Space and Reference in Drama

Issacharoff, Michael

doi:10.2307/1772472

Cited by 41 publications

(5 citation statements)

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“…However, the creative process in Hennessey's study was enacted by a computer program, so it was unaffected by presence of judges or changes in the environment and, arguably, not wholly relevant to drama performance. In drama, however, judges observe individuals interacting with other people and their environments, and the presence of judges would most likely alter the creativity of students in contexts (Barab & Plucker, 2002;Issacharoff, 1981;Llewellyn-Jones, 2002;Sawyer, 2000).…”

Section: The Consensual Assessment Technique (Cat)mentioning

confidence: 99%

“…Second, there is structure to this "enactment"; students are given a "script" or "game" with a beginning, middle and end (Podlozny, 2000;Sawyer, 2000). And third, performances have the potential to be affected by changes in the environment (Barab & Plucker, 2002;Issacharoff, 1981;Llewellyn-Jones, 2002). Given these considerations, we chose the "Name and Movement" game for the activity, which is a warm-up where students stand in a circle, take turns saying their own name while performing a movement, and imitate their classmates' performances.…”

Section: Video Recordingmentioning

confidence: 99%

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Utilizing the Consensual Assessment Technique to Compare Creativity in Drama Spaces

Phonethibsavads

Bender

Peppler

2019

Creativity. Theories – Research - Applications

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Objective: This study examines the validity of Amabile's (1982) consensual assessment technique in measuring creativity in a warm-up activity in fourth-grade drama classrooms and compares the scores between warm-ups occurring in a blackbox theater setting (experimental) vs. a traditional classroom (control). Method: Four professional actors viewed 60 clips of children's drama warm-ups and scored for creativity, using a 5-point scale. After establishing sufficient inter-rater reliability (IRR), we used the average scores of the raters to compare creativity between the experimental and control groups. Results: The raters demonstrated high agreement, with a coefficient alpha estimate of .819. An independent samples t-test between the experimental and control groups was significant at p < .001, with the experimental group receiving higher scores. Conclusions: The results suggested that creativity was significantly higher in the experimental group, and the context correlated with creativity, despite neither group having yet received drama instruction at that time. This paper presents discussions about validity, opinions of the raters, possible implications for the activity itself, and possible effect of setting on creativity.

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Section: The Consensual Assessment Technique (Cat)mentioning

confidence: 99%

Section: Video Recordingmentioning

confidence: 99%

Utilizing the Consensual Assessment Technique to Compare Creativity in Drama Spaces

Phonethibsavads

Bender

Peppler

2019

Creativity. Theories – Research - Applications

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“…However, Hennessey examined process enacted by computers, so it was unaffected by presence of judges. In drama, however, judges observe individuals interacting in real-time with other people and their environments, which would likely alter the creativity of students in contexts (Barab & Plucker, 2002;Issacharoff, 1981;Llewellyn-Jones, 2002;Sawyer, 2000).…”

Section: Consensual Assessment Of Creativitymentioning

confidence: 99%

WITHDRAWN: Utilizing Consensual Assessment to Compare Creativity in Drama Spaces

Phonethibsavads¹

2019

Proceedings of the 2019 AERA Annual Meeting

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“…In other words, mimetic space is transmitted directly, while diegetic space is mediated through the discourse of the characters, and thus communicated verbally and not visually.' 26 It is important to note that mimetic space can be evoked by non-visual means; by, for example, sound or light, but it is the basic interplay between mimetic and diegetic space which, as Michael Issacharoff observed of modern drama in general, creates the 'dramatic tension and interest' of The Plough and the Stars. 21 In terms of space The Plough is marked by the dramatic spaces, home/ street, private/public which occur both diegetically and mimetically in an essentially contrastive and even oppositional fashion.…”

Section: Considerations Of O'casey's Trilogy However Have Conventiomentioning

confidence: 99%

‘A Question of Location’: Theatrical Space and Political Choice in The Plough and the Stars

Richards¹

1990

Theatre Research International

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Space is the essence of theatre, for while we may have theatre without text we can have none without space. This, however, is only to refer to the architectonic space itself, while the problematic concern is not with the space in which we have theatre, but with the space from which the dynamic of the drama itself is derived, particularly as it is located in the analysable dramatic text. This, of course, leads to the contentious question as to whether text or performance has primacy in determining understanding; an issue dismissed by Jiři Veltruský as ‘perfectly futile’ as, in his view, ‘Drama is a work of literature in its own right; it does not need anything but simple reading to enter the consciousness of the public.’ While Veltruský locates the essence of drama in the dialogue, and so argues for ‘Dramatic Literature’, he does acknowledge the dimension of performance in a highly significant qualification to the self-sufficiency of the text: ‘Consequently, the individual arts in their turn influence the development of dramatic literature through the intermediary of theatre. Indeed, when he writes a play, the dramatist is not unaware of the existing theatrical structure and of the various openings it presents to new developments. This is true even though the play is a self-sufficient work of literature which does not necessarily require theatrical performance; the creating subject usually feels, though often unconsciously, the possible applications of his work.’

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Space and Reference in Drama

Cited by 41 publications

References 1 publication

Utilizing the Consensual Assessment Technique to Compare Creativity in Drama Spaces

Utilizing the Consensual Assessment Technique to Compare Creativity in Drama Spaces

WITHDRAWN: Utilizing Consensual Assessment to Compare Creativity in Drama Spaces

‘A Question of Location’: Theatrical Space and Political Choice in The Plough and the Stars

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