Download - Arts education 5142_pt2_october
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
ARTS EDUCATION 5142: ARTS EDUCATION 5142: DramaDrama
Drama offers children a way of knowing Drama offers children a way of knowing that is not replicated elsewhere in the that is not replicated elsewhere in the
curriculum.curriculum.
John O’Toole & Julie Dunn: Pretending to John O’Toole & Julie Dunn: Pretending to learn (2002)learn (2002)
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Drama educationDrama education
What is the intended learning?What is the intended learning?Why is it important?Why is it important?What do children bring?What do children bring?
WHAT DO WE WANT OUR STUDENTS WHAT DO WE WANT OUR STUDENTS TO LEARN IN AND THROUGH TO LEARN IN AND THROUGH DRAMA????DRAMA????
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
The multi-dimensional and The multi-dimensional and physical physical
nature of drama activity means nature of drama activity means that children’s cognitive abilities that children’s cognitive abilities
are engaged more are engaged more comprehensively than in comprehensively than in
sedentary learning activitiessedentary learning activities (Jensen, 2001, p72, as cited in (Jensen, 2001, p72, as cited in
Dinham, pge 180).Dinham, pge 180).
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Stage oneStage one
Drama/theatre warm up Drama/theatre warm up activityactivity
WHY?WHY?
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Drama or theatre activities are Drama or theatre activities are used to develop a range of skills used to develop a range of skills
and competencies such as and competencies such as physical movement skills, physical movement skills,
imagination, concentration, imagination, concentration, trust, spatial awareness and trust, spatial awareness and
team skills.team skills.Dinham (2011) pge 187Dinham (2011) pge 187
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Stage twoStage two
Knowledge in, skills and Knowledge in, skills and practices that form drama practices that form drama educationeducation
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Intended learning……Intended learning……
1.1. VoiceVoice
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Verbal expression involves using Verbal expression involves using the voice to represent different the voice to represent different
characters and to convey moods characters and to convey moods and content expressively by using and content expressively by using
tonetone (timbre), (timbre), intonationintonation (pitch, (pitch, volumevolume (dynamics) and (dynamics) and pacepace
(tempo). (tempo). Diction Diction (clarity), (clarity), pronunciationpronunciation (accuracy) and (accuracy) and
improvising dialogue are other improvising dialogue are other vocal skills required for dramatic vocal skills required for dramatic performance. (Dinham 2011, pge performance. (Dinham 2011, pge
203)203)
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Reader’s TheatreReader’s Theatre
Activity: Read the script for Activity: Read the script for Tacky the Tacky the PenguinPenguin by Helen Lester by Helen Lester
www.teachingheart.net/www.teachingheart.net/readerstheater.htmreaderstheater.htm
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Voice
Tone Clarity Pace
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Intended learning…….Intended learning…….
2.2. Movement/Movement/gesturegesture
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Movement/gesture
Consistent AppropriateEnhances character
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
MimeMime
Mime is acting without words and Mime is acting without words and focuses attention on the use of focuses attention on the use of facial expression, gesture, body facial expression, gesture, body language and action. Focus on non-language and action. Focus on non-verbal ways of communicating.verbal ways of communicating.
Dinham (2011), pge 183-7Dinham (2011), pge 183-7
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Activity: Opening of birthday Activity: Opening of birthday presentpresent
1) Non-verbally communicate 1) Non-verbally communicate what it iswhat it is
2) Non-verbally communicate your 2) Non-verbally communicate your emotional response emotional response
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Intended learning……Intended learning……
3.3. TextText
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Text
Beginning context
Point of tension
Resolution
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Activity: Word prompts for Activity: Word prompts for narrativenarrative
(person, place, object)(person, place, object)
Focus: structure of the plot – Focus: structure of the plot – beginning, middle and end, beginning, middle and end, with an area of conflict and with an area of conflict and
resolutionresolution
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
AudienceAudience
Roles and responsibilitiesRoles and responsibilitiesEtiquette Etiquette
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Audience checklistAudience checklist
Drama skillsDrama skills VoiceVoice Movement/gestureMovement/gesture Maintaining characterMaintaining character Story structureStory structure Production Production
(lighting/sound/sets..)(lighting/sound/sets..)
Drama dispositionsDrama dispositions ConfidenceConfidence Team workTeam work Risk takingRisk taking Co-operationCo-operation
Issues/moral Issues/moral dilemmas/ character dilemmas/ character traitstraits
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Drama education – Drama education – why???why???
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Research shows that children Research shows that children involved in rich forms of drama involved in rich forms of drama
education develop greater education develop greater fluency and versatility in fluency and versatility in
language and non-verbal forms language and non-verbal forms of communication than those of communication than those
who are not (Fiske, 1999, cited who are not (Fiske, 1999, cited in Dinham pge 181.in Dinham pge 181.
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
The Practice/processThe Practice/process
Child centeredChild centeredTeacher initiatedTeacher initiated
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Child CenteredChild Centered
Drama cornerDrama cornerPlay boxesPlay boxesBox of costumesBox of costumesVariety of propsVariety of props…………………………....
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Teacher initiated – the practiceTeacher initiated – the practice- process drama- process drama
Dramatic role playDramatic role playStorytellingStorytellingPuppetsPuppets ImprovisationImprovisationMimeMimeScriptsScripts
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Additions to your teachingAdditions to your teaching
Windmill Theatre: Windmill Theatre: www.windmill.org.auwww.windmill.org.au Patch Theatre: Patch Theatre: www.patchtheatre.org.au www.patchtheatre.org.au Slingsby Theatre: Slingsby Theatre: www.slingsby.net.auwww.slingsby.net.au No Strings Attached:
www.nostringsattached.org.au
Carclew Youth Arts Centre: Artist in Schools Program - carclew.com.au
Outreach Education (DECD) - Adelaide Festival Centre, Art Gallery of SA, ……
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
AssessmentAssessment
Strategies…………….Strategies…………….
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
AssessmentAssessment
What is your assessment focus? (skills What is your assessment focus? (skills or dispositions)or dispositions)
Teacher assessment – checklist, Teacher assessment – checklist, observation (with or without notes)observation (with or without notes)
Peer assessment – verbal feedback on Peer assessment – verbal feedback on performancesperformances
Group assessment – Group assessment – verbal/drawn/written reviews of formal verbal/drawn/written reviews of formal performancesperformances
Video – for teacher, students, parentsVideo – for teacher, students, parents
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Drama elementsDrama elements
Role, character and Role, character and relationshipsrelationships
Situation/settingSituation/settingFocusFocusTensionTensionSpace and timeSpace and time
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Drama skills and knowledgeDrama skills and knowledge
Technical: Technical: VoiceVoiceBodyBodyTextTextAudienceAudience
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Drama pedagogyDrama pedagogy
Learning inLearning in:: Focus on the specific skills, knowledge Focus on the specific skills, knowledge
and vocabulary of dramaand vocabulary of drama
Learning throughLearning through:: Using the dispositions of drama to Using the dispositions of drama to
enhance other learning areas and enhance other learning areas and personal and social competencies.personal and social competencies.
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Cross curriculum prioritiesCross curriculum prioritiesSustainability: opportunities to explore issues through Sustainability: opportunities to explore issues through
dramatic role playdramatic role play
Aboriginal & Torres Strait Islander histories and Aboriginal & Torres Strait Islander histories and cultures: traditional and contemporary dance (SA – cultures: traditional and contemporary dance (SA – Kurruru Youth Theatre, National - Bungarra Dance Kurruru Youth Theatre, National - Bungarra Dance Theatre), visual artTheatre), visual art
Asia and Australia’s engagement with Asia:Asia and Australia’s engagement with Asia: Japan: Bunraku Puppetry, Noh Theatre, KabukiJapan: Bunraku Puppetry, Noh Theatre, Kabuki China: Marionette and hand puppets, OperaChina: Marionette and hand puppets, Opera Vietnam: Water PuppetsVietnam: Water Puppets Indonesia (Bali): Topeng – mask dance-dramaIndonesia (Bali): Topeng – mask dance-drama Indonesia & Malaysia – Wayang Kulit (shadow Indonesia & Malaysia – Wayang Kulit (shadow
puppets).puppets).
UniSA Drama tut/workshop pt 2, 2nd UniSA Drama tut/workshop pt 2, 2nd years October 2013years October 2013
Drama is an embodied form of artistic Drama is an embodied form of artistic expression that engages children’s expression that engages children’s
emotions, intellect, imagination, spirit emotions, intellect, imagination, spirit and body. Children have a natural and body. Children have a natural instinct for drama, as seen in their instinct for drama, as seen in their
earliest ‘let’s pretend’ forms of play. earliest ‘let’s pretend’ forms of play. When children enter the imaginative When children enter the imaginative world of make-believe they enter the world of make-believe they enter the world of dramatic play. By building on world of dramatic play. By building on these instincts, teachers can create these instincts, teachers can create
rich and satisfying learning rich and satisfying learning experiences for children. experiences for children. Dinham, pge Dinham, pge
209.209.