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Importance of drama in education
How play supports language development
What are the importances of drama in education
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Recommended: Importance of drama in education
Using drama in ESL class or play provides a lot of benefits to the students. Drama not only can help students in improving their academic performance but it also benefits students’ development in five areas holistically which are physical development, emotional development, intellectual development, social development and moral development.
Here, I will focus on how to develop children language as well as their aesthetic values using the adapted script “The Ogre and The Three Little Goat” through drama.
There are many ways teacher can use drama in the language classroom to help students develop their language as well as aesthetic values. Drama activities such as storytelling, reader’s theater, simulation, and role play as well as story dramatization can be carried out by the teacher to facilitate students in learning language and encourage the aesthetic sense in children.
According to Maley (2005), drama integrates language skills in a natural way. Careful listening is a key feature. Spontaneous verbal expression is integral to most of the activities; and many of them require read...
In this essay I shall concentrate on the plays 'Road' by Jim Cartwright and 'Blasted' by Sarah Kane with specific reference to use of language and structure of dialogue as examples of dramatic techniques.
Sipe highlights five different expressive engagements—dramatizing, talking back, inserting, and taking over—that children portray during story book read- alouds. He believes that teachers must encourage these behaviors in children because it shows participation and it inspires children to take over the story. Some of these expressive engagements are reasonable while some serve as a disfavor to children’s learning. On page 482, he gives instruction on how teachers can implement the expressive engagements in their classroom. Sipe claims, “the first type of expressive engagement, dramatizing, can be encouraged through dramatic reenactment” (481). This can be problematic for fairy tales such as “The Juniper Tree”. This story about a stepmother killing her stepson by beheading him then cooking him in a stew, and a little boy turned into a singing bird who then later kills his murderer by “…dropping a millstone on her head and crush[ing] her to death” (252) can be gruesome for children to dramatize. Another expressive engagement that Sipe mentions is “inserting”. Sipe claims that if children are encouraged to insert themselves or other people around them into the story that they are reading, they can exercise their power over the tales. Through this process, Sipe claims “children in process of becoming one with the story, to the extent of assuming their stance as fellow characters with equal agency and presence in the story” (478). The story of the little boy in “The Juniper Tree” suggest a different view about mechanically inserting characters in a story. The little boy must learn about what each of his family members did to contribute to his death. When the little boy died, he did not know anything about the causes of his death and the things that happened after. He had to learn that his “mother, she slew [him]”, his father
The target audience for this remediation is children around the ages of 5-8 at a reading level of 3. The purpose of this remediation is the idea that a classic story can be changed to suit the views of a child. This story tells about how children should not judge other children based on their gender, but on their personalities and similarities. The book mainly uses stereotypical versions of boys and...
Galens, David, and Lynn M. Spampinato, eds. Drama for Students. Vol. 2. Detroit: Gale, 1998. Print.
Galens, David, ed. Drama for Students "resenting Analysis, Cntext and Critism on Commonly Studied Drama" . Vol. Volume 1. Detroit : Gale Research , 1998 .
Tatar, Maria. Off with Their Heads!: Fairy Tales and the Culture of Childhood. Princeton, NJ: Princeton UP, 1992. Print.
In the 2003 Universal Pictures version of “Peter Pan,” the children are depicted as strong, independent individuals with their own agency throughout a great portion of the film. However, there are numerous examples of interpellation, during which the children fight against and conform to the interpellation of family and society. In the following paragraphs, I will explain how “Peter Pan” is a movie with both interpellation and agency. Also, I will explain how the film is adult-centered in spite of the agency the child characters possess.
Lazarus, Joan. "On the Verge of Change: New Directions in Secondary Theatre Education." Applied Theatre Research 3.2 (July 2015): 149-161. EBSCOhost, doi:10.1386/atr.3.2.149_1.
Finally, it is fun to study drama. It is fun to dramatise and dress up and fall over dead behind improvised curtains and fence with blackboard pointers and cook up a witches brew and come to school with a spade over your shoulder for the Graveyard Scene. It is fun, and while all the fun is being enjoyed an incredible amount of language is pouring into these students' heads, through listening, reading, watching videos and learning lines off by heart.
Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. 6th ed. New York: Pearson-Prentice, 2010. 40-49. Print.
” Drama for Students. Ed. Anne Marie Hacht. Vol. 21.
Theatre-In-Education The theatre education industry/movement has seen some rapid changes since its initial developments and establishment in the 1960’s. However its origins mainly lie in the early years of the last century. It was the initial establishment of companies such as Bertha Waddell’s in Scotland and Esme Church’s in the north of England that thoroughly established the main roots of TIE.
Applied Theatre work includes Theatre-in-Education, Community and Team-building, Conflict Resolution, and Political theatre, to name just a few of its uses. However, Christopher Balme states that “Grotowski define acting as a communicative process with spectators and not just as a production problem of the actor” (Balme, 2008: 25). Applied Theatre practices may adopt the following “theatrical transactions that involve participants in different participative relationships” such as Theatre for a community, Theatre with a community and Theatre by a community Prentki & Preston (2009: 10). Whereas, applied theatre one of its most major powers is that it gives voice to the voiceless and it is a theatre for, by, and with the people. However, Applied Theatre practitioners are devising educational and entertaining performances bringing personal stories to life and build
For as long as humankind exists, theatre will always take on an important function within its cultures. Through theatre, a culture expresses itself, reflects its society, and displays its individuality. It invites people to experience other cultures.
A word that is very closley linked to drama is the word theatre. Unlike drama, theatre must have three basic properties; a space to perform, actors, and an audience. In the 'space' a drama is brought to life by the ideas of a dramatist, or playwirght, the ideas of a director, and the actors' skill which combine to make an audience believe that what is happening on stage -the drama- is real.