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education</title> <meta name="description" content="Search results for: drama in education"> <meta name="keywords" content="drama in education"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="drama in education"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 7370</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: drama in education</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7370</span> The Use of Methods and Techniques of Drama Education with Kindergarten Teachers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vladimira%20Hornackova">Vladimira Hornackova</a>, <a href="https://publications.waset.org/abstracts/search?q=Jana%20Kottasova"> Jana Kottasova</a>, <a href="https://publications.waset.org/abstracts/search?q=Zuzana%20Vanova"> Zuzana Vanova</a>, <a href="https://publications.waset.org/abstracts/search?q=Anna%20Jungrova"> Anna Jungrova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Present study deals with drama education in preschool education. The research made in this field brings a qualitative comparative survey with the aim to find out the use of methods and techniques of drama education in preschool education at university or secondary school graduate preschool teachers. The research uses a content analysis and an unstandardized questionnaire for preschool teachers and obtained data are processed with the help of descriptive methods and correlations. The results allow a comparison of aspects applied through drama in preschool education. The research brings impulses for education improvement in kindergartens and inspiration for university study programs of drama education in the professional training of preschool teachers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=drama%20education" title="drama education">drama education</a>, <a href="https://publications.waset.org/abstracts/search?q=preschool%20education" title=" preschool education"> preschool education</a>, <a href="https://publications.waset.org/abstracts/search?q=preschool%20teacher" title=" preschool teacher"> preschool teacher</a>, <a href="https://publications.waset.org/abstracts/search?q=research" title=" research"> research</a> </p> <a href="https://publications.waset.org/abstracts/48421/the-use-of-methods-and-techniques-of-drama-education-with-kindergarten-teachers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48421.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">365</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7369</span> The Impact of Drama Education on Creativity Development at Preschool Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vladim%C3%ADra%20Horn%C3%A1%C4%8Dkov%C3%A1">Vladimíra Hornáčková</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper points out at the importance of creativity development in children of preschool age and analyses certain conditions and pedagogical principles which should be respected during the development of creativity in kindergartens. Research survey focuses on the development of creativity reflection at children in kindergartens at preschool age and based on a test of creativity it compares creativity of children in experimental and control groups. The goal is to find out if there are any differences among children in experimental and control classrooms in kindergartens; wherein experimental groups, there is preschool education with the use of drama education while in control groups there is not. On the basis of certain aspects, the gained data is compared through descriptive methods and correlations. Research results refer to reserves in creativity development in modern pre-primary education in the context of implemented and expected changes in didactic approach in the education of kindergartens. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=preschool%20child" title="preschool child">preschool child</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20in%20education" title=" drama in education"> drama in education</a>, <a href="https://publications.waset.org/abstracts/search?q=research" title=" research"> research</a>, <a href="https://publications.waset.org/abstracts/search?q=test%20of%20creativity" title=" test of creativity"> test of creativity</a> </p> <a href="https://publications.waset.org/abstracts/48398/the-impact-of-drama-education-on-creativity-development-at-preschool-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48398.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">312</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7368</span> Drama Education: Towards Building Multicultural Adolescent Peer Relationships</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tahnee%20West">Tahnee West</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Drama education is increasingly understood as a useful tool in promoting positive social change and cultural awareness. The effects of both positive and negative peer relationships are also a researched facet of education systems. Despite this, very little research has been conducted in the intersection of these two areas, even given current, significant public interest surrounding multicultural relationships. This research addresses a problem faced by educators and students: facilitating meaningful multicultural relationships. The research explores the following question in an Australian context: in what ways does Drama education affect peer relationships between culturally diverse students? In doing so, the study explores the various challenges and experiences of a multicultural group of adolescents, in terms of forming and maintaining effective intercultural friendships, while participating in a series of drama workshops. The project presents a starting point for providing educators with strategies for inclusivity and relationship development amongst diverse student populations. Findings show that Drama education can positively affect culturally diverse young people’s peer relationships; interactions between participants and data collected in focus groups throughout the eight-week Drama program show a steady improvement in sense of trust, support, tolerance, empathy, familiarity with other participants, and enjoyment. Data also points to a positive correlation between the Drama activities and improved conflict resolution and communication skills, as well as an improved understanding of the other participants’ cultures. Diversities and commonalities within the group were explored, with similarities encouraging social cohesion, and decreasing cultural ‘cliques’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20diversity" title="cultural diversity">cultural diversity</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20education" title=" drama education"> drama education</a>, <a href="https://publications.waset.org/abstracts/search?q=friendship" title=" friendship"> friendship</a>, <a href="https://publications.waset.org/abstracts/search?q=multicultural" title=" multicultural"> multicultural</a>, <a href="https://publications.waset.org/abstracts/search?q=peer%20relationships" title=" peer relationships"> peer relationships</a> </p> <a href="https://publications.waset.org/abstracts/124206/drama-education-towards-building-multicultural-adolescent-peer-relationships" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124206.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">143</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7367</span> Multidisciplinary Training of Social Work and Applied Drama: From the Perspective of the Third Space</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yen%20Yi%20Huang">Yen Yi Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to explore the application of strategies in applied drama to the social work education arena in order to enhance students' creativity, curiosity, and aesthetic sensitivity. Also, applied drama is used as a means to facilitate students' reflection-in-action and improve their understanding of issues on creative aging, gender equality, human rights, bullying, and prejudice. This paper mainly uses the perspective of Homi K. Bhabha's third space to explore the impact of applied drama and social work training on students. First, it focuses on how students create new understandings and insights in the third space of multidisciplinary training studies. Second, it analyzes how the hybridity and negotiation of ideas between applied drama and social work were created. Finally, it discusses the follow-up effects of the training and the factors that promote or hinder the hybridity and generation of the third space. This paper uses students' reflection papers for analysis. It is not focused on a discussion of the effectiveness of the teaching but attempts to bring new insights into the applications of applied drama to the social work education arena. The hybridity and generation of the third space require handling power strategically and looking after the emotional space of the students. Taking part in the training allows students in the third space of multidisciplinary training to reexamine the traditional framework of social work knowledge to create new ideas and possibilities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multidisciplinary" title="multidisciplinary">multidisciplinary</a>, <a href="https://publications.waset.org/abstracts/search?q=applied%20drama" title=" applied drama"> applied drama</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20work%20education" title=" social work education"> social work education</a>, <a href="https://publications.waset.org/abstracts/search?q=third%20space" title=" third space"> third space</a> </p> <a href="https://publications.waset.org/abstracts/100802/multidisciplinary-training-of-social-work-and-applied-drama-from-the-perspective-of-the-third-space" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100802.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">164</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7366</span> Towards a Re-theatricalized Drama: Yu Shangyuan’s Translation of J. M. Barrie’s The Admirable Crichton</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Li%20Jiawei">Li Jiawei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the mid-1920s, Chinese dramatist Yu Shangyuan rallied a group of intellectuals and launched the National Theatre Movement to champion the incorporation of Chinese operatic resources into modern spoken drama. In 1927, the fluctuating milieu impelled Yu and most of his comrades to leave Beijing, rendering the movement a truncated undertaking. Offering to illuminate the influence or reverberation of the movement, this research examines Yu’s translation of J. M. Barrie’ s The Admirable Crichton, the first play Yu published upon returning to Beijing in 1929. It unveils that Yu still espoused the value of Chinese opera on modern stage, but his perception of drama was more instructive and rooted in theatre’s fundamental traditions, customs, and mechanics. Influenced by Sheldon Cheney’s theatrical idea, Yu aligned Western realistic drama with “psychologic drama” and Chinese opera with “aesthetic drama” and argued for a “re-theatricalized drama” that could “present psychologic drama aesthetically.” With such a perception, Yu chose to translate a psychologic drama and strove to imbue the play with an aesthetic spirit by inserting symbolic stage designs and employing poetic language. The exploration of Yu’s translation of The Admirable Crichton sheds light on the new insights that translation studies might bring to theatre historiography. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu%20Shangyuan" title="Yu Shangyuan">Yu Shangyuan</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20China" title=" modern China"> modern China</a> </p> <a href="https://publications.waset.org/abstracts/160405/towards-a-re-theatricalized-drama-yu-shangyuans-translation-of-j-m-barries-the-admirable-crichton" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160405.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">67</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7365</span> Breaking the Silence and Rewriting the Script</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carlette%20Groome">Carlette Groome</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examined the role of drama in the lives of four women. The researcher concluded that drama can be an avenue of healing and could be an effective means of social work intervention in the communities as well as female empowerment. The participants in the study were able to, through the dramatic process; re-write their life’s scripts by resolving paradoxes and conflicts related to the themes unearthed. The research conducted examined the role of drama in the lives of four women living in volatile communities in Jamaica, who were each exposed to violence in one, or multiple, forms. The women were trained by Sistren Theatre Collective in the use of drama for education (edutainment), and were actresses in Sistren's street theatre drama group. Using their own personal and collective experiences, they used drama to raise social consciousness at the community level, about violence and other issues affecting women. The study employed a narrative case study approach and was grounded in a constructivist paradigm. This paradigm was coupled with a basic interpretive qualitative method and the concept of the reflective practitioner provided the foundation for the analysis. Through individual conversations with the women, themes of abuse, resilience, self- esteem, and empowerment arose sharply. The women explored drama and understood it to be instrumental in healing different aspects of their lives. Also, through the dramatic process; they were able to re-write their life’s scripts by resolving paradoxes and conflicts related to the themes unearthed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=women" title="women">women</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=healing" title=" healing"> healing</a>, <a href="https://publications.waset.org/abstracts/search?q=community" title=" community"> community</a> </p> <a href="https://publications.waset.org/abstracts/30497/breaking-the-silence-and-rewriting-the-script" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30497.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">340</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7364</span> The Stereotypes of Female Roles in TV Drama of Taiwan and Japan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ya%20Ting%20Tang">Ya Ting Tang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Social learning theory has told us that the cognitions of gender roles come from learning. Thus, the images of gender roles which media describes will shape our cognitions. Taiwan and Japan are both in the East Asian cultural Sphere, and more or less influenced by the traditional Chinese culture. But our social structure and changes must be different. Others, the study also concerns that, with the rise of female consciousness in society, whether the female stereotype in drama of Taiwan and Japan are improved. This research first uses content analysis to analyze drama of Taiwan and Japan in 2003 and 2013 on how to shape female roles. Then use text analysis to conduct a qualitative analysis. Result of this study showed that drama on how to depict women indeed have changed, women are no longer just talk about love, but can serve as president or doctor, and show its mettle in the workplace. In Japanese drama, the female roles have diverse occupation than Taiwanese drama, and not just a background character set. But in most Taiwanese drama, female roles are given a career, but it always put emphasis on women emotionally. To include, although the stereotype in the drama of Taiwan and Japan are improved, female will still be derided due to their ages, love or marriage situations. Taiwanese drama must depict the occupation of female more diverse and let the female roles have more space to play, rather than focusing on romance which women of any occupation can have. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20images" title="female images">female images</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype" title=" stereotype"> stereotype</a>, <a href="https://publications.waset.org/abstracts/search?q=TV%20drama" title=" TV drama"> TV drama</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20roles" title=" gender roles"> gender roles</a> </p> <a href="https://publications.waset.org/abstracts/13666/the-stereotypes-of-female-roles-in-tv-drama-of-taiwan-and-japan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13666.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">278</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7363</span> The Power of Earned Media: Exploring the Key Success of Love Destiny, Thai Smash Hit Television Drama</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wilaiwan%20Jongwilaikasaem">Wilaiwan Jongwilaikasaem</a>, <a href="https://publications.waset.org/abstracts/search?q=Phatteera%20Sarakornborrirak"> Phatteera Sarakornborrirak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> While Thai television producers feel anxious about digital disruption, Love Destiny, Thai television period drama became smash hit in Thailand in 2018. Audience throughout the country not only watched the drama both offline and online but also spread the content of the drama on social media and followed cultural trends from the protagonist. Thus, the main purpose of this article is to examine the secret behind the success of Love Destiny. Data were collected from content analysis and in-depth interview. The result shows that the key success of the drama is from earned media phenomenon from the audience and marketers’ engagement. As Love Destiny has full-flavored content with traditional challenged plot, delicate production, and presentation of Thainess in a positive and tangible way; audience and marketers are enthusiastic about building up the popular trend of Love Destiny on social media and also coming back home to watch televisions when the drama was on the air. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thai%20drama" title="Thai drama">Thai drama</a>, <a href="https://publications.waset.org/abstracts/search?q=earned%20media" title=" earned media"> earned media</a>, <a href="https://publications.waset.org/abstracts/search?q=Love%20Destiny" title=" Love Destiny"> Love Destiny</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/97216/the-power-of-earned-media-exploring-the-key-success-of-love-destiny-thai-smash-hit-television-drama" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97216.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">177</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7362</span> The Element of Episode and Idea in the Descriptive Poetry of Hutai'A</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abubakar%20Ismaila%20Yusuf">Abubakar Ismaila Yusuf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research studied element of episode (events) and idea in the descriptive poetry of Hutai’a with the intention to sale the opinion of this type of analysis to others, and also encourage and open door for researchers that thinks only in drama and novel those elements can be implemented. The research uses explanatory method to point out the element of episode and ideology from the said poetry to show that the same element of drama can be seen in poetry. The research finds that element of drama and novel can be seen and implemented analytically in dramatic and some descriptive poetry and its likes. The researcher finally advice colleague to widened scope of research and always think of modernizing it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hutai%27a" title="Hutai'a">Hutai'a</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=novel" title=" novel"> novel</a> </p> <a href="https://publications.waset.org/abstracts/48474/the-element-of-episode-and-idea-in-the-descriptive-poetry-of-hutaia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48474.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">344</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7361</span> Utilising Sociodrama as Classroom Intervention to Develop Sensory Integration in Adolescents who Present with Mild Impaired Learning</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Talita%20Veldsman">Talita Veldsman</a>, <a href="https://publications.waset.org/abstracts/search?q=Elzette%20Fritz"> Elzette Fritz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Many children attending special education present with sensory integration difficulties that hamper their learning and behaviour. These learners can benefit from therapeutic interventions as part of their classroom curriculum that can address sensory development and allow for holistic development to take place. A research study was conducted by utilizing socio-drama as a therapeutic intervention in the classroom in order to develop sensory integration skills. The use of socio-drama as therapeutic intervention proved to be a successful multi-disciplinary approach where education and psychology could build a bridge of growth and integration. The paper describes how socio-drama was used in the classroom and how these sessions were designed. The research followed a qualitative approach and involved six Afrikaans-speaking children attending special secondary school in the age group 12-14 years. Data collection included observations during the session, reflective art journals, semi-structured interviews with the teacher and informal interviews with the adolescents. The analysis found improved self-confidence, better social relationships, sensory awareness and self-regulation in the participants after a period of a year. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education" title="education">education</a>, <a href="https://publications.waset.org/abstracts/search?q=sensory%20integration" title=" sensory integration"> sensory integration</a>, <a href="https://publications.waset.org/abstracts/search?q=sociodrama" title=" sociodrama"> sociodrama</a>, <a href="https://publications.waset.org/abstracts/search?q=classroom%20intervention" title=" classroom intervention"> classroom intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/21808/utilising-sociodrama-as-classroom-intervention-to-develop-sensory-integration-in-adolescents-who-present-with-mild-impaired-learning" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21808.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">577</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7360</span> Cognitive Behaviour Drama: Playful Method to Address Fears in Children on the Higher-End of the Autism Spectrum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.Karnezi">H.Karnezi</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Tierney"> K. Tierney</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Childhood fears that persist over time and interfere with the children’s normal functioning may have detrimental effects on their social and emotional development. Cognitive behavior therapy is considered highly effective in treating fears and anxieties. However, given that many childhood fears are based on fantasy, the applicability of CBT may be hindered by cognitive immaturity. Furthermore, a lack of motivation to engage in therapy is another commonly encountered obstacle. The purpose of this study was to introduce and evaluate a more developmentally appropriate intervention model, specifically designed to provide phobic children with the motivation to overcome their fears. To this end, principles and techniques from cognitive and behavior therapies are incorporated into the ‘Drama in Education’ model. The Cognitive Behaviour Drama (CBD) method involves using the phobic children’s creativity to involve them in the therapeutic process. The children are invited to engage in exciting fictional scenarios tailored around their strengths and special interests. Once their commitment to the drama is established, a problem that they will feel motivated to solve is introduced. To resolve it, the children will have to overcome a number of obstacles culminating in an in vivo confrontation with the fear stimulus. The study examined the application of the CBD model in three single cases. Results in all three cases shown complete elimination of all fear-related symptoms. Preliminary results justify further evaluation of the Cognitive Behaviour Drama model. It is time and cost-effective, ensuring the clients' immediate engagement in the therapeutic process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=phobias" title="phobias">phobias</a>, <a href="https://publications.waset.org/abstracts/search?q=autism" title=" autism"> autism</a>, <a href="https://publications.waset.org/abstracts/search?q=intervention" title=" intervention"> intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a> </p> <a href="https://publications.waset.org/abstracts/118757/cognitive-behaviour-drama-playful-method-to-address-fears-in-children-on-the-higher-end-of-the-autism-spectrum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/118757.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7359</span> Elusive Cats in the CBS Mystery Theater</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Katarzyna%20Logozna%20Wypych">Katarzyna Logozna Wypych</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Being present in the world’s literature for centuries, cats are one of the most underappreciated and misunderstood species. The affluence of topics and taboos portrayed by cats in literature as well as in other means of art is noteworthy. Not only would the reality without the presence of a cat be less unpredictable, but also certain plot changes could not take place, as only the animal seems to have a causative activity. In radio drama, cats, just like in the real world, modify, bend, and adjust reality to their liking, regardless of human characters. Having only the soundscape at hand, radio drama provides a fascinating insight into the symbolic and disturbing world of the most ambiguous and volatile relationships the animal world and humankind have ever known, that is of cats and people. Compliant with the assumed mysterious ambiance of the show, a vast number of the 1399 episodes of The CBS Radio Mystery Theater starred cats, most of which are not portrayed in a favorable manner. Cats become the beginning, the main body, and the ending of the radio drama in one cat person. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cats" title="cats">cats</a>, <a href="https://publications.waset.org/abstracts/search?q=felines" title=" felines"> felines</a>, <a href="https://publications.waset.org/abstracts/search?q=horror" title=" horror"> horror</a>, <a href="https://publications.waset.org/abstracts/search?q=mystery" title=" mystery"> mystery</a>, <a href="https://publications.waset.org/abstracts/search?q=radio%20drama" title=" radio drama"> radio drama</a> </p> <a href="https://publications.waset.org/abstracts/118317/elusive-cats-in-the-cbs-mystery-theater" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/118317.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">193</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7358</span> Action Research through Drama in Education on Adolescents’ Career Self-Efficacy and Decision-Making Skills Development</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christina%20Zourna">Christina Zourna</a>, <a href="https://publications.waset.org/abstracts/search?q=Ioanna%20Papavassiliou-Alexiou"> Ioanna Papavassiliou-Alexiou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this multi-phased action research PhD study in Greece was to investigate if and how Drama in Education (DiE) – used as an innovative group counselling method – may have positive effects on secondary education students’career self-efficacy and career decision-making skills development. Using both quantitative and qualitative research tools, high quality data were gathered at various stages of the research and were analysed through multivariate methods and open-source computer aided data analysis software such as R Studio, QualCoder, and SPSS packages. After a five-month-long educational intervention based on DiE method, it was found that 9th, 10th, and 11th gradersameliorated their self-efficacy and learned the process of making an informed career decision – through targeted information gathering about themselves and possible study paths – thus, developing career problem-solving and career management skills. Gender differences were non statistically important, while differences in grades showed a minor influence on some of the measured factorssuch as general career indecisiveness and self-evaluation. Students in the 11th grade scored significantly higher than younger students in the career self-efficacy scale and have stronger faith in their abilities e.g., choosing general over vocational school and major study orientation. The study has shown that DiE can be effective in group career guidance, especially concerning the pillars of self-awareness, self-efficacy, and career decision-making processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=career%20decision-making%20skills" title="career decision-making skills">career decision-making skills</a>, <a href="https://publications.waset.org/abstracts/search?q=career%20self-efficacy" title=" career self-efficacy"> career self-efficacy</a>, <a href="https://publications.waset.org/abstracts/search?q=CDDQ%20scale" title=" CDDQ scale"> CDDQ scale</a>, <a href="https://publications.waset.org/abstracts/search?q=CDMSE-SF%20scale" title=" CDMSE-SF scale"> CDMSE-SF scale</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20in%20education%20method" title=" drama in education method"> drama in education method</a> </p> <a href="https://publications.waset.org/abstracts/152017/action-research-through-drama-in-education-on-adolescents-career-self-efficacy-and-decision-making-skills-development" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152017.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">123</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7357</span> The Development of Iranian Theatrical Performance through the Integration of Narrative Elements from Western Drama</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azadeh%20Abbasikangevari">Azadeh Abbasikangevari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background and Objectives: Theatre and performance are two separate themes. What is presented in Iran as a performance is the species and ritual and traditional forms of the play. The Iranian performance has its roots in myth and ritual. Drama is essentially a Western phenomenon that has gradually entered Iran and influenced Iranian performance. A theatre is based on antagonism (axis) and protagonism (anti-axis), while performance has a monotonous and steady motion. The elements of Iranian performance include field, performance on the stage, and magnification in performance, all of which are based on narration. This type of narration has been present in Iranian modern drama. The objective of this study was to analyze the drama structure according to narration elements by a comparison between the Western theater and the Iranian performance and determining the structural differences in the type of narrative. Materials and Methods: In this study, the elements of the drama were analyzed using the library method among the available library resources. The review of the literature included research articles and textbooks which focused on Iranian plays, as well as books and articles which encompassed narrative and drama element. Data were analyzed in the comparative-descriptive method. Results: Examining and studying different kinds of Iranian performances, showed that the narrative has always been a characteristic feature of Iranian plays. Iranians have narrated the stories and myths and have had a particular skill of oral literature. Over time, they slowly introduced narrative culture into their art, where this element is the most important structural element in Iran's dramatic art. Considering the fact that narration in Iranian traditional play, such as Ta'ziyeh and Naghali, was oral and consequently, it was slowly forgotten and excluded from written theatrical texts. Since the drama has entered in its western form in Iran, the plays written by the authors were influenced by narrative elements existing in western plays. Conclusions: The narrative’s element has undoubtedly had an impact on modern Iranian drama and Iranian contemporary drama. Therefore, the element of narration is an integral part of the Iranian traditional play structure. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=drama%20methodology" title="drama methodology">drama methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20performance" title=" Iranian performance"> Iranian performance</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20modern%20drama" title=" Iranian modern drama"> Iranian modern drama</a>, <a href="https://publications.waset.org/abstracts/search?q=narration" title=" narration"> narration</a> </p> <a href="https://publications.waset.org/abstracts/112800/the-development-of-iranian-theatrical-performance-through-the-integration-of-narrative-elements-from-western-drama" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112800.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">131</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7356</span> Product Placement and Advertising in Chinese Internet Dramas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Portugal%20Marques%20de%20Carvalho%20Lourenco">Patricia Portugal Marques de Carvalho Lourenco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents the richness of product placement usage in Chinese IP dramas. It shows the artistry of storytellers in craftily intertwining the drama’s storyline with the items promoted, resulting in a flawless Chinese tapestry that perfectly blends internet visual entertainment with advertising, significantly enhancing the production’s worth. Successful IQIYI drama We are all alone, is a flawless example of that, attracting collaborative interest from products and brands across a spectrum of market segments, motivated to showcase their utility, value, benefits, and appeal to viewers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=product%20placement" title="product placement">product placement</a>, <a href="https://publications.waset.org/abstracts/search?q=band-aid%20ads" title=" band-aid ads"> band-aid ads</a>, <a href="https://publications.waset.org/abstracts/search?q=post%20ads" title=" post ads"> post ads</a>, <a href="https://publications.waset.org/abstracts/search?q=barrage%20advertising" title=" barrage advertising"> barrage advertising</a>, <a href="https://publications.waset.org/abstracts/search?q=China" title=" China"> China</a>, <a href="https://publications.waset.org/abstracts/search?q=internet%20drama%20series" title=" internet drama series"> internet drama series</a>, <a href="https://publications.waset.org/abstracts/search?q=Latin%20Europe" title=" Latin Europe"> Latin Europe</a> </p> <a href="https://publications.waset.org/abstracts/166569/product-placement-and-advertising-in-chinese-internet-dramas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166569.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">82</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7355</span> Creativity and Expressive Interpretation of Musical Drama in Children with Special Needs (Down Syndrome) in Special Schools Yayasan Pendidikan Anak Cacat, Medan, North Sumatera </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Junita%20Batubara">Junita Batubara</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Children with special needs, especially those with disability in mental, physical or social/emotional interactions, are marginalized. Many people still view them as troublesome, inconvenience, having learning difficulties, unproductive and burdensome to society. This study intends to investigate; how musical drama can develop the ability to control the coordination of mental functions; how musical dramas can assist children to work together; how musical dramas can assist to maintain the child's emotional and physical health; how musical dramas can improve children creativity. The objectives of the research are: To know whether musical drama can control the coordination of mental function of children; to know whether musical drama can improve communication ability and expression of children; to know whether musical drama can help children work with people around them; to find out if musical dramas can develop the child's emotional and physical health; to find out if musical drama can improve children's creativity. The study employed a qualitative research approach. Data was collecting by listening, observing in depth through public hearings that select the key informants who were teachers and principals, parents and children. The data obtained from each public hearing was then processed (reduced), conclusion drawing/verification, presentation of data (data display). Furthermore, the model obtained was implementing for musical performance, where the benefits of the show are: musical drama can improve language skills; musical dramas are capable of developing memory and storage of information; developing communication skills and express themselves; helping children work together; assisting emotional and physical health; enhancing creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children%20Down%20syndrome" title="children Down syndrome">children Down syndrome</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20script" title=" drama script"> drama script</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/75400/creativity-and-expressive-interpretation-of-musical-drama-in-children-with-special-needs-down-syndrome-in-special-schools-yayasan-pendidikan-anak-cacat-medan-north-sumatera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/75400.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">241</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7354</span> Modern Literary Authors and Samuel Beckett's Trace of Lost Self in Modernity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Mehdi%20Mazaheri">Mohammad Mehdi Mazaheri</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Motiee%20Lahromi"> Mohammad Motiee Lahromi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In a depression after world wars, Beckett's plays presented a picture of the world fragmented and disrupted. Among other modern literary works, Beckett's path-breakingly innovative literature presented the parodies of pointlessness of human actions and thoughts in the world. This new dramatic style catapulted Beckett to the centre stage of modern drama, though it should be mentioned that he may not have been influenced in this without the prevailing climate of ideas. The prevailing literary attitude of Modernism indicates that the modern world is irrational and incoherent. The present study explores Samuel Beckett's literary approach to modern drama and shows how the author could create the characters stuck in a lifelong suspicious about the Self. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=modern%20drama" title="modern drama">modern drama</a>, <a href="https://publications.waset.org/abstracts/search?q=absurdity" title=" absurdity"> absurdity</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20theatre%20of%20the%20absurd" title=" the theatre of the absurd"> the theatre of the absurd</a>, <a href="https://publications.waset.org/abstracts/search?q=existentialism" title=" existentialism"> existentialism</a>, <a href="https://publications.waset.org/abstracts/search?q=self%20searching" title=" self searching "> self searching </a> </p> <a href="https://publications.waset.org/abstracts/12117/modern-literary-authors-and-samuel-becketts-trace-of-lost-self-in-modernity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12117.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">529</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7353</span> Modern Tragic Substance in O’Neill’s Desire under the Elms and Mourning Becomes Electra</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azza%20Taha%20Zaki">Azza Taha Zaki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The position Eugene O’Neill occupies in the history of American drama is undisputable. Critics have agreed that the American theatre was waiting for O’Neill to give it substance, character, and value. The American dramatist continues to be considered as a major influence on the body of dramatic repertoire across the globe. The American theatre before O’Neill knew playwrights who were mostly viewed as entertainers. The serious drama had to wait until O’Neill started his career with expressionistic and social drama. His breakthrough, however, came in 1925 when he published Desire Under the Elms, described as the first important tragedy to be written in America. Mourning Becomes Electra, published in 1931, further reinforced the reputation of Eugene O’Neill and was described as his 'magnum opus'. Aspiring to portray the essence of life and man’s innermost conflicts, O’Neill turned to the classical model, rather than to social realistic drama, to create modern tragedies with the aid of the then-new science of psychology. The present paper aims to undertake an in-depth study of how overtones from classical tragedies by the classical masters Aeschylus, Sophocles, and Euripides resonate through O’Neill’s two plays. The paper shows how leaning on classical themes and concepts interpreted in terms of psychological forces have added depth and tragic substance to a modern milieu and produced masterpieces of dramaturgy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classical" title="classical">classical</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=O%27Neill" title=" O'Neill"> O'Neill</a>, <a href="https://publications.waset.org/abstracts/search?q=modern" title=" modern"> modern</a>, <a href="https://publications.waset.org/abstracts/search?q=tragic" title=" tragic"> tragic</a> </p> <a href="https://publications.waset.org/abstracts/132577/modern-tragic-substance-in-oneills-desire-under-the-elms-and-mourning-becomes-electra" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132577.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">146</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7352</span> Professional Skills Development of Educational Leaders Through Drama in Education: An Example of Best Practice in Greece</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christina%20Zourna">Christina Zourna</a>, <a href="https://publications.waset.org/abstracts/search?q=Ioanna%20Papavassiliou-Alexiou"> Ioanna Papavassiliou-Alexiou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Drama in Education (DiE) is a dynamic experiential method that can be used in many interdisciplinary contexts. In the Educational and Social Policy Department, University of Macedonia, Thessaloniki, Greece, DiE is being used as a core method for developing professional competences in pre- and postgraduate courses as well as adult education training programs. In this presentation, an innovative DiE application will be described concerning the development of educational leaders’ skills necessary to meet unprecedented, unexpected challenges in the 21st century schools. In a non-threatening risk-taking no-penalty environment, future educational leaders live-in-role problems, challenges, and dilemmas before having to face similar ones in their profession. Through personal involvement, emotional engagement, and reflection, via individual and group activities, they experience the behaviour, dilemmas, decision-making processes, and informed choices of a recognized leader and are able to make connections with their own life. As pretext serves the life of Alexander the Great, the Macedonian King who defeated the vast Persian empire in the 4th century BC and, by uniting all Greeks, conquered the up-to-date known eastern world thanks to his authentic leadership skills and exceptional personality traits. Since the early years of his education mastered by the famous Greek philosopher Aristotle, Alexander proved his unique qualities by providing the world with the example of an undeniably genuine, inspirational, effective, and most recognizable authentic leader. Through questionnaires and individual interviews, participants in these workshops revealed how they developed active listening, empathy, creativity, imagination, critical strategic and out-of-the-box thinking, cooperation and own vision communicating, crisis management skills, self-efficacy, self-awareness, self-exposure, information management, negotiation and inspiration skills, enhanced sense of responsibility and commitment, and decision-making skills. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=drama%20in%20education%20method" title="drama in education method">drama in education method</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20leadership" title=" educational leadership"> educational leadership</a>, <a href="https://publications.waset.org/abstracts/search?q=professional%20competences" title=" professional competences"> professional competences</a>, <a href="https://publications.waset.org/abstracts/search?q=skills%E2%80%99%20development" title=" skills’ development"> skills’ development</a> </p> <a href="https://publications.waset.org/abstracts/152015/professional-skills-development-of-educational-leaders-through-drama-in-education-an-example-of-best-practice-in-greece" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152015.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7351</span> Trends in Arabic Drama Series (Musalsalat) Production</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paradigm%20Shift">Paradigm Shift</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In an overwhelmingly import oriented content bazaar of Arabian TV industry, Musalsalat stand unique in their indigenousness and mass popularity, being rivalled only by movies and football. The Arabic term ‘Musalsalat’ stands for drama series with episodes of 30-45 minutes duration; the format being close to Latin American Telenovela concept-clear cut stories with definitive endings that permit narrative closures. Traditionally Musalsalat were either situational comedies or religiously inspired. Present-day productions have started addressing historical, creative and socially progressive issues targeting the young and well-travelled audiences. Though these soaps get prime ratings throughout the year, it is during Ramadan, that they become a raving success in securing viewership. That Musalsalat have become paramount Ramadan programming is evident by their dominance on the grid and attracting heavy ad-spend. The number of Musalsalats produced specifically for Ramadan reached over 100 last year with Ramadan TV advertising amounting to USD1, 947bn constituting 21% of the total regional TV Adspend of USD 9,189bn. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Musalsalat" title="Musalsalat">Musalsalat</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=pan%20Arab" title=" pan Arab"> pan Arab</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/30402/trends-in-arabic-drama-series-musalsalat-production" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30402.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">282</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7350</span> Using Happening Performance in Vocabulary Teaching</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mustafa%20Gultekin">Mustafa Gultekin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is believed that drama can be used in language classes to create a positive atmosphere for students to use the target language in an interactive way. Thus, drama has been extensively used in many settings in language classes. Although happening has been generally used as a performance art of theatre, this new kind of performance has not been widely known in language teaching area. Therefore, it can be an innovative idea to use happening in language classes, and thus a positive environment can be created for students to use the language in an interactive way. Happening can be defined as an art performance that puts emphasis on interaction in an audience. Because of its interactive feature, happening can also be used in language classes to motivate students to use the language in an interactive environment. The present study aims to explain how a happening performance can be applied to a learning environment to teach vocabulary in English. In line with this purpose, a learning environment was designed for a vocabulary presentation lesson. At the end of the performance, students were asked to compare the traditional way of teaching and happening performance in terms of effectiveness. It was found that happening performance provided the students with a more creative and interactive environment to use the language. Therefore, happening can be used in language classrooms as an innovative tool for education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=English" title="English">English</a>, <a href="https://publications.waset.org/abstracts/search?q=happening" title=" happening"> happening</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20learning" title=" language learning"> language learning</a>, <a href="https://publications.waset.org/abstracts/search?q=vocabulary%20teaching" title=" vocabulary teaching"> vocabulary teaching</a> </p> <a href="https://publications.waset.org/abstracts/69224/using-happening-performance-in-vocabulary-teaching" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/69224.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">367</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7349</span> Innovative Techniques of Teaching Henrik Ibsen’s a Doll’s House</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shilpagauri%20Prasad%20Ganpule">Shilpagauri Prasad Ganpule</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The teaching of drama is considered as the most significant and noteworthy area in an ESL classroom. Diverse innovative techniques can be used to make the teaching of drama worthwhile and interesting. The paper presents the different innovative techniques that can be used while teaching Henrik Ibsen’s A Doll’s House [2007]. The innovative techniques facilitate students’ understanding and comprehension of the text. The use of the innovative techniques makes them explore the dramatic text and uncover a multihued arena of meanings hidden in it. They arouse the students’ interest and assist them overcome the difficulties created by the second language. The diverse innovative techniques appeal to the imagination of the students and increase their participation in the classroom. They help the students in the appreciation of the dramatic text and make the teaching learning situation a fruitful experience for both the teacher and students. The students successfully overcome the problem of L2 comprehension and grasp the theme, story line and plot-structure of the play effectively. The innovative techniques encourage a strong sense of participation on the part of the students and persuade them to learn through active participation. In brief, the innovative techniques promote the students to perform various tasks and expedite their learning process. Thus the present paper makes an attempt to present varied innovative techniques that can be used while teaching drama. It strives to demonstrate how the use of innovative techniques improve and enhance the students’ understanding and appreciation of Ibsen’s A Doll’s House [2007]. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ESL%20classroom" title="ESL classroom">ESL classroom</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20techniques" title=" innovative techniques"> innovative techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=students%E2%80%99%20participation" title=" students’ participation"> students’ participation</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20of%20drama" title=" teaching of drama"> teaching of drama</a> </p> <a href="https://publications.waset.org/abstracts/34565/innovative-techniques-of-teaching-henrik-ibsens-a-dolls-house" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34565.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">626</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7348</span> Portrayal of Foreign Culture in Pakistani Newspapers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ghulam%20Shabir">Ghulam Shabir</a>, <a href="https://publications.waset.org/abstracts/search?q=Masood%20Nadeem"> Masood Nadeem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research work has been done on the Portrayal of Foreign Culture including Film, Art, and Drama in Pakistani English newspapers (Dawn and The News). For this purpose the weekly newspapers of three months (January to March) of the years 1990, 1995, 2000, 2005, and 2010 were analyzed. Content Analysis was employed for data interpretation and to draw the inferences. It was explored that to what extent the Foreign Culture has been depicted in our print media in the form of Film, Art, and Drama in comparison to Pakistani cultural context. The qualitative analysis revealed that Pakistani English newspapers gave more coverage to Foreign Culture. Pakistani film, art, and drama related issues have been less portrayed in the form of stories, columns, pictures, and news about music, fashion, ceremonies, programs, and shows. However, most of the space has been occupied by Western and Indian pictures, and news about music, fashion, ceremonies, programs and shows on the Cultural Page of these English newspapers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=newspapers" title="newspapers">newspapers</a>, <a href="https://publications.waset.org/abstracts/search?q=portrayal%20of%20foreign%20culture" title=" portrayal of foreign culture"> portrayal of foreign culture</a>, <a href="https://publications.waset.org/abstracts/search?q=qualitative%20analysis" title=" qualitative analysis"> qualitative analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Pakistani%20English%20newspapers" title=" Pakistani English newspapers"> Pakistani English newspapers</a> </p> <a href="https://publications.waset.org/abstracts/2095/portrayal-of-foreign-culture-in-pakistani-newspapers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2095.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">511</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7347</span> Classical Myths in Modern Drama: A Study of the Vision of Jean Anouilh in Antigone</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azza%20Taha%20Zaki">Azza Taha Zaki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Modern drama was characterised by realism and naturalism as dominant literary movements that focused on contemporary people and their issues to reflect the status of modern man and his environment. However, some modern dramatists have often fallen on classical mythology in ancient Greek tragedies to create a sense of the universality of the human experience. The tragic overtones of classical myths have helped modern dramatists in their attempts to create an enduring piece by evoking the majestic grandeur of the ancient myths and the heroic struggle of man against forces he cannot fight. Myths have continued to appeal to modern playwrights not only for the plot and narrative material but also for the vision and insight into the human experience and human condition. This paper intends to study how the reworking of Sophocles’ Antigone by Jean Anouilh in his Antigone, written in 1942 at the height of the Second World War and during the German occupation of his country, France, fits his own purpose and his own time. The paper will also offer an analysis of the vision in both plays to show how Anouilh has used the classical Antigone freely to produce a modern vision of the dilemma of man when faced by personal and national conflicts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anouilh" title="Anouilh">Anouilh</a>, <a href="https://publications.waset.org/abstracts/search?q=Antigone" title=" Antigone"> Antigone</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=Greek%20tragedy" title=" Greek tragedy"> Greek tragedy</a>, <a href="https://publications.waset.org/abstracts/search?q=modern" title=" modern"> modern</a>, <a href="https://publications.waset.org/abstracts/search?q=myth" title=" myth"> myth</a>, <a href="https://publications.waset.org/abstracts/search?q=sophocles" title=" sophocles"> sophocles</a> </p> <a href="https://publications.waset.org/abstracts/111988/classical-myths-in-modern-drama-a-study-of-the-vision-of-jean-anouilh-in-antigone" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/111988.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">182</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7346</span> My Perfect Partner: Creative Methods in Relationship Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Janette%20Porter">Janette Porter</a>, <a href="https://publications.waset.org/abstracts/search?q=Kay%20Standing"> Kay Standing</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper presents our experiences of working in both mainstream and Special Education Needs and Disabilities (SEND) schools in England from 2012-2019, using creative methodologies to deliver and evaluate healthy relationship education. It aims to explore to explore how young people's perceptions of relationships and their "perfect partner" are mediated by factors such as gender, body image, and social media. It will be an interactive session, inviting participants to reflect on their own experiences of relationship education, and to take part in an example of a classroom activity of 'a perfect partner'. Young people aged 16-25 are most at risk of relationship abuse and intimate partner violence. This can be enacted both on the body, through physical and sexual violence, but also emotional and psychological abuse. In England and Wales relationship education became compulsory in schools in September 2020. There is increasing recognition for the need for whole school approaches to prevent gender-based violence, in particular domestic abuse, from happening in the first place and for equipping schools to feel more confident supporting young people affected by gender-based violence. The project used creative methods, including arts, drama, music, poetry, song, and creative writing, to engage participants in sensitive topics related to relationship education. Interactive workshops with pupils aged 11-19 enabled young people to express themselves freely, pupils then used drama to share their knowledge with their peer group. We co-produced material with young people, including an accessible resource pack for use in SEND schools, particularly for children with visual and sensory impairments. The project was evaluated by questionnaires and interviews with pupils. The paper also reflects on the ethical issues involved in the research. After the project, young people had a better understanding of healthy and unhealthy relationships, improved knowledge of the early warning signs of abuse and knew where to go to for help and advice. It found that creative methods are an effective way to engage young people in relationship education and sensitive topics. We argue that age and ability appropriate relationship education should be compulsory across the curriculum and that implementing creative and art-based approaches to address sensitive topics can enhance the effectiveness of relationship education programs in promoting healthy relationships and preventing abuse. The paper provides academic and practitioner perspectives, providing a reflection on our research, looking at practical, methodological, and ethical issues involved in research on Gender Based Violence with young people in a school setting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=relationship%20education" title="relationship education">relationship education</a>, <a href="https://publications.waset.org/abstracts/search?q=healthy%20relationships" title=" healthy relationships"> healthy relationships</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20methods" title=" creative methods"> creative methods</a>, <a href="https://publications.waset.org/abstracts/search?q=young%20people" title=" young people"> young people</a> </p> <a href="https://publications.waset.org/abstracts/172946/my-perfect-partner-creative-methods-in-relationship-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172946.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">57</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7345</span> A Study of Soil Heavy Metal Pollution in the Manganese Mining in Drama, Greece</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Argiri">A. Argiri</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Molla"> A. Molla</a>, <a href="https://publications.waset.org/abstracts/search?q=Tzouvalekas"> Tzouvalekas</a>, <a href="https://publications.waset.org/abstracts/search?q=E.%20Skoufogianni"> E. Skoufogianni</a>, <a href="https://publications.waset.org/abstracts/search?q=N.%20Danalatos"> N. Danalatos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The release of heavy metals into the environment has increased over the last years. In this study, 25 soil samples (0-15 cm) from the fields near the mining area in Drama region were selected. The samples were analyzed in the laboratory for their physicochemical properties and for seven “pseudo-total’’ heavy metals content, namely Pb, Zn, Cd, Cr, Cu, Ni, and Mn. The total metal concentrations (Pb, Zn, Cd, Cr, Cu, Ni and Mn) in digests were determined by using the atomic absorption spectrophotometer. According to the results, the mean concentration of the listed heavy metals in 25 soil samples are Cd 1.1 mg/kg, Cr 15 mg/kg, Cu 21.7 mg/kg, Ni 30.1 mg/kg, Pd 50.8 mg/kg, Zn 99.5 mg/kg and Mn 815.3 mg/kg. The results show that the heavy metals remain in the soil even if the mining closed many years ago. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Greece" title="Greece">Greece</a>, <a href="https://publications.waset.org/abstracts/search?q=heavy%20metals" title=" heavy metals"> heavy metals</a>, <a href="https://publications.waset.org/abstracts/search?q=mining" title=" mining"> mining</a>, <a href="https://publications.waset.org/abstracts/search?q=pollution" title=" pollution"> pollution</a> </p> <a href="https://publications.waset.org/abstracts/131745/a-study-of-soil-heavy-metal-pollution-in-the-manganese-mining-in-drama-greece" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131745.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">129</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7344</span> Transgender Community in Pakistan through the Lens of Television Dramas </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ashbeelah%20Shafaqat%20Ali">Ashbeelah Shafaqat Ali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Pakistan is a country where the transgender community has not been accepted as a third gender yet, but in recent years Pakistani drama industry has taken an initiative to include Transgender characters in the past few years. This research based on qualitative method i.e. content analysis and in-depth interviews investigates the depiction of transgender community in Pakistani television dramas. This study examined two dramas i.e.' Khuda Mera Bhi Hai' and 'Alif Allah Aur Insaan' to analyze the representation of transgender community whereas, in-depth Interviews from 15 transgender people lived in Lahore to observe their opinion regarding their representation in Pakistani television dramas. Snow-ball sampling technique was used for conducting interviews from the transgender community. The results concluded that transgender community did not get equal coverage in Pakistani television dramas but inclusion as characters were observed. This study is helpful in providing a base for observing role of Pakistani television dramas in the development of transgender identity. The major finding revealed is that the inclusion of representation of transgender community in Pakistani television dramas has indicated a successful development towards positive representation. Although, it was suggested by the interviewers that before producing a television drama, appropriate research must be conducted to depict the real life story, problems and struggles of the transgender community. Furthermore, it was analyzed that only fair and equal representation of transgender community by Pakistani drama industry can be beneficial in promoting the third gender rights in the society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pakistani%20dramas" title="Pakistani dramas">Pakistani dramas</a>, <a href="https://publications.waset.org/abstracts/search?q=portrayal" title=" portrayal"> portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotypes" title=" stereotypes"> stereotypes</a>, <a href="https://publications.waset.org/abstracts/search?q=transgender" title=" transgender"> transgender</a> </p> <a href="https://publications.waset.org/abstracts/116172/transgender-community-in-pakistan-through-the-lens-of-television-dramas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/116172.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">187</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7343</span> Audience Perceptions and Attitudes Towards the Representation of Tribal South African Culture in Drama Series</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oluwayemisi%20Mary%20Onyenanakeya">Oluwayemisi Mary Onyenanakeya</a>, <a href="https://publications.waset.org/abstracts/search?q=Kevin%20%20Onyenankeya"> Kevin Onyenankeya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Commercial media entertainment offerings especially mainstream soap operas, in South Africa, are progressively infusing dominant social values and ideas which are alien to South African tribal societies. In most of the commodified television drama series, people who hold tight to traditional beliefs and values are often characterised as traditionalists, while those who have imbibed the western defined dicta and ideology of modernity are seen as progressives. This study, therefore, sought to ascertain how South African tribal language, traditional institutions, values, social norms and ancestral beliefs are portrayed through the television drama, Generations: The Legacy, and what the viewers think about those constructions and the implication for cultural identity. The mixed methods approach was employed involving the administration of questionnaire to 350 participants selected through random sampling and a content analysis of 20 episodes of Generations: The Legacy. The findings further showed that the values and traditions represented in generation do not significantly reflect the South African tribal tradition and values (p-value > 0.05). In most instances where traditional values are represented they tend to be portrayed as old fashioned (p-value > 0.05), and inferior and backward (p-value > 0.05). In addition, the findings indicate that Generations: The legacy is a vehicle for promoting dominant culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=soap%20opera" title=" soap opera"> soap opera</a>, <a href="https://publications.waset.org/abstracts/search?q=South%20Africa" title=" South Africa"> South Africa</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/98596/audience-perceptions-and-attitudes-towards-the-representation-of-tribal-south-african-culture-in-drama-series" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98596.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">288</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7342</span> Applying Art Integration on Teaching Quality Assurance for Early Childhood Art Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shih%20Meng-Chi">Shih Meng-Chi</a>, <a href="https://publications.waset.org/abstracts/search?q=Nai-Chia%20Chao"> Nai-Chia Chao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study constructed an arts integrative curriculum for early childhood educators and kindergarten teachers to the exciting possibilities of the use of the art integration method. The art integrative curriculum applied art integration that combines and integrates various elements of music, observation, sound, art, instruments, and creation. The program consists of college courses that combine the use of technology with children’s literature, multimedia, music, dance, and drama presentation. This educational program is being used in kindergartens during the pre-service kindergarten teacher training. The study found that arts integrated curriculum was benefit for connecting across domains, multi-sensory experiences, teaching skills, implementation and creation on children art education. The art Integrating instruction helped to provide students with an understanding of the whole framework and improve the teaching quality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20integration" title="art integration">art integration</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20quality%20assurance" title=" teaching quality assurance"> teaching quality assurance</a>, <a href="https://publications.waset.org/abstracts/search?q=early%20childhood%20education" title=" early childhood education"> early childhood education</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20integrated%20curriculum" title=" arts integrated curriculum"> arts integrated curriculum</a> </p> <a href="https://publications.waset.org/abstracts/20606/applying-art-integration-on-teaching-quality-assurance-for-early-childhood-art-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20606.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">595</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7341</span> Cognitive Behaviour Drama: A Research-Based Intervention Model to Improve Social Thinking in High-Functioning Children with Autism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haris%20Karnezi">Haris Karnezi</a>, <a href="https://publications.waset.org/abstracts/search?q=Kevin%20Tierney"> Kevin Tierney</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cognitive Behaviour Drama is a research-based intervention model that brought together the science of psychology with the art form of drama to create an unobtrusive and exciting approach that would provide children on the higher end of the autism spectrum the motivation to explore the rules of social interaction and develop competencies associated with communicative success. The method involves engaging the participants in exciting fictional scenarios and encouraging them to seek various solutions on a number of problems that will lead them to an understanding of causal relationships and how a different course of action may lead to a different outcome. The sessions are structured to offer opportunities to the participants to practice target behaviours and understand the functions they serve. The study involved six separate interventions and employed both single case and group designs. Overall 8 children aged between 6 to 13 years, diagnosed with ASD participated in the study. Outcomes were measured using theory of mind tests, executive functioning tests, behavioural observations, pre and post intervention standardised social competence questionnaires for parents and teachers. Collectively, the results indicated positive changes in the self esteem and behaviour of all eight participants. In particular, improvements in the ability to solve theory of mind tasks were noted in the younger group; and qualitative improvements in social communication, in terms of verbal (content) and non verbal expression (body posture, vocal expression, fluency, eye contact, reduction of ritualistic mannerisms) were noted in the older group. The need for reliable impact measures to assess the effectiveness of the model in generating global changes in the participants’ behaviour outside the therapeutic context was identified. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autism" title="autism">autism</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=intervention" title=" intervention"> intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20skills" title=" social skills"> social skills</a> </p> <a href="https://publications.waset.org/abstracts/105059/cognitive-behaviour-drama-a-research-based-intervention-model-to-improve-social-thinking-in-high-functioning-children-with-autism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/105059.pdf" target="_blank" class="btn btn-primary 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