Melbourne Studies in Education最新文献

{"title":"Drama: The Productive Pedagogy","authors":"J. O’Toole","doi":"10.1080/17508480209556401","DOIUrl":"https://doi.org/10.1080/17508480209556401","url":null,"abstract":"How things change. And how attitudes to change change. Twenty five years ago I started teaching drama in Queensland though the word drama did not exist formally in the schools or in any curriculum documents, other than two yellow supplementary pages in the four hundred page Language Arts Syllabus. The first school I went into, the Principal greeted me with a guffaw and 'Drama oh there's no shortage of drama in my school!' meaning that there was no drama at all but a lot of behaviour problems. A depressing number of class teachers would meet me defensively with 'Oh these children aren't very creative, I'm afraid', as if this was normal. All that meant was that the teacher was not trained or expected to notice creativity, certainly not to nurture it; 'creative' behaviour meant 'problem' behaviour. In my first year there was a big row in the Education Department over whether the phrase 'education for change' could be used in a curriculum document. The phrase was dropped because of severe government pressure. Social change, or students even thinking about it, was something that the Queensland National Party Cabinet of 1976 did not want, consisting as it did of thirteen elderly men, mostly farmers, who had all left school before they were twelve, except one who had stayed till thirteen so they made him Minister for Education. Every new government through the whole period since then, five of diem in all, has responded to ongoing public concern about education by public rhetoric promising renewed emphasis on 'Back to the Basics' or 'The Three Rs'. Nevertheless, often surreptitiously or even accidentally at first, change has been happening, until now it is perhaps the central word in the new rhetoric of education. The often unconsciously positivistic, hierarchical and behaviouristic assumptions that have underlaid schooling systems since the acts of the 1870s when they were founded are under siege from the realities inside and outside the schools that contradict the simplistic political refrain of 'the basics'. The curriculum and the organisation of schooling have been challenged from inside and outside. The education systems are trying to catch up with the rhetoric and the scholarship of education as process and education for change. This has been a fairly congruent common academic currency at least since Dewey, who is significantly coming back into fashion. This currency is expressed in a range of paradigms and educational settings, often embodied in vigorous debate.","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116407718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Engaging with the Other: Drama, and Intercultural Education","authors":"K. Donelan","doi":"10.1080/17508480209556400","DOIUrl":"https://doi.org/10.1080/17508480209556400","url":null,"abstract":"Drama educators world-wide have recognised the power of drama to open up intercultural and intracultural dialogue, to provide a forum for the exchange of different interpretations of human experiences. In an increasingly dangerous and divisive world the drama classroom or workshop can function as a safe space where, through the imaginative resources of participants, fictional and other social worlds can be conjured up and embodied. Cultural narratives can be shared and explored through the aesthetic languages of drama. Contemporary drama education emphasises collaborative and inclusive teaching practices, the socio-cultural awareness of students and their expressive development. These orientations reflect its origins and influences: the child-centred and play-focused progressive education movement that produced 'Drama-in Education' or 'Process Drama'; contemporary performance practices centred on improvisation and groupbased creation of performance texts; and the participatory and analytical processes of Boal s Theatre of the Oppressed with its strategies for social critique and empowerment. Within Australia's heterogeneous schools the drama curriculum is a site where diverse meanings can be expressed, negotiated and communicated through the interactive processes of enactment. Many drama teachers within multicultural Australia see the task of building cross-cultural understanding as an integral part of their drama work with students,","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128992408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Digital Drama: A Snapshot of Evolving Forms","authors":"John Carroll","doi":"10.1080/17508480209556409","DOIUrl":"https://doi.org/10.1080/17508480209556409","url":null,"abstract":"I'd like to start with a personal confession that positions (or skewers) me in relation to the following discussion of digital drama. Taking note of Denzin's focus on the 'narrative turn in interpretative ethnography, I recall leaving a National Drama Conference in Canberra some years ago to visit the nearby cinema multiplex. I went to see 'Terminator 2' starring Arnold Swarzenegger and a range of digital special effects. Arnold plays a cyborg with no moral sensibility and no pain threshold. However, he does possess a very appealing sense of mission. His job involved him in protecting a young boy he has been sent back from the future to save. If this time paradox does not make sense I suggest you hire the DVD, get in some popcorn and watch it for yourself! However, you really had to be there for the big screen, the Dolby Surround sound and the audience participation. It was clear from their responses that the young audience had no trouble with the space/time paradox and, at the moment of Arnold's supreme sacrifice, a sense of cartharsis was plainly and appreciatively evident in the theatre. I returned to the Drama conference for the next session of papers and workshops to discuss my enthusiasm for drama, computers and cyberspace with the delegates. I ended up engaged in an animated, if somewhat sceptical, discussion with the editor of this very edition of the journal! There is an ambivalence towards technology in the educational community that is commonly expressed through a series of oppositional positions common in our culture. One of the dualities clearly present in our schools is the tension existing between drama and technology. This is usually expressed through the structuralist terms of film analysis derived from the work of Levi-Strauss and others. It was certainly evident in my discussion with other drama teachers at the conference. The fact that some people would set technology and drama in opposition is evidence of the lingering tension still carried in the educational system. This tension is usually expressed through binary opposites such as: Drama versus Technology, Art versus Industry, Sensitivity versus Brutalism and High Culture versus Low Culture. These dualities are a reflection of the still current modernist views that position educated people as 'sensitively attuned' to high culture drama or alternatively sees","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125675583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Researcher and the Philosopher's Stone","authors":"Christine Sinclair","doi":"10.1080/17508480209556406","DOIUrl":"https://doi.org/10.1080/17508480209556406","url":null,"abstract":"My work in community theatre is driven by a desire to find the voices of the participants, and to locate a means of amplification. However, when I sat down to write an account of my most recent project, I could not find my own voice. Eventually, I came to appreciate the irony. For months I had worked with young people who seemed to have little opportunity to 'speak'. They clamoured to be heard, and revelled in the drama experiences I brought to them. On occasion, it seemed that they were able to find a voice, through workshops, and performance. Sometimes they didn't know what to say, or were reluctant to use the opportunities to reveal themselves, but they liked being asked. I wanted to make sense of this and to report my findings about the importance of aesthetic processes and community identity in disengaged communities, and about finding ways of collective art-making in which responsibilities for form and content could be shared. Words failed me.","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128691545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Responsive Research: Investigating Theatre for Young People","authors":"Noel Jordan","doi":"10.1080/17508480209556407","DOIUrl":"https://doi.org/10.1080/17508480209556407","url":null,"abstract":"/ can't accurately describe what takes place in the rehearsal room because it depends on what happens in front of me. This determines how I react and how I channel what I witness. Rehearsals are complex and organic processes which defy definition as much as they resist formal or intellectual structure... My role (as a director) is to create conditions for free exploration. I think it's correct to say that every actor needs to be directed differently ... This is why it's always hard to give a description of rehearsals. It's like asking Picasso what he painted. If there is an answer, it lies in what he removed, scribbled out or painted over.'","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116935047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Drama and the Learner","authors":"J. Simons","doi":"10.1080/17508480209556398","DOIUrl":"https://doi.org/10.1080/17508480209556398","url":null,"abstract":"Although teaching is increasingly recognised as extremely complex work, any useful analysis of education will have the learner firmly at its centre. Recently many researchers have returned to the position that teaching is a moral enterprise, and believe that teachers should focus primarily on promoting the welfare of the learners and of the wider society. Noddings argues that every human encounter is a potentially 'caring occasion\". Speaking of the nurse-patient relationship, but equally true of teacherstudent, she says that the very moment they meet is important:","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125670646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Drama Teacher's Journey","authors":"M. Anderson","doi":"10.1080/17508480209556405","DOIUrl":"https://doi.org/10.1080/17508480209556405","url":null,"abstract":"When the school doors finally closed at the end of the academic jear, Nancy's commitment to the school and to teaching was low. She was especially disappointed by her inability to establish engaging relationships with the students. Not only did teaching tire her, but in class she lacked animation.The year had not been easy. She had been severely tested and in her own eyes had not passed the test. Teaching', she concluded, 'in traditional classrooms may not be for me.'","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131717088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The ‘Creative Industry’ of Designing a Contemporary Drama Curriculum","authors":"B. Haseman","doi":"10.1080/17508480209556408","DOIUrl":"https://doi.org/10.1080/17508480209556408","url":null,"abstract":"Drama teachers have always operated within paradigms of thought that have shaped and animated notions of'best practice'. At one time or another over the past forty years, the ideas of progressivism, interdisciplinarity, aesthetic education and critical pedagogy have been deployed to argue the theory and practice of drama in education. The movement from one paradigm to the next has seldom been painless, for the act of breaking free from reassuring category formulations involves intellectual and emotional anxiety. And in 2002, we are not immune from such paradigm shifts and the displacements they cause. Manuel Castells charts our present moment:","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116200248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A challenge, a Threat and a Promise: Drama as Professional Development for Teacher Educators","authors":"Jody Raphael, Joanne O’Mara","doi":"10.1080/17508480209556404","DOIUrl":"https://doi.org/10.1080/17508480209556404","url":null,"abstract":"The e-mail went on to list four possible topics to be explored on the day arid there at the top of the list was 'drama as pedagogy'. Having spent most of my life as a student of drama, a teacher of drama and now a lecturer in drama education in the faculty, I am a great believer in the power of drama for teaching and learning. As well as being involved in preparing teachers of drama and theatre, I am regularly using drama in classes to enable reflection on students' practice as beginning teachers. As I read the e-mail, part of me felt jubilant at the thought that some other members of staff outside of the drama area were also considering the value of drama for teaching and learning in their own classes. I imagined that one or two other colleagues with experience in using drama as a methodology might be interested in collaborating with me in the planning and delivery of this session. The idea of sharing the risk appealed. I wrote the following tentative reply to the organiser of the Professional Development (PD) day.","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129013286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Drama and Learning","authors":"K. Donelan, H. Cahill","doi":"10.1080/17508480209556397","DOIUrl":"https://doi.org/10.1080/17508480209556397","url":null,"abstract":"In an era of concern about the alienation of young people from learning and from community, the education and health sectors are turning towards the arts as a means of enhancing ethical understandings and engagement in learning. In Australia and internationally the performing arts are increasingly being recognised for their capacity to build social and cultural capital through collaborative and purposeful endeavour. This special edition of Melbourne Studies in Education showcases current thinking about drama as an educational and artistic medium within contemporary school and community contexts. Historically, drama was positioned as an optional extra — a luxury item in the smorgasbord of education. However, over the past twenty years drama has become an established part of the education of young people in Australian secondary schools and is widely used as a teaching and learning strategy within education and training. In the past decade Australia has gained international recognition for providing drama with an integral place within its national arts curriculum framework. Drama is becoming a mandatory area of the primary school curriculum in a number of States. Yet, in spite of these developments and an established body of research about students' learning in drama, its potential is often under-valued or ignored by educators outside the arts. Recently however, with the renewed focus on pedagogy, the highly interactive, flexible and creative methods used by drama educators have come into focus as key strategies for teachers. In this issue Australian writers from the field of drama highlight the powerful pedagogies employed in a range of educational and community contexts. They draw on recent research embedded in practice to illuminate the ways in which meaning in drama is shaped within dynamic learning encounters. Through their contextualised accounts the writers reflect on the challenges for educators working as co-creators with diverse participants, calling creative thinking and critical reflection into play. These articles collectively reflect a deep conviction about the moral purpose of education to nurture, challenge and develop the human being and the community. The writers describe and analyse drama practice in which social and emotional goals are interwoven with intellectual and aesthetic challenges. Drama is seen as a powerful and empowering pedagogy and as a participatory, enquiry-based learning medium. Contributors highlight drama's role in developing cultural understandings and critical literacy skills, and in fostering resilience and a sense of connectedness. Imagination, empathy, play and creativity are foregrounded as central qualities of a contemporary drama curriculum. As guest editors we hope that this journal will generate important questions and provoke productive dialogue about the potential of drama and its pedagogical practices within educational environments. We have grouped the articles according to the central themes emerg","PeriodicalId":347655,"journal":{"name":"Melbourne Studies in Education","volume":"45 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129526927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}