to their authors. This contextualisation lays the foundations for the subsequent translatological analysis, which is based on Gideon Toury's descriptive model (1995). In accordance with Toury, the Czech short stories are seen as products of the target culture. Therefore, the assumed translations are first assessed in terms of their acceptability in this culture and these hypotheses are then tested by means of comparison of...

Cette thèse prend pour objet des situations d’apprentissage guidé du français, en face à face et en dehors de cadres institutionnels, se déroulant dans le contexte multilingue du Luxembourg. Elle décrit et analyse des interactions entre des locuteurs plurilingues adultes dont la première langue est le chinois ou le coréen et des locuteurs plurilingues agissant en tant qu’experts pour la langue française. Plus particulièrement, dans l’optique d’une analyse qualitative des données, ce travail s’efforce d’appliquer les outils de l’analyse conversationnelle d’inspiration plutôt anglo-américaine à une vision didactique de tradition de langue française. Pour ce faire, il est fait appel aux notions de compétence communicative (Hymes 1972), de dramatisation (Goffman 1991) et de rôle social (Cicurel 1988). L’analyse montre que dans des situations d’apprentissage-en-interaction, les apprenants et les experts ont recours à une diversité de ressources interactionnelles liées à des activités de dramatisation : le dialogue-en-situation, la voix, la séquence préfabriquée, la séquentialité discursive, la réparation, la séquence explicative, le récit préenregistré, l’évaluation, le récit enchâssé, l’identité, le récit conversationnel de l’expert, l’interview, le récit conversationnel de l’apprenant et le mode éditeur. Pour conclure, un rapprochement est opéré entre ces activités de dramatisation et la didactique du FLE, à plusieurs niveaux, sous la forme de recommandations suggestions. / The current thesis focuses on guided language learning exchanges in French, in a face-to-face non-institutional setting in the multilingual context of Luxembourg. It describes and analyzes interactions between adult plurilingual speakers whose first language is Chinese or Korean and multilingual speakers acting as experts for the French language. Taking a qualitative analysis approach, our work strives to apply the tools of conversation analysis of a rather Anglo-American origin to a vision of “didactique” corresponding to the French language tradition. To this end, we rely in particular on the notions of communicative competence(Hymes 1972), dramatization (Goffman 1991) and social role (Cicurel 1988). The analysis of learning-in-interaction data shows the enactment of a variety of dramatization-related interactional resources by both learners and experts: the situated dialogue, the voice, the formulaic language, the discursive sequentiality, the repair, the explanatory sequence, the pre-recorded conversational narrative, the evaluation, the embedded narrative, the identity, the conversational narrative of the expert, the interview, the conversational narrative of the learner and the editor mode. A few recommendations-suggestions are proposed in the conclusion, focusing on how these dramatization activities could inform, at different levels, the development of French teaching and learning.

PINHEIRO , Francisco Pablo Huascar Aragão. A arte e a brincadeira e suas interfaces com a dramatização em psicologia comunitária: um estudo de processos de mediação simbólica. 2008. 110f. Dissertação (Mestrado em Psicologia) – Universidade Federal do Ceará, Departamento de Psicologia, Programa de Pós-Graduação em Psicologia, Fortaleza-CE, 2008. / Submitted by moises gomes (celtinha_malvado@hotmail.com) on 2012-01-09T13:48:37Z No. of bitstreams: 1 2008_dis_FPHAPinheiro.PDF: 884806 bytes, checksum: 3e4026804377deb0ef7b115a18704f6e (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-01-09T14:23:03Z (GMT) No. of bitstreams: 1 2008_dis_FPHAPinheiro.PDF: 884806 bytes, checksum: 3e4026804377deb0ef7b115a18704f6e (MD5) / Made available in DSpace on 2012-01-09T14:23:03Z (GMT). No. of bitstreams: 1 2008_dis_FPHAPinheiro.PDF: 884806 bytes, checksum: 3e4026804377deb0ef7b115a18704f6e (MD5) Previous issue date: 2008 / This work has the purpose of investigate how occur the process of symbolic mediation through the use of dramatization techniques in Community Psichology’s interventions, having the will to comprehend and theoretically articulate the dramatization technique with related questions to art and play. The theoric bases are found in the Cultural-Historical theory for the comprehension of the psychical unctioning and the psychological mediated process. The empiric study was fulfilled in the context of a Community Psichology’s intervention situation with a group of teenagers from a NGO at Fortaleza, being analyzed only one meeting in which the dramatization technique has been worked with and the topic of the debate was “adolescence”. The intervention situation choosed for analysis was registered in video, specifically the dramatized activity, acknowledging that in it’s different stages, the initial debate phase (warming), the dramatization itself and the later moment of reflexion generated by the dramatization. The analysis proceeding was handed as interpretative-construtive, in a way that was realized a contend analysis with the intent to produce clues that allowed to trace links of of intelligibility on the studied phenomena. Observing that the question in the analyzed meeting was the way how the teenagers of the group conceived and qualified the characteristics and papers captured as relevant to “teenager”, two analysis categories were elected: “Social Knowledge” and “Moral Judgment”. The analysis results point to the constructions allowed by the dramatization and are considered in the possible articulations between the art, the play, and the psychical functioning. In this sense, the dramatization situation can constitute a mediated process, in so far as translate and objectifies not only an individual experience, but also says about a living per passed by the history of the place and the social interactions made, and also opens space for the re-elaboration of the experience as creator act. In the same time, the dramatization can be comprehended as an imagination act, so as it is conceived the play in a cultural-historical vision, meaning that it isn’t conceived as an isolated symbolic act, but it is linked to the imagination, that, just as the others psychical functions, is originated by the action. Therefore, the imagination is captured as the toy without action and composes the scenery of dramatization. / Este trabalho intenta investigar como se dão os processos de mediação simbólica através do uso de técnicas de dramatização em intervenções de Psicologia Comunitária, tendo em vista compreender e articular teoricamente a técnica de dramatização com questões relativas à arte e à brincadeira. As bases teóricas se fundamentam na teoria histórico-cultural para a compreensão do funcionamento psíquico e dos processos psicológicos mediados. O estudo empírico foi realizado no contexto de uma situação de intervenção em Psicologia Comunitária com um grupo de jovens de uma ONG em Fortaleza, sendo analisado apenas um encontro em que se trabalhou com a técnica de dramatização, no qual o tema do debate era a “adolescência”. Foi feito o registro em vídeo da situação de intervenção escolhida para análise, especificamente a atividade dramatizada, compreendendo esta em suas diferentes etapas, a fase de debate inicial (aquecimento), a dramatização propriamente dita e o momento de reflexão posterior gerado a partir da mesma. O procedimento de análise foi tomado como construtivo-interpretativo, de modo que se realizou uma análise de conteúdo com a intenção de produzir indícios que permitissem traçar nexos de inteligibilidade diante dos fenômenos estudados. Tendo em vista que no encontro analisado estava em questão o modo como os participantes do grupo concebiam e qualificavam características e papéis tomados como pertinentes à “adolescência”, elegeu-se duas categorias de análise, a saber: “conhecimento social” e “julgamento moral”. Os resultados da análise apontam para as construções possibilitadas a partir da dramatização e são considerados nas articulações possíveis entre a arte, a brincadeira e o funcionamento psíquico. Neste sentido, a situação de dramatização pode se constituir um processo mediado, na medida em que traduz e objetifica não somente uma experiência individual, mas também diz de uma vivência perpassada pela história do lugar e pelas interações sociais estabelecidas, bem como abre espaço para reelaboração da experiência como ato criador. Ao mesmo tempo, a dramatização pode ser compreendida como ato de imaginação, assim como é concebida a brincadeira numa visão histórico-cultural, ou seja, esta não é concebida como uma ação simbólica isolada, mas está vinculada à imaginação, que tal como as demais funções psicológicas superiores, é oriunda da ação. A imaginação, portanto, é tomada como o brinquedo sem ação e compõe o cenário da dramatização.