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Undergraduate students pursuing a three‐year marine biology degree programme (n = 86) experienced a large‐group drama aimed at allowing them to explore how scientific research is funded and the associated links between science and society. In the drama, Year 1 students played the “general public” who decided which environmental research areas should be prioritised for funding, Year 2 students were the “scientists” who had to prepare research proposals which they hoped to get funded, and Year 3 students were the “research panel” who decided which proposals to fund with input from the priorities set by the “general public”. The drama, therefore, included an element of cross‐year peer assessment where Year 3 students evaluated the research proposals prepared by the Year 2 students. Questionnaires were distributed at the end of the activity to gather: (1) student perceptions on the cross‐year nature of the exercise, (2) the use of peer assessment, and (3) their overall views on the drama. The students valued the opportunity to interact with their peers from other years of the degree programme and most were comfortable with the use of cross‐year peer assessment. The majority of students felt that they had increased their knowledge of how research proposals are funded and the perceived benefits of the large‐group drama included increased critical thinking ability, confidence in presenting work to others, and enhanced communication skills. Only one student did not strongly advocate the use of this large‐group drama in subsequent years. 相似文献
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ABSTRACTThis article explores the interplay of the ‘live’ experience of drama learning in the classroom and curated digital content on learner meaning making, collaborative creation and subjectivities. It examines a case study conducted in an inner-city secondary school in Sydney, Australia, as part of a larger innovative international collaborative drama exercise entitled ‘The Water Reckoning Project’ (http://www.water-reckoning.net) which focussed on sustainability education. Data collected and analysed included ethnographic observations, video documentation and digital curation of students’ creative work, focus groups, and pre- and post-surveys. Findings of this study reveal the importance of the aesthetically charged, embodied experience of drama as the key driver of learning when integrating drama with digital technologies. This unique project enabled students to critically and creatively engage with significant real and fictional contexts, as well as issues of local and global relevance. 相似文献
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Debra McGregor 《International Journal of Science Education》2013,35(8):1145-1165
This article reports on a pilot intervention that helped teachers of five- to seven-year-old pupils (re)develop their practice to teach science in a more active and participatory way. Science is sometimes perceived as elitist, accessible to only the most able. Drama, however, offers a more lively, none traditional way to learn, that can appeal to, and involve all children in a science classroom. Dramatising science learning appears not only to promote engaging learning activity, but also to support children to conceptually grasp challenging ideas. In this study, 20 teachers from 10 Staffordshire schools experimented with new pedagogical approaches to enhance their practice. Reflective journal extracts, interviews and classroom observations indicated how the drama was enacted and augmented teachers’ scientific understanding. A survey and several focus group discussions were carried out to explore how over 200 children (that responded) felt about learning through drama. There were many success stories, but some aspects of the approach required more development than others. 相似文献
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This paper presents a field experiment examining the effect of drama education on the psychological development of grades 1 and 4 students. The drama curriculum was delivered after school for one day each week for 16 weeks. Students in the experimental group attended drama education classes, whereas students in the control group took part in the other unstructured extra-curricular activities. Pre- and post-tests of creativity, and story-telling test were given to the students. With respect to creativity, the experimental group was found to score significantly higher than the control group. Significant grade differences were also found, with grade 4 students scoring higher on the measure of drawing but lower on divergent thinking than grade 1 students. No sex difference was found. These findings have important implications for the educational curriculum which are discussed. 相似文献
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Creative drama activities designed to help children learn difficult science concepts were integrated into an inquiry-based elementary science program. Children (n?=?38) in an upper elementary enrichment program at one primary school were the participants in this action research. The teacher-researcher taught students the Full Option Science System? (FOSS) modules of sound (fourth grade) and solar energy (fifth grade) with the integration of creative drama activities in treatment classes. A 2?×?2?×?(2) Mixed ANOVA was used to examine differences in the learning outcomes and attitudes toward science between groups (drama and non-drama) and grade levels (4th and 5th grades) over time (pre/post). Learning was measured using the tests included with the FOSS modules. A shortened version of the Three Dimension Elementary Science Attitude Survey measured attitudes toward science. Students in the drama treatment group had significantly higher learning gains (F?=?160.2, p?<?0.001) than students in the non-drama control group with students in grade four reporting significantly greater learning outcomes (F?=?14.3, p?<?0.001) than grade five. There was a significantly statistical decrease in student attitudes toward science (F?=?7.5, p?<?0.01), though a small change. Creative drama was an effective strategy to increase science conceptual learning in this group of diverse elementary enrichment students when used as an active extension to the pre-existing inquiry-based science curriculum. 相似文献
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Yin‐Kum Law 《Journal of Research in Reading》2011,34(4):402-425
Research indicates that cooperative learning with teacher‐guided instruction is more effective in helping young children to learn than cooperative learning with minimal guidance. In the present study, two different cooperative learning activities (jigsaw and drama) and a control condition (a traditional teacher‐led approach) were compared. The participants were 279 Grade 5 Hong Kong students located in nine classrooms. The two experimental conditions emphasised teachers' cognitive support in helping students to understand a text through both teacher‐led and student‐led activities. Post‐test data included a reading comprehension test and three questionnaires that investigated students' goal orientations, initial level of relative autonomy and perceptions of instructional practices. Findings indicate that students in the jigsaw group outperformed students in both the drama group and the control group in the reading comprehension test. The implications of conducting cooperative learning activities with well‐planned teacher guidance are discussed. 相似文献
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临猗地台戏又称“故事戏”,是分布在山西临猗县吉家营村的一种传统的戏曲演出形式,其表演古朴,唱腔独特.临猗地台戏与古代军队有着密切的联系.文献资料中多有记载临猗县在明代实行军屯制度的史料,临猗县境内现存有许多以屯、营、堡命名的村庄,而且吉家营村所演出的剧目多是表现古代军队的战争戏. 相似文献
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Kirk Robert Dorion 《International Journal of Science Education》2013,35(16):2247-2270
Over 20 years of research into the use of cross‐curricular drama in secondary science has indicated that this medium enables learning of affective, cognitive and procedural knowledge. To date, academic research has tended to frame successful drama pedagogy as resulting from a Drama‐in‐Education approach, incorporating extended role plays and simulations of social events. By contrast, research has rarely focused on the scope and context of drama which is devised and used by real people in real situations. Indications from non‐academic literature and informal education practice suggest that there is a gap in our knowledge between research and classroom practice. This study focused on teachers’ own drama activities in five science lessons taught across schools in Cambridge, Kent, and Hertfordshire. Their classes spanned the ages of 12–16 in the subjects of chemistry, biology, and physics. This study explored the drama forms, teaching objectives, and characteristics by which drama was perceived to enable learning in Science. The findings revealed that drama activities were used to convey a variety of topics that have not yet been recorded in academic literature, and revealed a greater scope for the teaching abstract scientific concepts through mime and role play. These activities were perceived to develop students’ visualisation through a range of modalities, which included embodied sensation and anthropomorphic metaphors. Some features reflected the development of thought experiment skills. A pedagogic model was produced based on different levels of interactive talk and multimodal communication. 相似文献
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基于英语戏剧表演的大学英语教学模式实证研究 总被引：1，自引：0，他引：1
英语戏剧表演以面部表情、手势、动作等为载体进行语言交流,它既能激发学生学习英语的兴趣,提高学生英语交际能力,又能使学生更好地了解英语国家的文化,所以被看成是一种行之有效的英语教学模式。本文结合英语教学理论与教学实践,从理论和实证两方面探讨了这种教学模式应用于大学英语教学的可行性,并分析了对英语教学的典型意义。 相似文献
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Expanding opportunities to learn to support inclusive education through drama‐enhanced literacy practices 
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下载免费PDF全文 Sultan Kilinc Kathleen Farrand Kathryn Chapman Michael Kelley Jenny Millinger Korbi Adams 《British Journal of Special Education》2017,44(4):431-447
This study examines how the Early Years Educators at Play (EYEPlay) professional development (PD) programme supported inclusive learning settings for all children, including English language learners and students with disabilities. The EYEPlay PD model is a year‐long programme that integrates drama strategies into literacy practices within real‐classroom contexts. Inclusive education refers to ensuring equal opportunities to access and participation in learning activities for all students. Cultural‐historical activity theory was used to understand and unpack the drama practices. Twelve semi‐structured focus group interviews were conducted with 19 preschool teachers. The data were analysed via constant‐comparative and interpretive methods. The study findings showed that EYEPlay PD practices enhanced inclusive learning settings for diverse groups of students by increasing access and expanding opportunities to learn, and supporting a positive learning environment. 相似文献
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Peer acceptance is an important facilitator for the success of inclusive education. The aim of the current study is twofold: (1) to examine how classroom goal orientation is associated with children’s acceptance of peers with learning difficulties; and (2) to evaluate the effectiveness of a storytelling programme with drama techniques on children’s acceptance of peers with learning difficulties. The participants were 86 Grade 3 students from a Hong Kong primary school, randomly assigned to an experimental group (n = 45) and a control group (n = 41). The findings indicated that the more the students perceived that their classroom was performance-approach oriented, the less they would accept their peers with learning difficulties in doing things together. After the intervention, the students in the experimental condition, compared to their counterparts in the control group, were more likely to render financial assistance and have affective acceptance to their peers with learning difficulties. 相似文献
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戏剧审美接受心理机制探微 总被引：1，自引：0，他引：1
戏剧审美接受心理机制是一种在戏剧情境中完成的撩诱与触动交融、整合、互动的心理过程。戏剧接受的角色效应、集体心理体验和语言体验等共同促使戏剧审美接受心理机制的形成。观众通过与演员和其他观众的直接交流,进入了一种心心相印的交融状态,促成集体心理体验,从而触发感知心理机制,在联想和想象中,观众潜在的审美心理机制得以形成。 相似文献
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冯丽娜 《宁波教育学院学报》2011,13(1):14-18
心理剧提供一种情境化表达和学习模式,使学生对学前儿童心理发展的理解具有画面感;学生在"问题一主题一剧本一演出一调整-新剧本"过程中,掌握科学的学习方法;学生公开表演自创儿童心理剧,展示学习成果并接受大家批评,促进师生、生生间合作对话。将心理剧运用到高职学前心理学教学中,能有效地提高课堂学与教的效果。 相似文献
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黄伟林 《广西梧州师范高等专科学校学报》2014,(3):54-58
西南剧展是抗战时期在桂林文化城举办的西南第一届戏剧展览会,当时海内外对其评价：“中国西南八省戏剧工作者于一堂,检讨既往,共策将来,对当前国际反法西斯战争,实具有重大贡献.”新西南剧展是广西师范大学打造的一个大学戏剧文化品牌,以重排、重演抗战时期桂林文化城优秀剧目为主要内容,旨在以青春激活历史,用学术引领时尚,既重现桂林文化城的辉煌壮烈,又体现今日大学生的文化担当. 相似文献
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工业题材电视剧的式微已经引发了热烈的讨论,但对于产业工人形象在当代题材电视剧中的缺失却还没有引起足够的重视。产业工人经济地位弱化与工业题材电视剧市场竞争力不足是产业工人形象缺失的深层次原因,这种缺失主要体现在工业题材电视剧体量不足和都市题材电视剧中产业工人形象的边缘化与负面表达上,而这种现象势必潜移默化影响受众的职业选择,加剧当下的“用工荒”。 相似文献
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敦煌所见五套大曲中与戏剧相关者共有四套。从内容看,四套曲辞中均有简单故事的推演,虽然情节较为简单,但故事主题明确,《阿曹婆辞》和《何满子辞》中有明显的代言叙事;从形式来看,四套曲辞均为用于歌舞表演的唱词,《剑器辞》和《苏莫遮五台山曲子》在演唱过程中具有相应的既定调式,并配有伴唱的舞蹈。这四套大曲通过歌舞的形式,借助不同调式的唱词叙述简单的故事,已经具备了歌舞戏的基本要素,应该属于唐代早期歌舞戏表演时的剧曲。 相似文献
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韩黎丽 《安庆师范学院学报(社会科学版)》2005,24(1):34-37
爱尔兰文艺复兴时期的话剧运动对余上沅和他发起的“国剧运动”具有根本影响 ,促使余上沅试图仿效爱尔兰话剧运动对传统的执著追求 ,而试图建立具有民族个性的话剧形式 相似文献
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王馨 《蒙自师范高等专科学校学报》2008,6(4):74-77
戏剧是假定的艺术,假定性是戏剧活动中不可缺少的必备要素。假定性是戏剧艺术的共性。演员扮演角色是戏剧艺术中最根本的假定。它们通过观演双方共同约定,使戏剧的假定成为了可能。正是戏剧假定性才赋予了戏剧的戏剧性,离开了假定性,戏剧不能称之为戏剧,戏剧也就失去了戏剧性。对于戏剧艺术而言,假定性是戏剧存在的前提,缺了它,戏剧就会丧失生命力。 相似文献