How do conventional performance-based models of drama in high schools serve to oppress students? How can Applied Drama models serve to emancipate students? This thesis invites educators to imagine drama programs in high schools as being capable of employing the use of imaginative dramatic arts processes for their emancipatory potential aimed to break oppressive habits and to rehearse alternative dialogue and action in the lives of students. Drama processes in high schools could be designed within an emancipatory paradigm of curriculum-making. Instead of designing drama programs around the goal of producing scripted theatre performances, drama programs in high schools can be designed with the goal of engaging students imaginations. Specifically, Applied Drama processes have the potential to nurture students social and moral imaginations which, in turn, allow students to become more empathetic. Moreover, through dramatic role-play, students enter an imaginary world and rehearse alternative ways of acting in the world. If the dramatic role-play addresses issues of oppression in the world, then the imaginary world presents scenarios in which students can rehearse emancipatory ways of acting and thinking about their lived reality. Specifically, Applied Drama processes are best suited for emancipatory, imaginative drama programs in high schools. In this thesis, I also discuss the importance of reflection in emancipatory drama processes.

How do conventional performance-based models of drama in high schools serve to oppress students? How can Applied Drama models serve to emancipate students? This thesis invites educators to imagine drama programs in high schools as being capable of employing the use of imaginative dramatic arts processes for their emancipatory potential aimed to break oppressive habits and to rehearse alternative dialogue and action in the lives of students. Drama processes in high schools could be designed within an emancipatory paradigm of curriculum-making. Instead of designing drama programs around the goal of producing scripted theatre performances, drama programs in high schools can be designed with the goal of engaging students imaginations. Specifically, Applied Drama processes have the potential to nurture students social and moral imaginations which, in turn, allow students to become more empathetic. Moreover, through dramatic role-play, students enter an imaginary world and rehearse alternative ways of acting in the world. If the dramatic role-play addresses issues of oppression in the world, then the imaginary world presents scenarios in which students can rehearse emancipatory ways of acting and thinking about their lived reality. Specifically, Applied Drama processes are best suited for emancipatory, imaginative drama programs in high schools. In this thesis, I also discuss the importance of reflection in emancipatory drama processes.

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.

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

Syftet med denna systematiska litteraturstudie är att undersöka vad nationell och internationell forskning från de senaste två decennierna har att säga om dramapedagogik. Därtill har studien för avsikt att undersöka vad som kan uppnås genom att använda dramapedagogik i undervisningen och hur det påverkar elevernas utveckling. Materialet har valts ut genom databassökningar och manuella sökningar. Därefter har materialet analyserats och kategoriserats och 18 kvalitativa och kvantitativa vetenskapliga texter har valts ut. De aktuella studierna är publicerade i åtta olika länder, mellan år 2000 och år 2023.  Resultatet av studien pekar på att dramapedagogik är ett gynnsamt verktyg i undervisning. Forskningen visar en samstämd bild av att pedagogiskt drama både täcker in och stärker arbetet med värdegrundsfrågor, samt inlärning av rena ämneskunskaper. Det finns starka belägg för att pedagogiskt drama gynnar elevers personliga utveckling, empatiska förmåga, gruppkänsla och motivation. En del av forskningen säger att lärare gärna vill arbeta mer med dramapedagogik, men att de upplever brist på både kunskap och tid för undervisningsmetoden.

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.

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This thesis is a reflective exploration of the use and impact of using drama pedagogies in the English as a Second Language (ESL)/ English as a Foreign Language (EFL) classroom. It stems from the problem of secondary school English language learning in Malaysia, where current teaching practices appear to have led to the decline of the standard of English as a second language in school leavers and university graduates (Abdul Rahman, 1997; Carol Ong Teck Lan, Anne Leong Chooi Khaun, & Singh, 2011; Hazita et al., 2010; Nalliah & Thiyagarajah, 1999). This problem resonates with my own experiences at school, as a secondary school student, an ESL teacher and, later, as a teacher trainer. Consequently, these experiences led me to explore alternative or supplementary teaching methodologies that could enhance the ESL learning experience, drawing initially from drama techniques such as those advocated by Maley and Duff (1983), Wessels (1987), and Di Pietro (1983), and later from process drama pedagogies such as those advocated by Greenwood (2005); Heathcote and Bolton (1995); Kao and O'Neill (1998), and Miller and Saxton (2004). This thesis is an account of my own exploration in adapting drama pedagogies to ESL/EFL teaching. It examines ways in which drama pedagogies might increase motivation and competency in English language learning. The main methodology of the study is that of reflective practice (e.g. Griffiths & Tann, 1992; Zeichner & Liston, 1996). It tracks a learning journey, where I critically reflect on my learning, exploring and implementing such pedagogical approaches as well as evaluate their impact on my students’ learning. These critical reflections arise from three case studies, based on three different contexts: the first a New Zealand English for Speakers of Other Languages (ESOL) class in an intermediate school, the second a Malaysian ESL class in a rural secondary school, and the third an English proficiency class of adult learners in a language school. Data for the study were obtained through the following: research journal and reflective memo; observation and field notes; interview; social media; students’ class work; discussion with co-researchers; and through the literature of the field. A major teaching methodology that emerges from the reflective cycles is that of staging the textbook, where the textbook section to be used for the teaching programme is distilled, and the key focuses of the language, skills, vocabulary, and themes to be learnt are identified and extracted. A layer of drama is matched with these distilled elements and then ‘staged’ on top of the textbook unit, incorporating context-setting opportunities, potential for a story, potential for tension or complication, and the target language elements. The findings that emerge through critical reflection in the study relate to the drama methodologies that I learn and acquire, the impact of these methodologies on students, the role of culture in the application of drama methodologies, and language learning and acquisition. These findings have a number of implications. Firstly, they show how an English Language Teaching (ELT) practitioner might use drama methodologies and what their impact is on student learning. While the focus is primarily on the Malaysian context, aspects of the findings may resonate internationally. Secondly, they suggest a model of reflective practice that can be used by other ELT practitioners who are interested in using drama methodologies in their teaching. Thirdly, these findings also point towards the development of a more comprehensive syllabus for using drama pedagogies, as well as the development of reflective practice, in the teacher training programmes in Malaysia. The use of drama pedagogies for language learning is a field that has not been researched in a Malaysian context. Therefore, this account of reflective practice offers a platform for further research and reflection in this context.