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Theater as a tool for transformation: Identifying the aspects of a high school collaborative theater process that encourage self-development.

机译:剧场作为变革的工具:确定鼓励学生自我发展的高中协作剧场过程的各个方面。

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摘要

The current educational environment is driven by a culture of competition, leaving little time for deep learning, self-reflection, or the arts. Since 1999, I have directed high school seniors through the Mother Lode play process, in which students write and later perform a collaborative theater piece generated from their own personal experience; students often describe the growth and transformation they experience during the Mother Lode process.;This dissertation is rooted in a constructivist paradigm (T. Schwandt, 1994), using a basic interpretive qualitative method (S. B. Merriam, 2002) and the concept of the reflective practitioner (D. A. Schbn, 1987, 1991, 1995). Individual interviews of 5 participants, a focus group interview with 13 participants, my journals, videotapes of past plays, and data from a 2007 pilot project were used to answer the question: What are the specific elements of this collaborative, performance-based arts process that encourage self-development and potential transformation for high school students?;Based on data from this relatively small, ethnically homogenous sample, 8 aspects of Mother Lode pedagogy were identified as significant: crafting the working environment, warming up, forming groups, choosing the timing, journaling, creating scenes from students' experiences, giving and receiving feedback, and mentoring. Seven themes on self-development emerged: collaboration; challenge, struggle, and conflict; communication; awareness and attention; trust; risk; and reflection. These aspects and themes provide a structured container that guides students through J. Mezirow's (1991) 10 stages of personal transformation in a relatively safe environment. The Mother Lode process was found to support and encourage self-development and transformation.;I recommend this research be tested with teachers from a wide range of subjects, as the pedagogical elements identified are likely transferable to a non-theater context. This preliminary study highlights the importance of teaching strategies such as mentoring, fostering authentic expression, providing a safe environment for risk-taking, listening, and creating student-directed lessons. It is my hope that these preliminary results will help parents, teachers, administrators, and policymakers understand that theater provides learning beneficial to a young adult's growth and prepares them directly for the demands of an adult life (R. Kegan, 1994), as much as any other core curriculum subject.
机译:当前的教育环境是由竞争文化驱动的,几乎没有时间进行深度学习,自我反省或艺术。自1999年以来,我一直指导高中生完成“母亲乐”的演奏过程,在该过程中,学生写作并随后根据自己的亲身经历来制作协作的戏剧作品。学生们经常描述他们在“母矿”过程中所经历的成长和转变。本论文基于建构主义范式(T. Schwandt,1994),使用了一种基本的解释性定性方法(SB Merriam,2002)和反思性概念。执业医师(DA Schbn,1987,1991,1995)。通过对5位参与者的个人访谈,对13位参与者的焦点小组访谈,我的日志,过去演出的录像带以及来自2007年试点项目的数据来回答以下问题:基于表演的协作艺术过程的具体要素是什么?鼓励高中生的自我发展和潜在的转变?;根据这个相对较小的,具有种族同质性的样本中的数据,发现母亲洛德教学法的8个方面很重要:精心设计工作环境,热身,组建团队,选择时间安排,日记记录,根据学生的经历创建场景,给予和接收反馈以及指导。出现了七个关于自我发展的主题:合作;挑战,斗争和冲突;通讯;意识和关注;信任;风险;和反思。这些方面和主题提供了一个结构化的容器,可以指导学生在相对安全的环境中完成J. Mezirow(1991)的个人转型的10个阶段。发现“母亲乐”的过程可以支持和鼓励自我发展和转变。;我建议与来自广泛学科的老师一起进行这项研究的测试,因为确定的教学法元素很可能会转移到非剧院环境中。这项初步研究强调了教学策略的重要性,例如指导,培养真实的表达,为冒险,聆听和创建学生指导的课程提供安全的环境。我希望这些初步结果能帮助父母,老师,行政人员和决策者了解戏剧提供了有益于年轻人成长的学习方法,并直接为成年人的生活做准备(R. Kegan,1994)。和其他任何核心课程一样。

著录项

  • 作者

    Berkowitz, Erik.;

  • 作者单位

    California Institute of Integral Studies.;

  • 授予单位 California Institute of Integral Studies.;
  • 学科 Psychology Social.;Education Performing Arts.;Theater.;Education Secondary.;Psychology Developmental.;Theater Studies.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 246 p.
  • 总页数 246
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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