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The teacher's role in drama is to facilitate the pupils' work. The teacher has to use strengthened ways of vocal and visuospatial interaction in order to obtain the attention of the pupils when needed, to inspire the pupils in their drama work and to encourage the pupils to find their own creative solutions. At the same time, the teacher must keep the process under control. The teacher's presence plays an important role in the drama teaching (see Toivanen, Mikkola & Ruismäki 2012, Toivanen & Pyykkö 2012a, 2012b). Voice, gestures, facial expressions, body posture and use of space may together be understood as constituting avisuospatial modality (Stivers & Sindell, 2005) or as we call it in this article-psychophysical actions (e.g. Stanislavski 2008; Zarilli 2004). The purpose of the study is to introduce theater perceptions of the body awareness from psychophysical point of view. What are the connections between the work of an actor and a drama teacher in field of body awareness?
The teacher's role in drama is to facilitate the pupils' work. The teacher has to use strengthened ways of vocal and visuospatial interaction in order to obtain the attention of the pupils when needed, to inspire the pupils in their drama work and to encourage the pupils to find their own creative solutions. At the same time, the teacher must keep the process under control. The teacher's presence plays an important role in the drama teaching (see Toivanen, Mikkola & Ruismäki 2012, Toivanen & Pyykkö 2012a, 2012b). Voice, gestures, facial expressions, body posture and use of space may together be understood as constituting avisuospatial modality (Stivers & Sindell, 2005) or as we call it in this article-psychophysical actions (e.g. Stanislavski 2008; Zarilli 2004). The purpose of the study is to introduce theater perceptions of the body awareness from psychophysical point of view. What are the connections between the work of an actor and a drama teacher in field of body awareness?
Drama education is still a rather young field of science. Thus, there is an obvious need to conceptualize the elements and factors related to drama education fostering children's creativity. What kind of learning environment supports children's creativity? Which aspects of drama education nurture children's creativity? Children's creativity is often referred to as 'little c creativity ', LCC, (Craft 2001). Subjectivity is an intrinsic character when defining children's creativity since it is not determined by society. The article aims to perceive and build a theory of tuition supporting children's creativity in the context of drama education. The objective of this theory-based article is to characterize the terminology of creativity in drama education. Based on prior research, the purpose of the article is to construct a model of tuition fostering children's creativity. This theoretical model is contemplated through drama education. In a creative learning environment of drama the children are provided with rich experiences and their active role in learning is emphasized. Interaction is an essential part of learning process making learning itself a social activity. Creative environment supports children's imagination and inner motivation. In addition, the atmosphere is permissive. These elements also create a potential for group creativity. According to research (Kim 2010), the need to support children's creativity is obvious. Furthermore, children's creative development should be considered on two levels: the individual creativity of each pupil and the group creativity of the whole class. Drama education has the potential to nurture pupil's creativity through its experiential, social and children-activating nature.
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