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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]

This article investigates three key moments from a sequence of learning facilitated within a Singapore preschool. Delivered as part of a wider study aimed at identifying the value of dramatic pedagogies for developing young children's global competence, the learning sequence was facilitated by the researcher—an experienced early childhood drama educator. The learning experiences were designed to be responsive to the children's interests and ideas, with an emphasis on ensuring their active participation and agency. Analysis of the data was supported using the 2018 Organisation for Economic Co‐operation and Development Global Competence Framework and the Elements of Drama model. Despite limitations such as the small sample size, the findings suggest that for these children, dramatic pedagogies were effective in providing opportunities for engagement with the complex ideas associated with global competence and sustainable development. However, analysis also reveals that in order to be effective, careful management of the elements of drama is required. The article concludes by outlining implications for educators and public policy‐makers interested in identifying pedagogies suitable for developing young children's global competence and supporting their awareness of the importance of sustainable development. [ABSTRACT FROM AUTHOR]

This paper reports on a collaboration between advocacy organisation, Sweltering Cities, artists and researchers who developed a multi-site research project that provided South West Sydney residents an opportunity to engage in drama and poetry workshops that gave voice to their lived experience of rising surface temperatures, as well as their desire for environmental protection and climate action. The research featured in this paper contributes to previous research that finds aesthetic modes of engagement to be powerful with regard to ecological awareness, capable of being a positive motivator of small shifts in thinking which are a precursor to climate action. [ABSTRACT FROM AUTHOR]

This article explores the potential for engaging 7 and 8-year-old school pupils in performative literature interpretation through process drama. Inspired by new materialism and affect theory, we focus on how literature interpretations come into being in dramatic fiction, and on how these becoming interpretations merge with the classroom. The study explores interpretive spaces as entangled worlds in mutual engagement of pupils, teachers, and researchers in interpretation through process drama. The study establishes a theoretical framework in pointing out ways in which process drama performances contribute to engage the youngest school pupils in literature interpretation and present social problems. [ABSTRACT FROM AUTHOR]

With process drama, which combines aspects of drama and education, children are given the freedom to actively explore and make meaning of language using their creativity. This article offers a theoretical foundation and rationale for the use of process drama, as well as an exploration of the possible applications of this method in English language teaching. The primary theories underlying the use of process drama in language instruction are examined, with a focus on how it may foster an immersive and interesting learning environment. In doing so, this study assesses the efficacy of process drama techniques and offers a comprehensive analysis of the several theoretical frameworks that promote the use of process drama in language teaching. Through conceptual analyses of learning theories like behaviorism, the sociocultural approach, the psychological and cognitive approach, multiple intelligence theory, cognitive load theory, communicative approach and the humanistic approach, it improves a thorough understanding of the potential of process drama in English language instruction and its ability to positively impact the learning experience. This article is expected to contribute to the literature and thus to researchers in this field, as well as to guide foreign language teachers and process drama practitioners by providing a theoretical framework. [ABSTRACT FROM AUTHOR]

This article presents the extension project entitled "Drama in the Classroom: an introduction", from the Federal University of Grande Dourados (UFGD), as a bridge between the training of future teachers and the school environment. In this project, the objective was to introduce the process drama methodology into the teaching of Art(s) in a basic education school in Dourados/MS. Seeking to intersect Basic Education and University in academic, school, social and cultural spheres, the process drama "Between Matches and Stars" was created, applied to elementary school classes at the municipal school Arthur Campos Mello. Addressing themes such as death, loss, social class, racism, prejudice, among others, the active and playful methodology of the drama allowed participants in the process a unique, formative, civic and exciting experience, in which the training of teachers in direct contact with the school community was the focus of investigation. [ABSTRACT FROM AUTHOR]

This study targets a special form of educational drama called process drama, as a potential means for enabling student engagement with wicked problems. The overarching aim is to explore how process drama may afford student agency in dealing with wicked problems in upper secondary chemistry education. It is a design-based study with two cycles of intervention in two schools. A process drama plan was designed to focus on the wicked problem of plastic pollution. The interventions were video- and audiotaped and thereafter transcribed. The data were analysed using a combination of qualitative content analysis and a sociocultural framework of the two dialectics agency|structure and margin|centre. The analysis resulted in three themes regarding how plastic pollution and plastic use was explored in the process drama. The students participated in a constant flow between margin and centre where different spaces for students’ agency was afforded. In brief, our main finding is that process drama enables students and teachers to participate in a variety of ways in the exploration of wicked problems, and talk about plastic pollution and plastic use, while drawing on knowledge and perspectives of science as well as values and societal and social science perspectives and knowledge.

Process drama, which emphasizes the active exploration of fictional roles and situations, has proven to be an effective pedagogical approach in language teaching and learning. Despite its recognized efficacy, the systematic evaluation of process drama's impact on English as a Foreign Language (EFL) education remains understudied. This systematic review aimed to investigate the current literature on the relationship between process drama and EFL teaching and learning. Using the keywords ''process drama'' and ''EFL,'' publications released between 2003 and 2023 were meticulously extracted from various reputable databases, including ProQuest Citation, Web of Science, Scopus, Science Direct, Taylor & Francis, SAGE, and Google Scholar. In total, 30 studies (27 articles, two master's theses, and one PhD thesis) that met the inclusion criteria were analyzed comprehensively based on their primary characteristics, fostering in-depth discussions on the diverse factors influencing EFL learning and teaching through process drama. Notably, the review underscores that process drama exerts a significant and positive impact on EFL learning and teaching, particularly by enhancing language skills, students' language learning outcomes, and EFL teacher development.

Este artigo apresenta o projeto de extensão intitulado "", da " como ponte entre a formação de futuros professores e o ambiente escolar. Neste projeto, o objetivo foi introduzir a metodologia de process drama no ensino de Arte(s) em escola da rede básica de ensino de ". Buscando interseccionar Educação Básica e Universidade em âmbitos acadêmico, escolar, social e cultural, foi criado o process drama ", aplicado em turmas do ensino fundamental I na escola municipal ". Abordando temas como morte, perda, classe social, racismo, preconceito, entre outros, a metodologia ativa e lúdica do drama permitiu aos participantes do processo uma experiência única, formativa, cidadã e emocionante, em que a formação de professores em contato direto com a comunidade escolar foi foco de investigação.

This article explores engagement and group flow in drama-rich pedagogies with community languages (also known as heritage languages) teachers. Flow is usually examined in terms of an individual experience of creativity (Csikszentmihalyi, 1997, 2008, 2014), where autotelic or intrinsically rewarding experiences are associated with a state of flow. Group flow refers to a collective state where attention is equally put on the task and others, because the task requires continuous social interaction (Hackert et al., 2022; Sawyer, 2004, 2007). Teaching Artists working with drama-rich pedagogies must balance individual creative contributions, group dynamics and the demands of the narrative to sustain engagement and bring about the conditions for group flow. This research found that engagement for the purposes of teacher professional development broadened to encompass autotelic engagement. Data also indicated that a deepening sense of autotelic engagement served to extend and reinforce participants’ teacher professional learning goals.

The aim of this essay is to consider some of the issues and possibilities presented by recent developments in citizenship education and drama education in China. It is written from the personal perspective of a drama practitioner whose professional life has given her first-hand experience of those developments. This essay reflected the literary legacy as explored through drama pedagogy. Using the 'Rolling Role' Learning Model invented by UK drama educator, Dorothy Heathcote, applied in the educational contexts, I will contextualise my approach to interdisciplinary education relevant to citizenship and drama education. [ABSTRACT FROM AUTHOR]

This paper presents a case study of developing a blended reading program for Korean EFL middle school students using a process drama methodology to generate intrinsic motivation to read, improve reading comprehension and language fluency, and foster twenty-first-century skills such as creativity, communication, and cooperation. For the development of the reading program, a needs analysis was conducted using student questionnaires and diagnostic tests. From results of the needs analysis, sample lessons were designed based on the process drama methodology following its planning principles and strategies. Based on feedback from teachers and students after piloting the sample lessons, the blended reading program was finalized. The proposed blended reading program is expected to help Korean EFL middle school students build a positive attitude toward reading English books and develop reading comprehension, language fluency, and 21st-century core competencies. It will also encourage English teachers to use innovative teaching methods in English education. [ABSTRACT FROM AUTHOR]

This study investigates English as a foreign language learners' emotions and questions the authenticity of the communication in language classrooms in Turkey. To become more aware of learners' emotions and to make a speaking module more engaging, the teacher-researcher decided to utilise process drama as a participatory action research intervention. The data were collected over a three-week process drama. Drawing on 'ethics of care' and 'social and emotional learning', the findings demonstrated that authentic communication empowered learners when the content was relevant to their emotion labour. When learners' emotions are scrutinised explicitly through drama-in-education, they feel respected and more engaged. [ABSTRACT FROM AUTHOR]

Metaxis offers a powerful, yet elusive space for learning. We argue that authentic questions can provoke compelling metaxis moments where students and their teachers straddle two worlds at one time: the fictional and the real. We report findings from two New Zealand research projects in primary schools where we investigated the precursors to metaxis moments in process drama. We analysed lesson plans (LP) and group meeting, lesson and individual interview transcripts through a sociocultural lens. We present two vignettes to illustrate the interplay between metaxis moments, process drama pedagogy and authentic questioning when exploring issues of global concern. [ABSTRACT FROM AUTHOR]

This paper reports a case study of teaching Cantonese to Hong Kong ethnic minority pre-schoolers using process drama. Based on Deleuzo-Guattarian concepts of minor literature and language, becoming and de-/re-territorialisation, this paper aims to reconceptualise a playful adaptation of process drama developed by Joe Winston (2012) as a language-minoritising approach to the teaching and learning of a major language that is very foreign to children. The findings suggest that, to accomplish ethnic minority children’s becoming Cantonese speakers, the theatre games and language play should involve minoritorisation and de-/re-territorialisation of the normative practices of process drama, the target language as well as learner identity. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this practice-oriented article, each author has found an example in their national contemporary literary legacy to be explored through educational drama approaches. One is a short story (and a one-act play version of the story) by Lao She, China; the other is a short story by Tor Åge Bringsværd, Norway. Both stories are about experiences on train journeys and the article presents ideas for how to use them in drama pedagogical settings. Each author contextualizes their drama approach in terms of current public curriculum policies relevant to aesthetic education and drama education in each country, and theory from the field literature. [ABSTRACT FROM AUTHOR]

In this article, we investigate how a process drama can be used in efforts against school bullying in a new digitalised society, specifically, what kinds of initiatives Norwegian adolescents make use of in process drama as anti-bullying prevention and what kinds of attitudes towards this kind of prevention work they emphasise. In the project Drama & Bullying (2017-2020),95 16- year-old 10th-graders participated in different roles, explored the drama conventions, and thus developed a deeper insight into bullying and its prevention. The participants adjusted the original story that was provided to fit their presentday challenges. [ABSTRACT FROM AUTHOR]

The power of process drama as a dynamic tool for exploration and learning is well documented. Far less is known about its potency as a qualitative research methodology. This article aims to address that deficit, drawing on lessons learnt from a collaborative project investigating the causes of dental anxiety in children. It argues that process drama can serve as a democratic methodological tool that invites multiple ways of knowing. It reconsiders process drama as an art form that has hitherto been overlooked by researchers committed to pursuing participatory methodologies with children that encourage distributed power-sharing and co-produced knowledge. [ABSTRACT FROM AUTHOR]

This article describes the critical process drama framework and highlights its potential to disrupt the status quo through an agenda of exploration and wonder. Generated through arts-based research exploring process drama as an enactment of critical pedagogy, the cumulative case study drew upon a document analysis of Cecily O'Neill's Seal Wife workshop and exploration of the 'mantle of the expert' dramatic inquiry form. Developed to enact critical process drama, six key concepts – hope, aesthetic, agency, agitation, action and ambiguity – operate as an interwoven and reflexive framework to inform drama practice. Dynamic, relational and essential, these six concepts enact the theories of critical pedagogy and process drama as dialectical, improvisational approaches committed to transformation and social justice. As educators and artists, we cannot dance forever in the imagination or plod along hopelessly in reality. Through critical process drama participants, can operate critically in new worlds and significantly between worlds. We need to travel between and transform through transitions. In the crack between the light and dark we can dance and dance and dance. [ABSTRACT FROM AUTHOR]

Dental anxiety in children is a major health concern. Process drama adopts distancing techniques that allow children to examine the possible causes of dental anxiety safely and with authority. Using this method to inform paediatric dentistry is novel and could be adopted in other fields where children experience health-related anxiety. A 90-minute process drama workshop was conducted in three primary schools in Batley,West Yorkshire. Sixty-three children participated in the study. Sessions were audio-recorded, transcribed and thematic analysis conducted. Four key concepts emerged: 1) Fear of the unknown; 2) Unpleasant sensory experience; 3) Society's perception and portrayal of the dentist and 4) Learnt negative associations with the dentist. Process drama offers a novel approach to develop an understanding of dental anxiety in children. It elicits critical insights from a child's perspective and offers a participatory model for engaging children in health research on sensitive issues. [ABSTRACT FROM AUTHOR]

Este artigo pretende relatar e analisar como se deu a execução do process drama “Caso Sônia” (baseado na obra “Valsa n. 6”, de Nelson Rodrigues) em duas turmas de graduação dentro da Universidade Federal da Grande Dourados (UFGD). Utilizando como base a dramaturgia rodrigueana, as autoras abordaram o tema do feminicídio em sala de aula, executando o process drama em uma turma da graduação em Artes Cênicas da Faculdade de Comunicação, Artes e Letras (FACALE); e na turma da Faculdade Indígena da mesma universidade (FAIND). Identificar a diversidade de conhecimento e entendimento que pode advir de um mesmo processo – empregado em turmas distintas – pode lançar novos olhares sobre as possibilidades e potencialidades de implicações do process drama, como foi o caso de ambas as experiências.

This study aims to conceptualise a drama-integrated curriculum devised from process drama as an approach to play-based pedagogy and curriculum to realise the policy initiative of learning through play. By investigating teachers' perspectives and practices in relation to the curriculum of a local kindergarten, examples of effective drama-integration strategies and the associated children's learning are identified and organised into four themes – namely, drama teaching and learning through, before, in and after play. The teachers understood that although their curriculum is not based on free play, its not-so-free features may reconcile the play–learning binarism, daring them to navigate the maze of complex relationships between play, drama, teaching and learning in implementing a playful curriculum. [ABSTRACT FROM AUTHOR]

For some decades a growing body of research has articulated the transformative potential of learning in, about and through The Arts. In particular, it is clear that there can be a powerful relationship between drama-rich pedagogy and the enhancement of student literacies. This article reports on research that examined the processes and outcomes of one teacher professional learning program, the School Drama program and its impact on student learning in one Sydney primary school. This research investigated the impacts of the program on student literacy learning, specifically in the area of inferential comprehension through drama-rich pedagogy. Three Vygotskian concepts frame this research: the Zone of Proximal Development (ZPD), Drama and Play, and perezhivanie. The findings suggest positive shifts in student English and literacy outcomes – with this case investigating the focus area of inferential comprehension. [ABSTRACT FROM AUTHOR]

The article explores the potential of applying process drama in moral education in Chinese schools. By conducting a thematic review of the current national curriculum and policy documents from both historical and contemporary perspectives, the interconnection between the role of art and moral cultivation in China is discussed. Through an analysis of the national curriculum, the article suggests that applying process drama in school education can contribute to learning in the curriculum areas of both aesthetic and moral education. However, the existing commingling of concepts and definitions influences the actual drama practices in China. Consequently, a discussion of terminology is brought in, as well as an argument for the need to include drama as a discrete subject in schools, in addition to its function as a method for educational purposes. A process drama sample from the author's drama praxis is included. The overall aim of the article is to contribute to an extended understanding of educational drama and theatre in a Chinese context and to gain new insights into possibilities and challenges for the future implementation of drama in education in China. [ABSTRACT FROM AUTHOR]

This article discusses findings from a research project with emergent bilingual youth in Phoenix, Arizona. This project focused on how critical intercultural language pedagogy impacts how and what methods of performative language teaching drama and language practitioners employ in the English as an Additional Language (EAL) class through engaging aspects of a Youth Participatory Action Research methodology (YPAR) and through taking a Mantle of the Expert approach in a process drama. The article uses Tania Cañas’s Manifesto “10 things you need to consider if you are an artist not of the refugee and asylum seeker community- looking to work with our community” to situate how this project sought to examine ethical process when working with language minoritized youth in the context of English language learning in the United States. Cañas (2015) argues that artists need to examine how their project methodologies promote equitable exchange, as well as how their participation frameworks situate power. In relation to the above points in Cañas’s Manifesto, the article discusses findings from the research project, and examines how effectively the project considered equitable exchange and power dynamics within the context of language learning. Findings relate how drama practitioners and language teachers must critically reflect on and focus their students’ choice and decision-making throughout the process, as well as seek to meaningfully incorporate students’ linguistic capacities in both English and their first languages.

Process drama, which emphasizes the active exploration of fictional roles and situations, has proven to be an effective pedagogical approach in language teaching and learning. Despite its recognized efficacy, the systematic evaluation of process drama's impact on English as a Foreign Language (EFL) education remains understudied. This systematic review aimed to investigate the current literature on the relationship between process drama and EFL teaching and learning. Using the keywords "process drama" and "EFL," publications released between 2003 and 2023 were meticulously extracted from various reputable databases, including ProQuest Citation, Web of Science, Scopus, Science Direct, Taylor & Francis, SAGE, and Google Scholar. In total, 30 studies (27 articles, two master's theses, and one PhD thesis) that met the inclusion criteria were analyzed comprehensively based on their primary characteristics, fostering in-depth discussions on the diverse factors influencing EFL learning and teaching through process drama. Notably, the review underscores that process drama exerts a significant and positive impact on EFL learning and teaching, particularly by enhancing language skills, students' language learning outcomes, and EFL teacher development., Competing Interests: The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (© 2024 The Authors.)

This paper reports on a study of the use of process drama in an international primary school in the Netherlands. The research investigated the extent to which using process drama could develop participation for advanced EAL learners. In addition, we sought to understand pupils’ perspectives. Using a qualitative methodology, we undertook a case study approach focusing on six advanced EAL learner pupils (9-10-year-olds). We implemented the process drama approach during a series of nine science lessons. We collated and analysed Video recording of lessons, the class teacher’s written observations, a research journal, two interviews and a focus group with the case study participants using an arts-based framework of participation, previously employed by Pérez-Moreno (2018). We deployed embodied research methods. The findings suggest that using process drama as a teaching methodology increased participation, but not immediately. In addition, pupils who had not previously spoken out in lessons began to volunteer their ideas. All case study pupils reported that they considered that their participation increased.

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The main content of this article is a piece of rewriting-in-role. This factionalised dramatic text allied with narrative inquiry and performance ethnography grounded is accounts of Cecily O'Neill's 1992, Seal Wife workshop in Melbourne, Australia. A brief introduction explains the rationale for this approach and its connection to the wider methodology of critical arts based research. This example of rewriting-in-role details the workshop through a fictional character, raises new questions about a familiar drama work, and echoes beliefs about the potential of drama to critically unsettle and enlighten our world. [ABSTRACT FROM AUTHOR]

This research was conducted to indicate the role of drama in foreign language teaching. First, the role of drama in general, its place in education and its role and use in foreign language teaching are given in the study. The study was conducted with 32 students in 2 different classes at the intermediate level at Ishık University. During the research, the same book and the same units, namely 4 units of Face2Face Intermediate, Cambridge University Press, was taught to the students of the control group and also the experimental class according to the annual plan determined by a lecturer. The students of the Control class were taught according to the instructions of the teachers' books in the related units of the book, but some subjects in the other experimental group were taught with drama activities in the units. At the end of the unit, the Progress Test Results of the course-book were compared. Subsequently, feedback was obtained from Experimental group students and 6 of them were published in the study without any changes and the results were evaluated accordingly.

The majority of dual language education programs in the U.S. context include children coming together with the long-term goal of becoming bilingual, bicultural, and biliterate (Christian in Two-way bilingual education: students learning through two languages. Educational Practice Report: 12, 1994; Howard et al. in Trends in two-way immersion education: a review of the literature. Center for Research on the Education of Students Placed at Risk (CRESPAR), Report 63, 2003). It is urgent that practitioners and scholars who see the value of the TWDL model continue to explore methods that address social inequities that arise in highly contested contexts such as an urban public school classroom. Drawing from a critical consciousness (Freire in Harv Educ Rev 40:499–521. https://doi.org/10.17763/haer.40.3.h76250x720j43175, 1998) framework and discourse analysis methods this paper explores how one dual language teacher critically engaged students to dialogue about undocumented immigration through the implementation of process drama. Findings indicate that students will engage about social inequities when teachers facilitate discussions by pushing students for further inquiry, to provide contextual information, giving students a voice, or affirming their responses. The urgency to raise critical consciousness in two-way bilingual education contexts also emerged as these dual language programs continue to be gentrified across the nation (Palmer et al. in Theory Pract. https://doi.org/10.1080/00405841.2019.1569376, 2019; Valdés in Harv Educ Rev 67(3):391–429, 1997; Valdez et al. in Urban Rev 48(4):601–627, 2016). [ABSTRACT FROM AUTHOR]

Literary criticism of children's literature asserts a one-directional view of power with the adult writer constructing the child reader. Using "aetonormativity"– adult perceptions of normality – this paper explores what happens when children co-construct publishable fiction. Our analysis of drama and creative writing workshops shows how whilst we were interested in developing the story of the protagonist, the children wanted to develop a gaming narrative. As a community of writers, we constructed a "hybrid" text which, unlike GameLit, explores the relationship between the protagonist and gaming, whilst providing positive portrayal of gaming. As the children became invested in the fiction, they became editors and revisions were taken on board. The paper concludes that involving children in writing children's literature can result in texts which disrupt aetonormativity by representing lived experiences. The paper also acknowledges that that further research is needed to explore how other children respond to such texts. [ABSTRACT FROM AUTHOR]

Copyright of Methodical Perspectives / Metodički Vidici is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the COVID-19 pandemic lockdown both authors were experimenting with facilitating longer complex process dramas on online platforms. We offered participants the opportunity to reflect on the situation we were facing as individuals, as a society and as humanity. We worked with different levels of university students in two different languages and in two different countries. In this article, we briefly present what we did, then we analyse our work and generalise conclusions, focusing on the following special aspects of doing process drama online: planning, facilitation, ways of telling a story, framing, distancing, protection, conventions and Teacher-in-Role. [ABSTRACT FROM AUTHOR]

This response to COVID-19 introduces a Hong Kong drama education project that aims to support teachers' and children's return to school after the easing of COVID-19 pandemic. A pilot workshop has been conducted to explore and evaluate the approach of the project and to identify the needs of the teachers under the pandemic. Preliminary observations show that the integrated use of play, process drama and integrated arts education can enhance the teachers' resilience in a crisis situation. Apart from providing them with timely, practical and multi-pronged pedagogical support, the workshop methodology also promotes their personal wellbeing. [ABSTRACT FROM AUTHOR]

This article reports on the responses of 114 adult participants in a process drama delivered in five international contexts. Drawing upon the work of Gavin Bolton and key appraisal theorists, the aim of the article is to extend current understandings of how emotion is experienced within process drama, while also gaining new insights into the factors that impact its type and intensity. Using a framework that links emotion, connection and commitment, analysis of the data reveals that when individuals experience high levels of both commitment and connection, diverse emotions are generated. It also reveals that while these emotional responses are highly individual and generally independent of the strategies being employed, their intensity is associated with dramatic tension. The article suggests that an understanding of these findings is important for effective process drama structuring and facilitation. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

The present study intends to explore how process drama can be effectively used and implemented in Indian classrooms. It further highlights the aspects of the conventional classrooms and discusses why Indian students are lacking in productive skills of the English language and how it can be diagnosed through using the theory and practice of process drama as an instructional method. Methods. Data collection method through a questionnaire has been used in the study and SPSS version 20 was implemented to access, analyse, and comprehend the data. The reliability and validity have been checked through a pilot study before conducting the questionnaire and the suggestions of an expert were incorporated. Research Restrictions. The present study is limited to the Indian classrooms, and more specifically, the respondents were chosen from undergraduate classrooms of different faculties with the aid of purposive sampling. Consequently, the results of the study cannot be implemented thoroughly, but the praxis of using process drama can be a potent strategy to teach English in ESL classrooms, according to the level, background, and nature of the learners. Practical Application. The findings of the study clearly indicate that the use of process drama in classroom pedagogy has a positive impact on receptive and productive language skills. Cognitive value. The modern classroom pedagogy needs an approach of teaching which can foster the learning process more easily and emphasise all four language learning skills in an effective way. [ABSTRACT FROM AUTHOR]