Teacher-in-role as a problem-posing method for learners in a special needs school in South Africa
- Authors: Hellemann, Phemelo Cordelia
- Date: 2018
- Subjects: Special education -- Activity programs -- South Africa , Special education -- South Africa , Drama in education -- South Africa , Drama -- Therapeutic use -- South Africa , Children with mental disabilities -- Life skills guides , Kuyasa School (South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/62549 , vital:28205
- Description: Paulo Freire’s problem-posing pedagogy urges for a creative and collaborative educational environment between learners and teachers that encourages critical thinking and engagement. This research explores how special needs pedagogical approaches in South Africa can transform their classroom practices to embrace creative and collaborative teaching methods such as drama. Drama-in-education (D-i-E) is an area where the learner and teacher relationship is characterised by creativity and engagement. This qualitative study considers the uses of drama as a teaching and learning method for learners in the Skills Phase class at Kuyasa Special School, Grahamstown. The research aimed to provide learners with intellectual barriers to learning with access to D-i-E. This was done through a series of practical drama lessons, which broadly aimed to enhance life skills and work environment competencies such as communication, problem-solving and interpersonal relations. The lessons followed a cross- curricular approach that integrated aspects of the Life Orientation (Grade 10-12) curriculum and the Drama (Creative Arts Grade 7-9) curriculum. This practice-led study reflects on how Dorothy Heathcote’s teacher-in-role (t-i-r) drama technique was implemented to teach topics and themes extracted and adapted from the Life Orientation learning area. This drama-based pedagogy employs three elements of Freire’s problem-posing education model, which are learner-centred, problem-posing and liberated pedagogy. The study discusses how these elements manifested in the lessons conducted, and how this approach benefited and improved the learners’ critical thinking skills, self-esteem and confidence. This study therefore provides a broad understanding of the possibilities of a drama-based pedagogy within a South Africa context of learning disability, proposing an alternative pedagogical approach in South African special schools. The findings contribute to the academic literature on D-i-E in South Africa and advocate for the inclusion of learners with learning disabilities within the performing arts education.
- Full Text:
- Date Issued: 2018
- Authors: Hellemann, Phemelo Cordelia
- Date: 2018
- Subjects: Special education -- Activity programs -- South Africa , Special education -- South Africa , Drama in education -- South Africa , Drama -- Therapeutic use -- South Africa , Children with mental disabilities -- Life skills guides , Kuyasa School (South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/62549 , vital:28205
- Description: Paulo Freire’s problem-posing pedagogy urges for a creative and collaborative educational environment between learners and teachers that encourages critical thinking and engagement. This research explores how special needs pedagogical approaches in South Africa can transform their classroom practices to embrace creative and collaborative teaching methods such as drama. Drama-in-education (D-i-E) is an area where the learner and teacher relationship is characterised by creativity and engagement. This qualitative study considers the uses of drama as a teaching and learning method for learners in the Skills Phase class at Kuyasa Special School, Grahamstown. The research aimed to provide learners with intellectual barriers to learning with access to D-i-E. This was done through a series of practical drama lessons, which broadly aimed to enhance life skills and work environment competencies such as communication, problem-solving and interpersonal relations. The lessons followed a cross- curricular approach that integrated aspects of the Life Orientation (Grade 10-12) curriculum and the Drama (Creative Arts Grade 7-9) curriculum. This practice-led study reflects on how Dorothy Heathcote’s teacher-in-role (t-i-r) drama technique was implemented to teach topics and themes extracted and adapted from the Life Orientation learning area. This drama-based pedagogy employs three elements of Freire’s problem-posing education model, which are learner-centred, problem-posing and liberated pedagogy. The study discusses how these elements manifested in the lessons conducted, and how this approach benefited and improved the learners’ critical thinking skills, self-esteem and confidence. This study therefore provides a broad understanding of the possibilities of a drama-based pedagogy within a South Africa context of learning disability, proposing an alternative pedagogical approach in South African special schools. The findings contribute to the academic literature on D-i-E in South Africa and advocate for the inclusion of learners with learning disabilities within the performing arts education.
- Full Text:
- Date Issued: 2018
Towards a semiotic approach to dramatic texts for the purposes of staging as expounded in the analysis of an early Pinter play: The Dumb Waiter
- Authors: Thomas, Jeswinne Mary
- Date: 1999
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193203 , vital:45309
- Description: The aim of this thesis is to promote the dramatological approach, as opposed to a literary critical one, for the analysis of dramatic texts for the purposes of staging. The reason for such a promotion is that the dramatological approach upholds the integrity of the text in interpretation for the performance text by its detailed and semiotic analysis. The focus of such an approach is on the analysis of discourse, that is a micro-proairetic approach (illuminating the extralinguistic action and interaction gained from speech events and deixis), rather than a macro-proairetic approach (that is, plot and story-line) which a literary critical approach would take into consideration. In Chapter one the focus is on the justification for the dramatological approach as well as a review of prominent literary criticism to the playwright’s work (used as an example of dramatic text in this thesis). Rather than the promotion of ordinary literary theory in relation to the need for a performance methodology, explanation for their negation is offered here. Chapter two focuses on the actual methodology of the dramatological approach. In section one of this chapter, we find that basic to dramatological methodology is the linguistic function appropriate to the dramatic: that is the semantic, rhetorical and pragmatic principles of dramatic dialogue. In addition, we find that it is a formal and systematic approach which imposes restrictions on dualisms thereby upholding the integrity of the text. Moreover, that it focuses on the “performative-deictic” character (that is extralinguistic, kinesic and indexical orientations) of the dramatic text - analysis of which is crucial for the purposes of staging. In this way, the analysis of the interpersonal, interactional and contextual areas of dramatic texts is promoted. Thus section one offers an overview of the analytical criteria appropriate to such investigation in order to illuminate dramatic discourse. Section two offers a guide to the application of the methodology, utilizing an extraction of text. Central to the application is the formation of a preliminary analytical ‘grid’ from the range of criteria discussed in section one; that is, how these may be put together. A micro-segmentation of text is utilized to illustrate the application of the methodology. Chapter three offers an application of the methodology to a whole text, that is The Dumb Waiter. The results and benefits for the theatre practitioner of such application are directly illustrated in the deictic (that is section one) and proairetic (that is section two) segmentations of the text since what the text and discourse signify is illustrated in a detailed manner as opposed to paraphrase. That is, the interpersonal, contextual and interactional levels of the drama are defined. From this, typologies of discourse, character and interrelationships are drawn, as well as a creation of the dramatic world (that is section three) constructed as a result of the discourse, interrelationships and dramatic action. Finally the Conclusion offers an evaluation of the dramatological approach by applying it to a practical situation for the theatre practitioner (that is, director or actor). , Thesis (MA) -- Faculty of Humanities, Drama, 1999
- Full Text:
- Date Issued: 1999
- Authors: Thomas, Jeswinne Mary
- Date: 1999
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193203 , vital:45309
- Description: The aim of this thesis is to promote the dramatological approach, as opposed to a literary critical one, for the analysis of dramatic texts for the purposes of staging. The reason for such a promotion is that the dramatological approach upholds the integrity of the text in interpretation for the performance text by its detailed and semiotic analysis. The focus of such an approach is on the analysis of discourse, that is a micro-proairetic approach (illuminating the extralinguistic action and interaction gained from speech events and deixis), rather than a macro-proairetic approach (that is, plot and story-line) which a literary critical approach would take into consideration. In Chapter one the focus is on the justification for the dramatological approach as well as a review of prominent literary criticism to the playwright’s work (used as an example of dramatic text in this thesis). Rather than the promotion of ordinary literary theory in relation to the need for a performance methodology, explanation for their negation is offered here. Chapter two focuses on the actual methodology of the dramatological approach. In section one of this chapter, we find that basic to dramatological methodology is the linguistic function appropriate to the dramatic: that is the semantic, rhetorical and pragmatic principles of dramatic dialogue. In addition, we find that it is a formal and systematic approach which imposes restrictions on dualisms thereby upholding the integrity of the text. Moreover, that it focuses on the “performative-deictic” character (that is extralinguistic, kinesic and indexical orientations) of the dramatic text - analysis of which is crucial for the purposes of staging. In this way, the analysis of the interpersonal, interactional and contextual areas of dramatic texts is promoted. Thus section one offers an overview of the analytical criteria appropriate to such investigation in order to illuminate dramatic discourse. Section two offers a guide to the application of the methodology, utilizing an extraction of text. Central to the application is the formation of a preliminary analytical ‘grid’ from the range of criteria discussed in section one; that is, how these may be put together. A micro-segmentation of text is utilized to illustrate the application of the methodology. Chapter three offers an application of the methodology to a whole text, that is The Dumb Waiter. The results and benefits for the theatre practitioner of such application are directly illustrated in the deictic (that is section one) and proairetic (that is section two) segmentations of the text since what the text and discourse signify is illustrated in a detailed manner as opposed to paraphrase. That is, the interpersonal, contextual and interactional levels of the drama are defined. From this, typologies of discourse, character and interrelationships are drawn, as well as a creation of the dramatic world (that is section three) constructed as a result of the discourse, interrelationships and dramatic action. Finally the Conclusion offers an evaluation of the dramatological approach by applying it to a practical situation for the theatre practitioner (that is, director or actor). , Thesis (MA) -- Faculty of Humanities, Drama, 1999
- Full Text:
- Date Issued: 1999
An investigation of the romantic ballet in its sociocultural context in Paris and London, 1830 to 1850
- Authors: Osborne, Jane
- Date: 1991
- Subjects: Ballet -- France -- Paris , Ballet -- England -- London , Ballet -- History -- 19th century , Ballet -- Sociological aspects
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2126 , http://hdl.handle.net/10962/d1002028
- Description: Historians have made a considerable contribution to the study of the Romantic ballet in terms of chronological development, the Romantic movement in the arts and the contribution of specific dancers and choreographers; very little research has been attempted to date on the interrelationship between the dance form and the wide range of human experience of the period. This holistic approach provides insight into form, content and stagecraft; political, economic and social influences; the prevailing artistic aesthetic and cultural climate; sex, gender and class issues; and the priorities, value system and nuances of the times. Recent work by historians and social scientists (eg Brinson 1981, Adshead 1983, Spencer 1985, Hanna 1988, Garafola 1989) advocates a recognition of the role of social and cultural systems in the evaluation of dance. This approach further ackowledges the equal status of all cultures, and has opened up areas of African performing dance in cultural systems outside the west. My parallel investigation of the gumboot dance in its South African context, which appears in Appendix B, provides an example. The first half of the nineteenth century was characterized by the disruptive beginnings of the emergent industrial world, centred in Paris and London; and the Romantic ballet tradition reached its greatest heights at this time. Chapter one establishes the political, economic, social and artistic environment, and identifies middle class dominance as a key factor. Chapters two and three focus primarily on the three great ballets of the age, La Sylphide, 1832, Giselie, 1841, and Pas de Quatre, 1845, as expressions of the essential duality of the times, and of Romantic synaesthesia in the arts, which enabled them to transcend the pedestrian bourgeois materialism of faciliatators and audience. Chapter four examines the images of the idealized ballerina and the 'Victorian' middle class woman in relation to bourgeois male attitudes to female sexuality, gender and class. The conclusion sums up the themes of duality, middle class influence, and the Romantic aesthetic, and discusses the prevalent notion that this period was identified as a 'golden age' of the Romantic ballet.
- Full Text:
- Date Issued: 1991
- Authors: Osborne, Jane
- Date: 1991
- Subjects: Ballet -- France -- Paris , Ballet -- England -- London , Ballet -- History -- 19th century , Ballet -- Sociological aspects
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2126 , http://hdl.handle.net/10962/d1002028
- Description: Historians have made a considerable contribution to the study of the Romantic ballet in terms of chronological development, the Romantic movement in the arts and the contribution of specific dancers and choreographers; very little research has been attempted to date on the interrelationship between the dance form and the wide range of human experience of the period. This holistic approach provides insight into form, content and stagecraft; political, economic and social influences; the prevailing artistic aesthetic and cultural climate; sex, gender and class issues; and the priorities, value system and nuances of the times. Recent work by historians and social scientists (eg Brinson 1981, Adshead 1983, Spencer 1985, Hanna 1988, Garafola 1989) advocates a recognition of the role of social and cultural systems in the evaluation of dance. This approach further ackowledges the equal status of all cultures, and has opened up areas of African performing dance in cultural systems outside the west. My parallel investigation of the gumboot dance in its South African context, which appears in Appendix B, provides an example. The first half of the nineteenth century was characterized by the disruptive beginnings of the emergent industrial world, centred in Paris and London; and the Romantic ballet tradition reached its greatest heights at this time. Chapter one establishes the political, economic, social and artistic environment, and identifies middle class dominance as a key factor. Chapters two and three focus primarily on the three great ballets of the age, La Sylphide, 1832, Giselie, 1841, and Pas de Quatre, 1845, as expressions of the essential duality of the times, and of Romantic synaesthesia in the arts, which enabled them to transcend the pedestrian bourgeois materialism of faciliatators and audience. Chapter four examines the images of the idealized ballerina and the 'Victorian' middle class woman in relation to bourgeois male attitudes to female sexuality, gender and class. The conclusion sums up the themes of duality, middle class influence, and the Romantic aesthetic, and discusses the prevalent notion that this period was identified as a 'golden age' of the Romantic ballet.
- Full Text:
- Date Issued: 1991
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