| 1. |
- Fredriksson, Kristina
(författare)
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Drama som pedagogisk möjlighet : En intervjustudie med lärare i grundskolan
- 2013
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this study is to develop insights about what meaning teachers ascribe to their work with drama in education. Based on a socio-cultural perspective drama is seen as a tool for learning. Another point of departure is the Swedish National curriculum, which states that aesthetic learning processes should be an integrated part throughout compulsory education. The data for the study consists of interviews with eleven primary school teachers.The qualitative analysis shows a variation in how the teachers perceive drama. Drama can be used for example to illustrate different factual knowledge or to explore and create meaning in relation to a human dilemma or a complex subject matter. The working methods vary from focusing the artistic dimension of drama to giving the art form minor or no importance at all.The findings indicate, in line with previous studies, that drama is mainly used to work with the school's social goals, like creating a friendly atmosphere and prevent bullying. The findings also show that teachers find it difficult to integrate drama in their everyday teaching. One obstacle which is pointed out is the fact that in Swedish compulsory schools drama does not have its own curriculum and thus is not included in the schedule. Other explanations are that many teachers experience that they have insufficient drama skills and lack of time for drama work, depending on the school's focus on measurable knowledge and goals to be achieved.The conclusion is that drama can allow meetings where different stories can be viewed from several perspectives and be an opportunity for greater understanding and deeper knowledge. Drama can also be dismissed because it is not real and drama can be used in a fostering way, to direct students towards a desirable behavior. In other words, drama can be described as a multifaceted and powerful educational tool.
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| 2. |
- Hallgren, Eva, 1965-, et al.
(författare)
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Heathcote in Sweden - just passing by?
- 2014
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Ingår i: Drama Research: International Journal of Drama in Education. - London : National Drama Publications. - 2040-2228. ; 5:1, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- The first written introduction to Dorothy Heathcote’s work was published in Swedish in 1974, while she herself visited Sweden to teach in the early 1980s. How has drama for learning, i.e. process drama, evolved since then? We will try to answer this question by looking into the Swedish context, including courses and publications that clearly connect to the work of Dorothy Heathcote and Gavin Bolton. We have used interviews with a few key informants to complement information from written sources. The investigation uncovered more publications and teaching events than expected, but the practice of Heathcote’s work does not appear to be well-defined or extensive. After a period of decline it looks like process drama is gaining renewed attention, as more workshops, university courses and new books have been available in the last few years than in many years before.
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| 3. |
- Hallgren, Eva, 1965-
(författare)
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Ledtrådar till estetiskt engagemang i processdrama : Samspel i roll i en fiktiv verksamhet
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement.Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content.One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished.How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity and the interpretation of the tentative motive/object. Using postupaks in role develops what I call expectagency, a capacity based on mutual agreement in an activity with a playful format, where the negotiations become qualitatively different when done by postupaks. Expectagency is a capability to handle uncertainty and change. The use of postupaks was crucial for both the maintenance of the fiction and the exploration of the thematic content. Going into and being in role is a complex process. Six kinds of postupaks were discerned, aimed at developing and exploring, and six other kinds of postupaks served to re-charge the tension by using aesthetic tools. Another important finding was how the students re-used postures and gestures from an initial freeze frame as tools for role taking during the whole drama, and especially when the tension decreased. The fictional activity is turbo-charged, generating feelings both in and out of role, charged through different kinds of tension; between the two activities, oneself and the role (aesthetic doubling), the use of postupaks and the dramatic tension. This turbo-charged activity is a short cut for perezhivanie. Perezhivanie is tangential to the concept of aesthetic engagement, but from an educational perspective the expanded concept of aesthetic engagement appears to be more useful.
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| 4. |
- Hallgren, Eva, et al.
(författare)
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Process Drama in Civic Education : Balancing Student Input and Learning Outcomes in a Playful Format
- 2019
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Ingår i: Education Sciences. - : MDPI AG. - 2227-7102. ; 9:3
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Tidskriftsartikel (refereegranskat)abstract
- The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity should have a playful format. The results show that the dialogical approach used by the drama pedagogue created a democratic opportunity and also established the playful format. The students' engagement was notably high. However, it was obvious there were no challenging or probing questions being asked by the drama pedagogue or the civics teacher, neither in nor out of role. As a consequence, the full learning potential of process drama in civics education could not be achieved. We suggest a co-teaching approach between civic teachers and drama pedagogues, to overcome challenges in using process drama in civic education for learning objectives to be attained.
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| 5. |
- Freytag, Torben, 1963-
(författare)
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Det poetiska glappet : Undervisning med estetiska uttrycksformer ur högstadieelevers perspektiv
- 2024
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Title in English: The Poetic Gap – Arts-Based Learning from Secondary School Students´ Perspective Author: Torben FreytagLanguage: Swedish, with an English summaryKeywords: Aesthetic Learning, Drama, Film, Music, Phenomenography, Multimodality, Focus Group Interviews, Practice-Based Research This practice-based and phenomenographic study belongs to the field of aesthetic teaching and learning, covering an intersection of subjects, such as Drama, Music, Visual Arts and Swedish (mother tongue). The study focuses on how secondary school students experience teaching where different aesthetic forms of expression are included. Several research reviews use terms as transfer to describe how it affects students’ learning in school. The voices that are heard in this research field are usually from a teacher and school leader perspective. However, classroom studies where students’ voices constitute sources are rare. This study may therefore be of interest for teachers, school leaders and researchers in the field of education. Point of departure for this study is John Dewey’s theories about the importance of experience for learning and the role of arts. The theoretical framework is built on theories of multimodality and a multimodal perspective on learning. To investigate the students' learning, a four-week teaching design was planned. The following questions were posed: How do lower secondary school students experience to express themselves aesthetically? How do lower secondary school students experience teaching and learning that includes aesthetic expressions when reading fiction? To answer these questions, the following research methods were used: practice-based research, focus group interviews and art-based methods. In essence, the interviews with the students formed the basis for the analysis. The phenomenographic analysis of the material led to four descriptive categories of students´ aesthetic experience: To express freely, To interpret and figure out, To try different perspectives and To get others to understand. The students’ experiences of arts-based teaching are also described in four categories: To learn through creativity, To learn through collaboration, To learn media-specific and To not learn so much. The categories represent variations of how the students experienced their aesthetic self-expression and their views on this kind of teaching. Since the students’ responses pointed to a multimodal understanding, multimodal concepts such as cultures of recognition, transformation, transduction, simulation, signs, and representations of learning were applied. The discussion takes up how teaching through aesthetic learning can be developed and highlights how students' experiences and creativity can be seen as important ingredients in teaching and as a form of knowledge of its own.
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| 6. |
- Österlind, Eva, 1956-
(författare)
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Students' approaches to Project Work : Self-regulated learning in Swedish upper secondary school
- 2010
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Ingår i: US-China Education Review. - 1548-6613. ; 7:2, s. 16-27
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Tidskriftsartikel (refereegranskat)abstract
- Individualized schoolwork and self-regulated learning has expanded in Sweden during the last decades. Such teaching methods affect the roles of teachers and students, and the demand for student responsibility increases. Upper secondary school in Sweden includes vocational and study preparation programmes, which both give general access to higher education. Since 2000 all students entering upper secondary school have to take a course called Project Work (100 credits). The preceding course Special Work (20 credits) was only part of the study preparation programmes. This expansion from 20 to 100 credits and from a few to all study programmes was a considerable change. The study is built on data from interviews with upper secondary school students about their approaches to Project Work, as an example of self-regulated learning practices. Qualitative analyse and classification is based on earlier developed categories, and to some extent tendencies in students’ development over time are explored. The results throw light on the relationship between different types of projects, grades and students’ approaches to Project Work. Special interest is given to approaches considered as problematic from an educational point of view. Socio-cultural aspects show some impact, although the students’ difficulties turn out to be more of an educational challenge.
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| 7. |
- Ahlstrand, Pernilla, 1967-
(författare)
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Att kunna lyssna med kroppen : En studie av gestaltande förmåga inom gymnasieskolans estetiska program, inriktning teater
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Theatre has been a school subject in the Swedish upper secondary school's national arts program since 1992 and has its own syllabus and grading criteria. The National Curriculum in theatre emphasises the development of performative capability, which is the focus of this dissertation. This study aims to contribute to the improvement of teachers’ subject-specific language, and concerns certain aspects of student ways of knowing.Theatre encompasses tacit knowledge (Lagerström 2003) and as an art form belongs to a tradition of practical knowledge. Knowledge in theatre has traditionally been acquired within a master-apprentice tradition (Johansson 2012, Järleby 2003). When theatre as an art form becomes a school subject the conditions of the art form change through a didactic transposition (Chevallard 2005). The previous two curriculum reforms in Sweden have developed competency-based syllabuses. To meet the school's requirements for planning teaching activities with colleagues as well as assessing and giving feedback to students, theatre knowledge needs to be articulated. Research is therefore needed to develop a professional language among teachers within the subject of theatre.I have chosen to work with Learning study, which is a collaborative and iterative research approach which enables the articulation of teachers and students knowing. Data is analysed using foremost phenomenographic analyses. The results generated in this study could be useful for teachers in the process of planning lessons, giving feedback to students, for assessments and grades, for discussing the content of lessons with other teachers, and ultimately for us to begin to recognize different levels of knowing.
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| 8. |
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| 9. |
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| 10. |
- Johansson, Anna, 1970-
(författare)
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Barns teaterskapande : En ämnesdidaktisk studie av drama och teater i kulturskolan
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject of this thesis is children’s theatre making in the Swedish School of Arts (Kulturskolan), which involves the creating work that children do on their own when they are asked to craft dramatic scenes without relying on a script or a story. Despite the fact that this is a common way of producing theatre in the Swedish School of Arts, little research has been done on the collective process when it is controlled by the children themselves. This thesis explores what children are actually doing when they collectively develop their own scene and what they need to master to make it comprehendible. The thesis is based on two empirical studies – a field study and a learning study – carried out in three drama groups with children aged 9–11 at a School of Arts in Sweden.In the field study, I observed a drama group during the process of creating their own play. By applying ethnographic methods and multimodal interaction analysis combined with theories about children's creative process and connections between play and drama/theatre the study explores what children do when they are set free to make scenes in small groups. The result shows a speedy, multi-layered, collaborative process in which they all, in different ways, responsively participate in designing roles and events through interactive verbal and bodily improvisation. The field study was followed by a learning study to explore how the multifaceted, simultaneous, and interactive activity of creating dramatic scenes could be specified and articulated as subject-specific knowledge. For this purpose, two other drama groups were chosen, and the subsequent study was conducted in collaboration with their respective drama teachers. A total of six lessons were designed and videotaped. The empirical material was analysed by using phenomenography. The result shows the skills divided into four subthemes: making the story logic, creating meaningful roles, coordinating the big picture, and adding relevant events. The co-creation of characters and events involves the ability to both talk about ideas and try them out through acting. When they create a scene, they use strategies similar to those children often use when role-playing; they alternate between being in and out of character, in and out of fiction. What essentially distinguishes theatre making in this sense from children’s ordinary role-play is the concern for and awareness of an imagined audience. Taking on the perspective of an audience includes the ability to design roles and events to make the play understandable from the outside: what I call aesthetic triangulation.
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