Genres of Drama
Drama Games
When traveling back in time, say six years, I see myself at school, a twelfth grader then, practising for a theater play. Those were the days of "king Kreon" from "Antigone," and there is a great deal of what I would give to live them once more - so much fun and joy, - and what an amount of text to learn! Whereas today? For four years already I am preparing myself to become a teacher.
There is a saying, "school is supposed to be fun." I have been to six different schools in my life, where I had to deal with different kinds of difficult situations: several psychological injuries by fellow students causing grief to me. Maybe because I was not easy to be dealt with. It is the responsibility of a teacher to deal with all sorts of students and problems, resulting in the change of lives.
In the movie "Mr. Holland′s Opus" the quotation: "A teacher′s job is to encourage his students", is found. Does that not tear the heart? It does, for, how can something partly so emotional be achieved? From my personal experience I say it depends as much on the chosen recipe as on the correct measure of ingredients. Most certainly, do I want my students to live moments of fun and joy, such as I experienced a few years ago. My assistants: drama games applicable to attain educational aims.
There are different categories and subcategories to drama games: e.g. figure theater, simulation, charade, mime, dance, magic, as well as fantasy travel. Three major streams are distinguishable from a simulation dividing it into gaming, computer simulation or role play, which is probably the drama game known to teachers and students all over the world. The figure theater also has subdivisions, statue - or puppet theater, for instance. Depending on the age, the students could choose from the latter in between shadow-, finger-, hand- and stick puppets, or even puppets on strings, like Spejbl and Hurvinek.
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Table of Contents
GENRES OF DRAMA
DRAMA GAMES
DRAMA PEDAGOGY
PSYCHODRAMATURGICS
PSYCHODRAMA
INSTRUMENTS
PROTAGONIST-CENTERED PSYCHODRAMA
GROUP-CENTERED PSYCHODRAMA
ENGLISH EXAMPLE
FINALE
Objectives and Topics
This paper examines the application of psychodrama as an educational and therapeutic method within foreign language teaching, aiming to foster student communication, self-expression, and personal development through acting and role-play.
- Theoretical foundations of drama games and pedagogy
- Psychodramatic principles and techniques in educational settings
- Distinction between protagonist-centered and group-centered psychodrama
- Practical implementation in school classrooms
- Impact on student emotional growth and language command
Excerpt from the Book
Psychodrama
Used in either individual - or especially group therapies, a psychodrama is a psychotherapeutic method. It was developed by the psychiatrist, sociologist and philosopher J. L. Moreno, who lived from 1889 to 1974. He first came up with it in Vienna, in the first quarter of the 20th century. To him it was a method to penetrate a soul’s truth through acting. Moreno was convinced of the healing power of games and theater plays. Therefore, he first turned the well-known couch, traditionally used in therapies, into a stage on which problems could be stage-managed with a therapist watching and fellow members being involved. Secondly, the philosopher transformed words into acts by not just discussing problems but taking on different roles. Third- and finally, the approach changed from an analysis to encounters by dealing with social problems in a social context.
Psychodrama is the taking over of certain roles within a specific timeframe. Personal or common conflict situations, or those forcing a decision, are acted out dramatically for diagnostic, therapeutic, educational and didactic purposes, or simply to acquire unusual behavior patterns through practice.
Summary of Chapters
GENRES OF DRAMA: Provides an introduction to the pedagogical value of drama games and their ability to foster a learning-by-doing environment in schools.
DRAMA GAMES: Discusses various categories of drama games and their role in improving linguistic, cognitive, and social skills among students.
DRAMA PEDAGOGY: Explores the connection between acting and language learning, emphasizing the natural human need to play and communicate.
PSYCHODRAMATURGICS: Outlines the educational goals of psychodramatics, focusing on spontaneity and the productive process of learning.
PSYCHODRAMA: Defines the psychotherapeutic roots of the method and its evolution from clinical therapy to an educational tool.
INSTRUMENTS: Details the essential equipment and core techniques like doubling, mirroring, and monologues used to facilitate the process.
PROTAGONIST-CENTERED PSYCHODRAMA: Describes the three-phase structure of working with an individual student to explore personal challenges and experiences.
GROUP-CENTERED PSYCHODRAMA: Explains how group-oriented sessions address interpersonal dynamics and collective issues within the classroom.
ENGLISH EXAMPLE: Presents a practical scenario applying the discussed techniques in an eleventh-grade classroom setting.
FINALE: Concludes with an overview of the monodrama variant and the necessity of professional training for psychodrama practitioners.
Keywords
Psychodrama, Drama Pedagogy, Role-play, Language Learning, Spontaneity, Doubling, Mirroring, Monodrama, Educational Psychology, Group Therapy, Communication Skills, Classroom Techniques.
Frequently Asked Questions
What is the core focus of this work?
The work investigates the integration of psychodrama techniques into foreign language teaching to enhance both communicative competence and emotional development.
Which fields are covered?
The text bridges theater pedagogy, psychotherapy, and foreign language didactics, specifically focusing on how drama can facilitate language acquisition.
What is the primary goal of using psychodrama in class?
The aim is to create an authentic environment where students feel free to express themselves, reduce anxiety, and improve their language command through active involvement.
Which scientific methods are used?
The paper utilizes descriptive analysis of drama pedagogy and psychodramatic principles, combined with a practical application model for educational settings.
What does the main body address?
It covers theoretical frameworks, essential psychodrama instruments, structural phases of sessions, and practical classroom implementations.
Which keywords best describe the paper?
Key concepts include psychodrama, drama pedagogy, spontaneous-creative learning, role-play, and communicative language acquisition.
How is the feedback phase structured?
Feedback occurs through role feedback, identification feedback, and sharing, allowing participants to process their experiences in a safe, structured way.
Why is the "de-roling" process considered important?
It is essential to separate the actor's real identity from the role they played, ensuring the emotional well-being of the students after intensive exercises.
- Quote paper
- Silke-Katrin Kunze (Author), 2001, Genres of drama. Instruments and protagonists of psychodrama, Munich, GRIN Verlag, https://www.grin.com/document/4200