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The teaching of drama in Sri Lanka is presently only conducted by the traditional lecture method, which is not conducive to preparing students for the modern globalised world. To ascertain whether teaching by process drama techniques improved creativity in secondary school students, a non-randomised control group design with an intervention group, a control group and an active control group, was conducted. This article describes the perceptions of teachers in the intervention group who taught process drama. We describe the obstacles which the teachers experienced when teaching process drama and the challenge to bring changes to drama education in Sri Lanka.

Completing Ph.D. degrees in western or European countries has long been a practice for students and researchers around the world, which contributes to scientific productivity, allows for international recognition and encourages international ties and collaboration between researchers from different countries. Many of these doctoral students conduct data collection for their research projects in their native language in their home country before moving on to the analysis and interpretation stages with the support of language translation. The quality of the translation process and interpretation of data has a huge impact on the ultimate effectiveness and success of proposed interventions. However, conducting data collection in one's native language, particularly in creative arts such as drama, presents unique challenges for translation and interpretation processes. This article reflects upon the challenges encountered during the translation of data from two original sources – one in Australia and one in Sri Lanka – during an investigation of a process drama intervention. It discusses the cultural and linguistic appropriateness of research methodologies within different educational contexts, emphasizing the importance of considering these factors for ensuring research credibility and validity. By addressing these challenges, educators and researchers can create more inclusive and impactful learning environments for students across diverse cultural and linguistic backgrounds. [ABSTRACT FROM AUTHOR]

Effective drama teaching and learning needs physical space: space for performance, expression, interaction and exploration. However, the Sri Lankan classroom environment remains largely unexplored in terms of investigating the relationship between the physical classroom environment and the teaching and learning of drama when process drama is the method of instruction. This article is based on the findings of a non-randomised control group intervention study, which involved forty classroom observations in secondary schools in Sri Lanka. The observations showed that students who were able to use the school's open-air theatre for the entire intervention period engaged in far more collaborative, energetic, performative and creative behaviours than other classes who were in a confined classroom space with desks and chairs crammed closely together. Implications for the teaching of drama by different methods are discussed in the Sri Lankan context. [ABSTRACT FROM AUTHOR]