In lieu of an abstract, here is a brief excerpt of the content:Drama in Aesthetic Education:An Invitation to Imagine the World as if It Could Be OtherwiseFlorence Samson (bio)Maxine Greene, philosopher-in-residence for the Lincoln Center Institute (LCI), suggests that through aesthetic education "new connections are made in experience: new patterns are formed, new vistas are opened. Persons see differently, resonate differently." As Rilke wrote in one of his poems, and as quoted by Greene, "they are enabled to (...) pay heed when a work of art tells them, 'You must change your life.'"1 Greene interprets Rilke's words to mean that "a work [of art], when fully perceived and carefully attended to, makes a demand upon beholders—a demand that they change, look with new eyes, hear with new ears, become something they have not been before."2 Greene believes that "the perceiving, the noticing [about which Rilke spoke] are enhanced," for in the process of "[o]pening ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity."3This life change, to which Rilke refers, occurs as we take into our own being the experiences of others and realize that not everyone sees the world as we do. As we look critically at ourselves and our complicity in situations that position people as "other," we are moved to imagine that the world could be otherwise.Curriculum, Change, and Aesthetic EducationAesthetic education, an inquiry-driven engagement with a work of art, can be a catalyst to bringing about change. The aesthetic education experience consists of a number of components. LCI agrees upon a repertoire of "works of art" deemed likely to fulfill the requirements of engagement and inquiry. These may include, but are not limited to, music, drama, and opera performances, and mask, photo, and art exhibits. For each work of art, the LCI [End Page 70] researchers and other staff prepare a resource binder, entitled Windows on the Work. The teacher educator has several meetings with the teaching artist assigned to that work to develop the questions that will power the inquiry process, determine the structure and activities of the pre- and sometimes post-performance classes, and guide the students in their engagement with the work of art.I have included an aesthetic education experience program each term in my graduate and undergraduate elementary and early childhood education courses. My course outlines describe this component and the related student assignments. For the fall 2004 course, I chose Ping Chong's Secret History: Journeys Abroad, Journeys Within.4 This drama documentary, written and directed by Ping Chong and Leyla Mordirzadeh in collaboration with Sara Zatz, was directly related to one of my course goals—teaching for equity and social justice. This involves providing teachers with opportunities to "engage in productive dialogues about both inequities and possibilities for social reconstruction in the communities within which they and their students are developing."5Ping Chong & Company was founded thirty years ago "to create innovative works of theatre and art that explore the intersection of race, history, culture, and technology in the modern world."6Ping Chong, Insider/Outsider, and His Approach to TheatreCanadian-born and New York-reared Chong—theatre director, choreographer, and video and installation artist—is "fascinated and disturbed by the position of the outsider, the person made to feel 'other' in a society" and "probe[s] the drama of those pushed from one culture to another."7 He has done extensive research on both immigrants and refugees and recognizes that there is a psychological difference in the trauma experienced by members of both groups in the transition from one culture to the other.Chong's unique "talk, reveal, and seek to understand" approach to theatre "moves us toward unification, toward diminishing the barriers between peoples, and thus toward embracing all that is good in civilization."8 His work is grounded in his experience of sharing a common ethnicity and language with his community in Chinatown and occupying the position of "other" as the only Chinese student in his high school. Because of his experience of being "other," Chong has "a real kind of empathy and connection" with his projects.9 He considers... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Justifying the Arts:Drama and Intercultural EducationMike Fleming (bio)IntroductionFor teachers of arts subjects, questions about justification can be tiresome in the same way that contemporary aestheticians may feel fatigue about defining art.1 Providing justification can feel more like an exercise in rhetoric than theoretical enquiry, induced more by political necessity than intellectual challenge. If the value of the arts is not self-evident, it is difficult to advance arguments to (...) convince those who have no knowledge or affinity with them. Not that many educationists admit to falling into the latter category. As Eisner has said, nobody wants to be seen as a philistine.2 Yet to those with a deep commitment to the value of the arts in education and wider society, the arts are rarely thought to be taken as seriously as they should be.3 This paper will describe five approaches to the question of justifying the arts before examining the specific case of drama and intercultural education.Approaches to Justifying the Teaching of the ArtsFaced with questions of justification, providing a list of reasons for teaching the arts is one approach but not the only one. Instead, looking for broader categories of justification within possible lists (e.g., between art and entertainment, feeling and cognition) exposes differences of emphasis more easily. Exploration of the tension between such concepts as "creating" and "responding" may help get behind bland claims of the kind that the arts can "develop creativity." In this way, the relevance of aesthetic theory, which often centers on the tension between competing concepts, can be demonstrated more readily. Another approach to the question of justification is to reject the idea that the arts should serve instrumental goals at all by advancing an argument in favor of their intrinsic rewards. A fourth approach is to [End Page 54] question whether it is appropriate to seek justification for the arts as a generic concept, rather than looking instead at individual art forms; the benefits of dance may be different in certain respects from those of visual arts. Finally, a priori enquiry could be abandoned altogether in favor of seeing what teachers actually say about their reasons for teaching the arts. Each of these positions will be examined briefly.Mortimer includes physical education and personal and social education among the areas of benefit he attributes to the arts.4 Within five broad categories, he describes further subcategories, amounting to more than seventeen reasons for teaching the arts. He also claims that the arts are a way of developing life skills and attitudes that are transferable across the curriculum and are a way of contextualizing other learning. It is easy to sympathize with someone who is passionate about the arts and concerned that they should be seen as a "fundamental" not as a "frill," but such general claims do not always bring clarity or insight. It is difficult for example to see how poetry "encourages physical confidence in balance." A visit to a children's home may be more fruitful in "developing sensitivity to others." The benefit of "using imagination and creativity" (a catchall phrase that on its own says very little) may in practice find tension with other stated benefits such as "discriminating, selecting, editing." The latter concepts suggest a more constrained, skills-oriented form of teaching rather than an approach that encourages free flow of imagination. Long lists of justifications can obscure theoretical differences and from a tactical point of view in the political arena can appear overblown. They are well meant but not always helpful. Nor do they go far in explaining the deep importance of the arts in so many people's lives.The influential Gulbenkian report in the United Kingdom was wide-ranging in its claims but reinforced the idea of the arts as being an alternative to academic study and what it termed "logico-deductive thought."5 "Society," it argued, "needs and values more than academic abilities." In the 1980s, many writers were keen to free themselves from the influence of narrow theories of self-expression to embrace a wider discipline-based approach but continued to underplay the cognitive dimensions of work in art.6 Of course an emphasis... (shrink)

Rituals are a very important part of daily life, traditions, cultural and religious gatherings and have a significant role on teaching about cultural heritage and social codes. Teaching about religious and cultural rituals have also important effects on personal development, acculturation and social engagement of an individual. Exploring and understanding the personal, cultural and social aspects of rituals is an important purpose of education and especially religious education. Educational drama offers educational environments that students can improve creativity, (...) critical thinking, empathy, communication skills, knowing others and respect to differences. Creative drama offers a suitable learning environment for students to understand social aspects and importance of rituals it allows students to share their previous experiences and to learn from other students. The aim of this article is to determine the effects of creative drama on teaching about religious and cultural rituals in the school context. For this purpose, creative drama sessions on daily prayer in Islam, fasting in Ramadan, religious feasts in Islam, month of Muharrem and Ashoura and Nawruz Festival has been carried out with 16 secondary school students. Research data has been gathered with focus group interviews and analyzed with thematic analysis method via NVIVO program. It is determined that students have reached an understanding about; basic information about rituals, understanding the source of rituals, being eager to participate to the rituals and knowing about others. These findings can be considered as learning outcome of creative drama sessions on cultural and religious rituals. And students have found creative drama sessions are beneficial in regard of active participation, sharing personal experiences and exploring differences. (shrink)

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative utopias. (...) It is through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

Writings on drama education are strewn with assertions that the aesthetic must be central to drama education, even where drama is used as a means of teaching nonaesthetic material.1 Indeed, it is impossible to understand what drama is without one definition or another of the aesthetic. If students read dialogues out loud without concern for expression or for the literary qualities of the dialogue, then they are not doing drama. If students are obliged (...) to invent sentences but with no concern for dramatic tension or development, they are not doing drama. Students may be placed in the roles of waiters and customers in a restaurant and only do language practice, not drama. Yet the identity of the aesthetic, so crucial... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Master" versus "Servant":Contradictions in Drama and Theatre EducationShifra Schonmann (bio)Mr Jourdain: You mean to say that when I say "Nicole, fetch me my slippers" or "Give me my night-cap" that's prose?Philosopher: Certainly, sir.Mr Jourdain: Well, my goodness! Here I've been talking prose for the last forty years and never known it, and mighty grateful I am to you for telling me!—Molière, Le Bourgeois Gentilhomme1My basic claim is that (...) our young field—drama and theatre education—feels old. Are we being stifled by applied drama and theatre, so that it has put real obstacles in the way of broadening the horizons of the field? I know that by asking this question I risk setting myself up as a living target for all those who maintain that applied theatre is the "hot" and the appropriate concept in the field. For more than twenty-five years now, we have been working with our students in teacher education departments and with children in schools in the manner of applied drama and theatre, but we have named it differently. It is as if we had been speaking the language of applied drama and theatre for twenty-five years—and we did not know that this was the case. (It reminds me of Moliere's Monsieur Jourdain who suddenly discovers that he has been speaking prose for the past forty years.) I would like to make it very clear from the outset that my claim is not against applied drama and theatre; it is a claim for another proportion (balance) between the instrumental function and the artistic-aesthetic function of our drama and theatre work in education.Is this a new claim? Not at all. But in the midst of our intensive endeavors in the field, it strikes me again and again that we have been running after our own tails, doing almost the same things over the past twenty-five [End Page 31] years. I have tried to understand why we are wandering around, surrounded by the same basic circles and experiencing a feeling of déjà-vu. What, really, is our problem? As a result of asking myself these questions, I began to analyze programs of the major conferences of the last ten years in drama and theatre education: Exeter (Researching Drama and Theatre in Education), AATE (American Alliance for Theatre and Education), IDEA (International Drama/Theatre and Education Association), and IDIERI (International Drama in Education Research Institute). These are considered to be the main international professional gatherings in the field (most of which I have attended). I have been looking into the headings that express the topics that were discussed. My data show that the majority of the topics were concerned with the by-products that drama and theatre can produce but not with the artistic and/or the aesthetic dimensions of the field. Sometimes I wonder if we fail to see the wood for the trees.In the Dictionary of Developmental Drama, written by Richard Courtney, an attempt was made to clarify the terms of drama used in a variety of practical fields.2 In this dictionary, we cannot find the applied theatre entry or process drama entry, but we can find entries such as developmental drama, drama in education, drama therapy, dramatic activity, educational drama, educational theatre, forum theatre, and many others. The terminology used among drama workers, leaders, and researchers is not precise. When drama educators and researchers meet, we engage in extensive discussion, often exchanging experiences and successful strategies. Quite some time can pass before we realize that our concepts of drama education differ considerably. These concepts range from completely spontaneous activities, such as improvisational exercises, to very carefully planned work, such as staging written scripts. Courtney's dictionary is the only one that I know that tries to define the basic concepts in our field: It is necessary but not adequate or up to date.In the "Drama Way" Project, a comprehensive work by Jouni Piekkari et al., coordinated by the University of Turku in Finland, I found a good attempt to set up a "mini" dictionary.3 The "Drama Way" Project identified a number of... (shrink)

Drama and Feeling makes a case for placing educational drama firmly within the curriculum and provides drama educators with new insight into the dramatic art form and process.

In lieu of an abstract, here is a brief excerpt of the content:Setting the Stage for a Dialogue:Aesthetics in Drama and Theatre EducationAlistair Martin-Smith (bio)For us, education signifies an initiation into new ways of seeing, hearing, feeling, moving. It signifies the nurture of a special kind of reflectiveness and expressiveness, a reaching out for meanings, a learning to learn.—Maxine Greene, Variations on a Blue Guitar1Examining the aesthetics of the complementary fields of educational drama and theatre is like (...) looking through a kaleidoscope. If you turn it one way, you see one colorful pattern; if you turn it the other way, you see yet another. The multiplicity of approaches to drama and theatre education, each with its own aesthetic pattern, often obscures the common ground they all share. As a result, in its unique emphasis on art, pedagogy, and society, each may have its own aesthetic pattern; yet only by looking closely at each distinct pattern can we understand more of the power of drama and theatre to develop human consciousness.In Western education, aesthetic learning seems incidental to the assessment of learning. How did this happen? For Descartes, whose Cartesian philosophy dissociated mind from body, aesthetic feelings are irrational, since they originate in the body's senses rather than in the mind. Theories of education focused on the primacy of cognition, denying feelings in the erroneous belief that learning is independent of its context. Conversely, aesthetic education is concerned with the quality of experience, how it is felt. Dewey believed that "learning by doing" was a "consummatory" experience for the learner; it was dramatic, dialogic, and felt. The confusion between subjective and objective aspects of the aesthetic experience makes aesthetic evaluation difficult, and this may be why cognitively dominated education has steered clear of aesthetics. Richard Courtney recognized that there is an important distinction to be made between aesthetic symbols and [End Page 3] artistic symbols: "Aesthetic symbols emphasize feeling; artistic symbols are context-dependent—they only have meaning in the context of art."2David Best argues that "the failure to recognise the distinction between the aesthetic and the artistic contributes largely to the trivialisation of the potential of the arts in education."3 He points out that "... it may often be necessary to take into account, at least implicitly, wider factors... in order to judge whether [an] appraisal was aesthetic or artistic."4 What are these wider factors, and how can audiences attend to them? As Christopher Havell reminds us,There is increasing pressure on drama teachers to use their teaching expertise purely for the development of social and life-skills training. This instrumental work may, at times, closely resemble the drama process, but the intentions will be confined to an experience that simulates or resembles those "real-life situations" that it is expected students will encounter. The aesthetic search for the "universal" at the centre of the particular will not be a relevant aim in any vocational training! One can only hope that the emerging interest in the aesthetic nature of drama and its place in a coherent arts education will encourage teachers and students to reflect on the final inadequacy of any instrumental view.5I believe that it is through the power of aesthetic education that audiences for drama and theatre will come to appreciate the artistic.In Caravaggio's painting David with the Head of Goliath (1606-10), the viewer is confronted with three time periods simultaneously. In his depiction of David, Caravaggio paints the shepherd-king of the Old Testament who prefigures Christ, but he is also modeled on Caravaggio's lover. David holds the severed head of Goliath down low in such a way as to engage the private viewer rather than to evoke the public spectacle.6 As I understood that the head of Goliath was actually a self-portrait of the painter not long before his death, I experienced a moment of instantaneity that shocked me into a new awareness of my own mortality, my relation to life and death. As it is Caravaggio's last journey, so is it our own. While Caravaggio's penultimate painting is recognized in terms of its artistic achievement, the moment of self-recognition on the part of the... (shrink)

One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.

This paper aims to apply drama tasks (Gerard Finger, 2000) in the English class- room, which will add dynamism to the classroom, for the development of students’ oral competences. The aim is to work with drama in the Primary Education class- room through a series of tasks to improve oral communication, teamwork skills and to foster students’ self-esteem and confidence when producing oral language. This project addresses pupils in the sixth level of Primary Education. Theatre is (...) a very versatile tool that provides many resources and learning, helping to improve aspects such as corporal and oral expression and cooperative work. (shrink)

Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education, Theatre-in-Health Education, Theatre for Development, prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more recently, theatre in hospitals. In this paper we are positioning the application of recreational dramatic activities with older adults under Applied Theatre and (...) we are exploring the benefits they offer to the participants. We are concerned that their health and wellbeing in western societies is not prioritized and it is clear that loneliness in particular is a current and ongoing issue. We will present research results from a drama dissertation study that took place in a community hall in the South East England where drama is placed at the core of their practice with old populations. Data was collected by a mixed method and was critically discussed amongst the authors to conclude that attending recreational drama classes brings a certain degree of happiness, social belonging and improvement of interaction with others to old people’s lives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama on the Run:A Prelude to Mapping the Practice of Process DramaPamela Bowell (bio) and Brian Heap (bio)In the current educational climate prevailing in a number of countries, increased emphasis is being placed on the concept of "the artist in schools." Funding is being channeled to support a range of initiatives and schemes that are designed to bring arts professionals from all the art forms into the classroom (...) where they place their artistic talents, knowledge, and insights alongside the pedagogic skills of the teacher.We see exciting projects in which artists work with children in school—visual artists to create murals, musicians to compose and perform operas, dancers to choreograph new ballets, and actors and directors to devise plays. Many of the outcomes are of high quality, and the children who have been fortunate enough to be involved have enjoyed the experiences and have gained a great deal from them. This would seem to be a state of affairs to be applauded unreservedly, as such projects surely enrich the lives of the pupils and schools in which they take place. In one sense, of course, this is undeniably true, and we have no intention of suggesting otherwise. However, in reality, this is a much more complex situation. It raises a number of key issues for us as educational practitioners who work in the field of applied theatre, sharing with others, as Judith Ackroyd describes, "a belief in the power of the theatre form to address something beyond the form itself."1The most critical issue is the perceived separation of the artist from the teacher that can sometimes be encouraged by artists in schools projects. We sense a dangerous precedent here. It becomes all too easy for two erroneous assumptions to be made, namely that teachers cannot be considered to be artists in their own right, while artists on the other hand can be accorded [End Page 58] the status of teacher. In our own experience too, the nature of educational funding can be extremely volatile, subject to all kinds of shifts in the prevailing political and economic climate, as well as adjustments to the ways in which funding is applied according to the social and educational priorities of the time. Too frequently, education falls victim to what might be described as "the-flavor-of-the-month syndrome."Those who are involved with teacher education, both pre- and in-service, make superhuman efforts to respond with alacrity to the new demands as courses are reviewed and reorganized accordingly. The trainees of the next generation find themselves with a new "party line" to toe as their courses conform to the new priority. This is all well and good—until the priority changes and gaps suddenly appear in the knowledge or skills or understanding of teachers. What was received wisdom becomes a deficit model as focus changes, and the circle is now expected to be squared.Under these circumstances, it would seem a more prudent policy to train teacher-artists who would have the ability to meld their pedagogical understanding and skill with an aesthetic craft and sensibility than to rely on visiting artists as the "natural" or "normal" providers of arts education. This would ensure not only that teachers would make better, more informed use of visiting artists but also that children's expertly guided engagement with the arts would be a permanent and enduring aspect of their regular schooling rather than a "special" event subject to the vagaries of arts funding or policy. This might seem an easy statement to make for people such as ourselves, who have spent whole careers working as teacher-artists within the field of drama in education. But it might seem an altogether more daunting prospect for teachers, or intending teachers, who are not specialists in the arts.Having spent a great deal of our respective careers working in teacher education, we are very conscious of this possibility. To this end, our research collaboration has been centered on exploring and coming to understand more fully, clearly, and precisely how the teacher functions as an artist within the particular genre of applied theatre known as process drama. Embedded within the increase of our... (shrink)

This chapter contains sections titled: Education as the drama of cultural renewal A false lead Teaching as labour, work, and action Education, shelter, and mediation Teaching as endless rehearsal Teaching as cultural elaboration.

Writing a college-application essay has become a rite of passage for high-school seniors in the U.S., one whose importance has expanded over time due to an increasingly competitive admissions process. Various commentators have noted the disturbing evolution of these essays over the years, with an ever-greater emphasis placed on obstacles overcome and traumas survived. How have we gotten to the point where college-application essays are all too frequently competitive-victimhood displays? Colleges have an understandable interest in the disadvantages their applicants may (...) have suffered, but this interest—and the awareness of it among both applicants and their advisors—has led to a “race to the bottom”: in order to thrive (or even survive) in a particular competitive context, participants are forced to continuously lower relevant standards in a game of one-upmanship. With college essays, the competition is among high-school seniors for admission, the one-upmanship is an ever-escalating effort to persuade admission committees of one’s greater disadvantage, and the relevant standards being lowered are honesty, privacy, and dignity—or so I shall argue. As we shall see, this particular race to the bottom imposes unequal costs on certain groups and has implications stretching well beyond collegiate admissions. (shrink)

This paper describes four plays which illustrate ethical themes relevant to engineers and which could be used as a resource for engineers who wish to explore ethical topics and their relationship with professional practice. The plays themselves have been chosen because a character in the play is involved in engineering activities. Each play is analysed to highlight some of the ethical issues the play raises. Often ethical topics are presented in abstract terms but the plays relate ethical issues to individuals (...) and individual actions in specific situations that connect either directly or figuratively to practical situations engineers find themselves in. The paper describes how the resources have or could be used in an educational programme. (shrink)

Evliyâ Çelebi, who wrote accounts of his travels that lasted over forty years, was an enlightened Ottoman saraylı, a courtier as his name çelebi indicates. Seyahatnâme, a ten-volume, first-person narrative, is one of the few accounts of the seventeenth-century Ottoman world and its periphery from the perspective of a Muslim intellectual. Robert Dankoff states, "The Book of Travels is a unique geographical, social, cultural, and linguistic record of the places and peoples the author encountered, and an invaluable source for many (...) aspects of life in his time."1 Therefore, the work has been significant for a... (shrink)

The object of this study is acting speech in modern theater and cinema. The subject of the study is the influence of the aesthetics of screen speech on the theatrical word in the 21st century. The author explores in detail the phenomenon of "microphone speech" in modern drama theater, analyzes the reasons for the rapid expansion of microphone sound and, in particular, the influence on stage speech of the aesthetics of post-drama theater. With numerous examples, various options for (...) using microphones in a drama theater are considered - from local to radical. The author pays special attention to the category of "naturalness" of the acting speech in the screen arts and on the theatrical stage. The novelty of the study lies in a comprehensive study of the phenomenon of "microphone speech" in drama theater and the category of naturalness in stage and screen speech. The author concludes about the overwhelming influence of cinema on modern theatrical speech. The article scientifically substantiates the impact on the speech art of a modern theater actor both the aesthetics of post-dramatism and the new standard of naturalness that has developed in the screen arts and has formed spectator perception. The opposite influence of stage speech on the aesthetics of speech in screen arts is mediated, realized almost exclusively through the theater school. In the final part of the study, the author concludes that changes are necessary in the speech education of future theater and film artists. (shrink)

The study presented in this article is based on field observations over one year on a critical care unit in Norway. Data were analysed according to Glaser’s grounded theory and generated a theory of hidden and emerging drama in the context of ambiguity while the nurses routinized the handling of complex technology. To the untrained eye the unit presented a picture of calm competence, while under the surface one finds hidden drama full of difficult interacting clinical and ethical (...) problems. The nurses identified six ethical dilemmas: (1) end of life issues; (2) whether there should be an age limit for coronary surgery; (3) distributing limited resources; (4) resource allocation in terms of better staffing; (5) situations in which is it more harmful than beneficial to continue treatment; and (6) transferring patients to other facilities. The six problems overlap and have clinical as well as ethical components, but it was the ethical dimensions that the nurses identified and discussed. The significance for nursing is the importance of well-educated and well-qualified nurses and how they find viable solutions to complex ethical and clinical problems. (shrink)

This study investigates the Impact of Indian Dramas on Language in Pakistan through survey methodology. A questionnaire was used as a tool of data collection. In this research the researcher recorded the opinion of people about the Impact of Indian Dramas on Language. Researcher recorded the gender, age group, educational background, social status, habits of watching Indian dramas and their impacts on language of people and children. This research was done on both the gender. Results show that Indian media has (...) some effects on language and people use Hindi phrases and words intentionally or unintentionally. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 119-131 [Access article in PDF] New Stages: Challenges for Teaching the Aesthetics of Drama Online Michael Anderson Introduction The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom (...) drama.2 At the heart of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3 Aesthetics and Drama Education Drama education has had an uneasy and often contentious relationship with discussions around aesthetics. Often the drama education community has split along two lines—those who value process and those who value product.4 Work by drama educators such as Judith McLean has demonstrated the centrality of the understanding of the aesthetic and the importance of putting an aesthetic understanding at the center of teaching and learning in drama.5 Her development of an Aesthetic Framework provides teachers with an approach for understanding the position of aesthetics within drama teaching and learning that bypasses the fruitless dichotomies [End Page 119] of process versus product. As most now agree, the drama classroom has a place for both process and product.6 In both, we can find important aesthetic features of drama education. The Challenge of Emerging Technologies and Drama Education Having weathered the dichotomies of the past, there are now fresh challenges to the understanding of drama and aesthetics. The prevalence of and pressure for integration of new technologies in the drama classroom are also challenging drama educators to incorporate technology within the drama aesthetic. The ubiquity of technology that relates to drama education is facing teachers with serious challenges to engage with a dramatic aesthetic in classrooms. Perhaps the most stunning challenge is the exposure and experience twenty-first-century children have to rapidly changing technologies. As Morris explains, students are exposed to more drama in settings other than classrooms and theatres: For most Australian children, experience of drama is less likely to be through live performance than through screen-based media such as television, film, videos, video games, CD-ROM, DVD-ROM and interactive web-based games. And their experience of live performance is most likely to be shaped by the use of technology for design elements such as set, lighting and sound.7This is a compelling and imminent challenge. If drama educators cannot or will not find ways to work with technology, students will find other places to express their creativity outside the drama classroom. Added to the pressure from students who have grown up with these technologies, there is increasing pressure from curriculum developers and school systems to integrate technology into teaching. Aesthetics, Technology, and Curriculum: An Evolving Relationship All authorities and educational policy bodies in Australia are mandating integration of Information and Communications Technology (ICT) into drama curriculum. Recently, the New South Wales (NSW) Board of Studies mandated ICT as an area of "cross curriculum content," necessitating its inclusion in all Years 7-10 syllabi (which include all of the arts).8 For instance, the Year 7-10 drama syllabus states "... teachers should allow students the opportunity to explore different information communication technologies in their class work."9Recent studies have demonstrated mixed rates of participation and enthusiasm for the introduction of ICT in Australia and internationally. In the Australian study, half the respondents surveyed were not using ICT of any kind in their drama education.10 A... (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of (...) users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of (...) users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of (...) users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Journal of Philosophy of Education, Volume 56, Issue 1, Page 139-147, February 2022.

The outcome of this is explored, in detail, in relation to the teaching of literature, creative writing and drama.

Xenophon's masterpiece The Education of Cyrus—a work admired by Machiavelli for its lessons on leadership—is at last available in a new English translation for a new century. Also known as the Cyropaedia, this philosophical novel is loosely based on the accomplishments of Cyrus the Great, founder of the vast Persian Empire that later became the archrival of the Greeks in the classical age. It offers an extraordinary portrait of political ambition, talent, and their ultimate limits. The writings of Xenophon (...) are increasingly recognized as important works of political philosophy. In The Education of Cyrus, Xenophon confronts the vexing problem of political instability by exploring the character and behavior of the ruler. Impressive though his successes are, however, Cyrus is also examined in the larger human context, in which love, honor, greed, revenge, folly, piety, and the search for wisdom all have important parts to play. Wayne Ambler's prose captures the charm and drama of the work while also achieving great accuracy. His introduction, annotations, and glossary help the reader to appreciate both the engaging story itself and the volume's contributions to philosophy. (shrink)

Chinese drama was developed in the thirteenth century, but its roots can be traced back to music, one of the six arts, the main subjects in the Confucian curriculum. Yue is not only a synthesis of instrumental music, song, poetry, and dance as aspects of the fine arts, but also a method to promote moral education. In Confucianism, moral implications trump all other considerations in the discussion and evaluation of yue. This is what makes Confucianism the radical moralism (...) that dominated Chinese aesthetics before the Han dynasty. But Confucian moralism was attacked by Ji Kang 嵇康, a great scholar, musician, and Daoist philosopher who argued for the radical autonomism of music in his.. (shrink)