Relationship Between Drama and Theatre Education and Creative Learning - Assignment Example

Relation between Drama and Theatre Education and Creative Learning Introduction Contemporary educationists are actively seeking effective methods teaching/learning that can promote content understanding and enhance learners’ intellectual capacity. Creative learning constitutes the primary focus of education stakeholders across the world. The use of drama and theatre education as the basic approaches for creative learning has been characterized by ambiguities over time. Education stakeholders have always cited complexities in using drama and theatre as educational tools in regard to their nature, meaning and functions. The major difficulty facing scholars constitute the ability to distinguish between drama and theatre and establishment of the relationship between drama and theatre education as tools for creative learning. This research paper aims at establishing a clear distinction between theatre and drama in addition to establishing a relationship between drama/theatre and creative learning. The paper will achieve this by discussing the critical aspects of creative learning, relationship between drama and theatre education and creative learning, how creative drama enhance creativity in learning, and importance of drama in assessments, and theories of drama and theatre in creative learning. Critical Aspects of Creative Learning Creative learning is enhanced through the level of creativity possessed by the learner. Winston (2010) defines creative learning as imaginative activities fashioned with the aim of producing outcomes characterized by originality and value. In creativity, the learner has to portray originality and value in the end result of the learning process. Fleming (2011) outlines the basic features of creativity; these are use of imagination, pursuing purposes, being original and judging value. In Jo Trowsdale’s session, for example, the class was introduced to a range of creative people who shared a variety of characteristics. These personalities included Aristotle, Vivien Westwood, and Martin Luther King; from them it was evident that creativity is not just about arts and not always related to a product, but it could be a change of mind/heart. Any creativity process lacking any of the aforementioned features is considered null since it lacks the main components of creativity. Creativity involves playing with new ideas and trying out possibilities from such ideas. For example, the Myth of Icarius revealed three different period of painting. Flying too high using the wings would take Icarius too close to the sun and melt while flying too low would take him close to the sea and drown. This implies that Icarius and his father were playing with and trying out possibilities from such ideas. Creative learning features learners striving to come up with new ideas and identifying possible opportunities for learning and putting them into practice (Martin-Smith, 1996). Since Icarius was in prison and was trying to escape, learners had to play within the creative framework by shortening their conversation and playing in rather quiet mode. Trying out new possibilities was also achieved through each group presenting different examples under the same ideas. The problem identified by Winston (2005) among most contemporary teachers is that they have not been able to differentiate between teaching creatively and teaching for creativity. Creative processes draw knowledge and practical skills during the learning process. Knowledge and practicality constitute the fundamental ingredients of classroom learning. Laris (2005) contends that teaching creatively involves teachers applying imaginative approaches to enhance the interesting, exciting and effective. It is the responsibility of teachers to be creative in developing materials and learning approaches that can fire the interests of children and motivate their learning. In story telling part of imaginary communities, firing interest of learners was achieved through setting up an utter spatial environment and consolidating it with the game “catching the star” and walking on gravity. Teaching for creativity, on the other hand, refers to forms of teaching designed with the aim of developing the creative thinking or behavior of learners (Loi and Dillon, 2006). For example, when a girl drew a floating house as part of the properties in the imaginary community, a boy was criticized concerning ways of getting onto the house when it is floating; however, they created and made sense within the imaginary world. Thus, a teacher intending to teach for creativity must teach creatively. The only way of developing learners’ creative abilities is by teaching in an atmosphere characterized by proper engagement of teachers’ creative abilities. This implies that teachers cannot develop learners’ creative abilities if their own creative abilities are suppressed. Winston (2010) observed that there three tasks involved in teaching for creativity; these are fostering, encouraging, and self-directed learning. Fostering involves learning from many ordinary abilities and skills as opposed to overdependence on one special talent of gift. By developing a variety of common capacities and sensitivities, a learner can foster creativity. Recognizing and becoming knowledgeable about the creative process also foster the development of creativity. In the Selfish Giant lesson, for example, learners worked through the lesson without props, but through their imaginations. Development of creativity occurs through recognizing the conventions of creative processes. The story of the Selfish Giant further fostered learners’ creativity through enabling them to understand the boundary of their creativity and playing within that boundary. Bernstein (1977) emphasizes the necessity of learning by doing as one of the best approaches for further developing and enriching creativity. Learning by doing can be achieved through acting in a natural environment or learning with personal models and mentors who are willing to share their experience. This is why learners were introduced to Vicky Sawka from Choi Theatre. Teachers, in teaching for experience, the aim to allow for both broad and narrow experimental activities; however, there is need to specify and explain the purpose of each activity in the creative learning process. The teacher is required to ensure that participants in creative learning activities feel prepared and secure in order to be willing to take risks and make mistakes. Such environment is non-threatening and the challenges involved reassure. For example, in the story of the Fig Sweet, Mr. Bibot is selfish and mean. Playing such a role characterized by meanness and selfishness is turned down by most learners because of fear of associated laughter and ridicule. Taking the risk of being ridiculed and laughed at under the protection of Mr. Bibot could help learners to fully accept the disgrace of oneself and willing to take risks and make errors inside such scenario. Creative learning, according to Clark et al (1997), ought to promote self-expression, which is oriented towards a certain task. Self-expression is achieved through acting in activities such as dramas and role-playing. The teacher, thus, conveys the lesson message in such a form that encourages autonomy, authenticity, openness, respect, self-fulfillment and self-confidence. Beane (2011) argues that teaching for creativity encourages independence of mind and the capacity to think for oneself. Teachers should aim at enabling young people to more effective in handling both current and future problems, which can be achieved through deepened and broadened awareness of self and that of the world at large. Learners exposed to creative aspects of learning have the ability to enhance their reflexivity as creative learners. Reflexivity implies the ability to engage in deep thoughts with the aim of discerning the importance of learnt material. It also involves focusing on and applying the learnt material into real world context. After learning about the Mantle of experts, learners were given the role as a teacher to design a lesson using Mantle of Expert to teach one social issue that each group concerned the most. Learners had to imagine performing the teacher’s role including the associated ability and knowledge of the role. When learners learn through drama, they access first hand information and applicability becomes a simple possibility. Relationship between Drama and Theatre Education and Creative Learning The first thought that comes to mind when a person hears the word ‘drama’ is performance. Performance in this context implies making a representation of an action before a group of people for the purpose of entertaining or enlightening them (Muijs & Reynolds, 2011). Thus, the basic elements of drama include the actor, the action and a group of people commonly referred to as the audience. The historical background of drama can be traced to the works of Aristotle, who used the word drama to refer to compositions that were acted inform to audiences in a theatre (Winston, 2010). Drama is actually the act of imitation since content is written and acted as represented in the text. The object of drama is to mimic actions as opposed to performing actions in their real forms. In this sense, drama refers dramatic texts such Merchant of Venice by William Shakespeare or The Trials of Dedan Kimathi by Ngugi wa Thiong’o. The basic elements of drama include plot, character, theme, diction, music and spectacle. Thus, drama is the printed text of a play. Theatre is a collaborative form of fine art based on live performances representing the experiences of a real imagined event. Here, the aspect of live performance has been brought out. Theatre is performed before a live audience in a specific place. There are various styles that performers use to represent experiences in theatre; these are gestures, music, dance, song, and tone variation (Winston, 2005). The elements of design and stagecraft are used to enhance physicality, presence, and immediacy of the experience. Contemporary theatres feature plays and musicals. Fine art refers to decorations and paintings used to improve the performance’s visual aesthetics (Neelands, 1992). The elements of theatre include performers, audience, director, space, text, and aspects of design. Theatre, therefore, is the presentation of the play text on stage using the aforementioned elements. New education movements have been associated with valuable historical accounts of drama and theatre education in creative learning. Loi and Dillon (2006) recognize the necessity of drama in teaching as it embodies the ideas of natural growth, child-centered education and experiential learning. Contemporary educationists consider drama and theatre education as the critical ingredients of creative learning. The relationship between drama and theatre education and creative learning is founded on the concepts that involve using drama and theatre as methods of teaching/learning. While theatre and drama exhibit similarities in their application, Fleming (2011) noted theatre is largely concerned with communication between actors and audience and drama focuses on experience by the participants. Learning through drama combines various concepts, which involve using drama as a method of teaching. Drama enables learners to approach the learning procedure following a special procedure. Drama and theatre education and creative learning exhibit a positive relationship across all levels of education including primary, secondary, and post-secondary. From the above viewpoints, there are some differences and similarities between drama and theatre. Such interesting relationship between the two could lead to the following arguments about the relevance of drama and theatre to creative learning. Creative learning involves learning by students acting drama through theatre while theatre/drama in education involves using drama techniques to support classroom learning (Neelands, 2010). Winfred Ward coined the term “creative dramatic” to refer to methods of classroom teaching that focus on appreciation of literature, training in spoken word, and self-expression. Anderson (2012) recognizes that the major problem that arises in curriculum is the habit of sticking with approaches that do not necessarily suit the contemporary learning area. Most teachers, for example, are always using pen and paper tests as the primary modes of assessing students. The need to emphasize the use of drama assessment approaches is that it measures the aesthetic control and understanding in an environment featuring collaboration and interactive learning experiences. The establishment of drama education came into existence during the period when liberal progressive views of the curriculum were dominant (Neelands & Goode, 2000). The aim of drama education was to promote liberal progressiveness through creative learning. According to Raynsford (2011), drama in education is different from theatre performed as scripted dialogue in front of a live audience. In classrooms, learners often play improvised roles within in an imaginary context. The distinction between the actor and the audience is not evident in classroom drama because the learner is both the participant and the observer. The stage theatre focuses on rehearsal as means to an end that will lead to ultimate performance. However, in drama education, the process is the end in itself. When learners act a play, they do not have to rehearse because the end of the drama signifies the end of the learning process. The choices and decisions that learners make during the development and improvisation of drama provide the primary channel through which students learn (Sefton, 2011). The role of the classroom teacher in drama education is to facilitate drama by building on the actions and reactions of learners as observed during the acting process. The teacher also focuses on changing the imaginary context of drama with the aim of creating episodic sequences of dramatic actions. For example, in the imaginary community, Vicky asked the students to identify the relationship between the unicorns and Ilamas. Additionally, Vicky asked students to develop whole group frozen pictures on the planet and hot seat the characters as one way of giving further understanding of the planet. While theatre focuses on product, that is, delivering performance that meets predetermined standards, drama emphasizes creativity, self-discovery, and pleasure in the learning process. This difference implies that theatre is a professional process, which is imitated in informal contexts and applied in learning through drama. Actually, Nicholson (2005) contends that the core focus of theatre is on the stars that have special talents, skills, and gifted in addition to interest in the profession. However, creative drama focuses on “the-actor-in-everyone” and the urge of theatre for purposes of expressing, fame, seen, and heard in order to acquire specific skills (Wehlage 1996. Students, in the processing of learning, do not have any special skills or talents, but they are craving to develop expertise while exploring the topics under study. In drama, established standards must be met and are judged while in creative drama emphasis is on individual affinity for and connection to topic of interests. Learning through drama fosters experimental attitudes that encourage mistakes, failures and trials that do not work; these are seen as important tools for learning. In classroom learning, the teacher teaching for creativity fosters experimental learning achieved through failures and exercising (Winston, 2000). This way, drama is described as task-based where learning is achieved through small and doable chunks. However, theatre fosters attitudes of highest possible excellence. The greatest ingredients of creative learning constitute brainstorming, group work and decision making process. According to Neelands (1992), creative drama has been credited for employing decision making criteria throughout quantity and quality where all ideas count. Additionally, exploration of the process of decision making is central in creative learning, where learners select from among several available alternatives. Creative drama is performed through group work, which encourages and builds teamwork skills. While playing the Sweet Fig, the teacher asked players to work in small groups. Students were asked to list five things they knew about Bibot and any five questions they would like to ask him. Further, learners worked in pairs taking the role of Bibot and showing a very polite estate agent around his apartment. The distinction with theatre in these aspects is that theatre begins with brainstorming and shifts to set alternatives depending on the contexts of place, character and situation. How Drama and Theatre Education Enhance Creativity in Learning The principles of drama require learning assessments to maintain authenticity and relevance to the art form. The main features of drama learning include aesthetic measurement, dynamic and highly professional. Drama encourages creativity because it requires assessments to be closely related to industry and innovation Bolton (1979). This implies that while learning drama, learners are exposed to the critical requirements of the industry because they act the reality occurring in the real world. Additionally, as they strive to make drama relevant, development of innovation cannot be escaped because it is the primary factor driving drama learning. Proper understanding of the industry and increased innovation promote creative learning. Drama learning requires assessment to be based on learning. Most pen and paper tests are based on measurement and do not consider learning. Formative assessment is critical in the development and learning process of students. Summative assessment, on the other hand, is based on measurement. Summative assessments comprise of tests that are administered at the end of the course while formative assessments are administered during every stage of the learning process (Black, 2004). Thus, learning in drama focuses on continuous assessment that depends on the process and product of drama. This requires learners and the teacher to work together in an environment that promotes creative learning. Learning in drama does not actually challenge the use of summative assessments, but strives to strike a balance between making and appreciating both formative and summative assessments (Taylor, 2000). Drama in education, particularly creative dramatics helps in developing the interpersonal skills of learners. Raynsford (2011) contends that cooperation that characterizes drama education increases among learners when teachers use creative dramatics in classroom. Interpersonal skills are further enhanced because students assume leadership responsibilities during drama planning activities such as script writing and informal performances. Taking a leadership role is not an easy task, but it equips learners with people skills such as organizing, controlling and coordinating (Hornbrook, 1998). These are vital skills both in school and in the community where learners come from. Diversity of Perspectives, Empathy and Critical Thinking Cultural and behavioral diversity is a common feature in schools. Understanding other cultures provides learners with opportunities to learn from those cultures, which enhances creative learning. Multiculturalism features in schools because learners originate from different cultural backgrounds (Laris, 2005). Additionally, people in plays also have different cultures depending on how the writer of the text assigned them cultural backgrounds. During the process of playing roles of characters, learners understand and appreciate other cultures. Sometimes learners may create texts and assign characters various roles; this enables them to appreciate other cultures and various ways of behaving to other cultures. Students can also develop empathy because they see cultural behaviors from different perspectives. The story of the Sweet Fig is based on French society; the teacher introduced the character Bibot with gesture showing the manner and how the French pay attention to details of French people and speaking French. The conversation helped learners to recognize the background of the story. In this case, creative dramatics help in promoting tolerance to cultural differences. Drama education has been credited for fostering critical thinking among learners. Critical thinking is actually the fundamental ingredient of creative learning. Using drama in education equips learners with the knowledge of other disciplines (Grady, 2000). These disciplines include history, language, literature, civic education and social studies. Teachers can use highly sprung theatre to explain chemistry knowledge such as electrons, atoms and molecules in addition to exploring the transmission through the three states of matter. Drama preparation and acting is done focusing on different aspects as well as exploration of ideas from multiple angles. Involvement in creative dramatics requires willingness to take risks (Beane, 2011). Any successful attempt after drama enhances self-confidence of participants. Partaking in various options such as scriptwriting, role-playing, improvisation, movement and acting further enhances learners’ creative capability. Importance of Using Drama in Assessments Using drama minimizes the problems associated with written and standardized tests for assessing performance. Anderson (2012) cites Posner’s (2004) assertion that lack of deep or subtlety analysis leads to composing assessments that are mainly formulaic. Posner’s rhetorical question concerning the possibility of education standardized test scores leaning students unable to understand subtleties renders standardized testing reductionist approaches and not useful in contemporary learning endeavors. Experimenting using drama gives learners chances to use their bodies and imagination simultaneously in a complex interplay, which leads to generation of unpredictable results (Anderson, 2012). Learners have a variety of embodied skills that cannot be measured using pen and paper tests; written examination tests only assess narrow imperatives while drama assesses the actual requirements of learning achieved through real-life practices. Drama assessments are designed based on both the needs of learners and the nature of the industry. This ensures that learners are tested their needs and not just the ability to cram numbers and reproduce them in class. Testing based on learner needs implies that learners are also exposed to classroom material that is in line with their needs. The critical requirement of drama is that it forces teachers to align the learning being implemented with the skills begin taught (Anderson, 2012). In this case, rote-learning becomes a simple impossibility because the practice of pumping information into learners to reproduce it during exams is discouraged. Rote-learning discourages creative learning because it is based on lecture methods, which are very ineffective in learning across all generations. The poem about ‘the school’ that was explored in the first week was done in a creative way. For elderly people, the poem would have been read in a normal way using lecture method as defined by Bernstein’s theory. However, considering that the generation being taught has not grasped the command of vocabulary, where learners were asked to read aloud and find difficult words in the dictionary for further comprehension of the poem. Learners created different scenes and still images in the poem in order to understand the poem further in addition to the author’s perspectives of the poem. Most theories of learning and development encourage use of groups and teamwork across learning processes. Drama learning assessments encourages inclusion group assessment in testing the level of learning achieved. Teachers and learners have always embraced collaborative learning across time and place. Anderson (2012) contends that collaborative learning has been in use for decades and has never faced any controversies. If it is possible to advocate interactive and cooperative learning, then it is similarly crucial to embrace group testing to determine the extent to which learners have achieved teamwork skills. Since students can learn effectively together, teachers need to consider testing in groups to assess their interaction and cooperation skills. Although the group assessment has been criticized due to lack of measurement criteria for individual contribution, Anderson (2012) describes this view as superficial. Opponents of group assessments argue that the contribution of some learners may be contaminated by other learners’ contributions (Craft , Cremin & Burnard, 2008). Some group members may not contribute at all because of learners’ individual differences. However, effective mechanisms can be instituted to ensure each learner contribute through measures such as encouraging equal distribution of tasks, audio-visual recording of group assessments, and closely monitoring the assessment process. Theories for Creativity in Teaching and Learning Kolb’s Experiential Learning Theory Experiential learning theory is based on the assumption that the learners’ different social, physical, emotional, mental, and subjective experiences significantly affect the efficiency of the learning process. These experiences are related to the material being studied and the circumstances in which the whole process is done (Bolton, 1993). John Dewey set the foundations of experiential learning in his Experience and Education; Dewey’s ideas underwent further development through the works of David Kolb. Kolb achieved this through developing a model of experiential learning using a holistic and integrated approach. Throughout his works, Kolb made close reference to the related models designed by Kurt Lewin, Jean Piaget and John Dewey. Lewin believed that creative learning is best facilitated by an integrated process that begins with instant experience followed by collection of data and observation of those experiences (Boal, 1976). From Lewin’s model, Kolb picked the aspect of instant concrete experiences and feedback processes. Dewey focused on the effect of learning in transforming desires, impulses, and feelings of concrete experience into actions of higher order purposes. Thus, learning is vital in making transformations that shapes creativity in humans. According to Jean Piaget, dimensions of experience and concept, reflection and action constitute the fundamental continua for the development of adult thought. Kolb’s experiential learning theory emphasizes the use of drama for creating an environment where students undergo experiential learning. The model comprises of four fundamental aspects that facilitate creative learning; these are concrete experience, reflective observation, abstract conceptualization, and active experimentation (Green & Sinker, 2000). First, concrete experience implies active involvement; Kolb believes that learning cannot take place through just watching or reading about something. Reflective observation means learners stepping back from the actual task to review and discuss the experiences they have undergone in the process of dramatization. Abstract conceptualization involves learners reflecting upon their experiences from dramatization to what they already know from previous experiences (Friere, 1998). Active experimentation involves learners trying to put into practice information they have learnt. These three aspects are integrated to ensure that creative learning takes place effectively. The Flow Theory-Optimal Experience and Learning Although most theorists have focused on the benefits of learning through experience, most of them have not recognized the quality of the experience and emotional context where learning occurs. According to Bourdieu (1993), the setting where learning takes place is a vital factor to consider in creative learning. Mihaly Csiksentimihaly referred the optimal experience to the flow. The flow is based on human experiences such as joy, creativity and total involvement with life. Human beings experience circumstances when they feel like controlling their actions as opposed to being buffed by mysterious forces. The optimal experiences, however, cannot be achieved through passive, receptive and relaxed teaching strategies. The flow model reveals that the flow occurs when a person uses his or her skills to the optimum in overcoming manageable challenges (Winston , 2000). The relationship between flow and creative learning is relevant. Flow motivates learners to perform tasks with increased efficiency. Reflection Creativity is a crucial aspect in any mainstream education. In the first lesson, I learnt that learning characterized by competition is ineffective because it is highly standardized. Creativity in highly standardized settings is hard to access because learning is teacher-centered (Neelands, 1992); there is no creative exploration by learners. I realized that teaching students by just letting them to receive information and accumulate it for purpose of passing of exams largely constituted rote-learning. The analogy of the banking system was widely evident because teachers accumulated information in learners just as customers deposit cash in banks; later learners download information on examinations papers and forget about it just as same customers empty their banks after ATM withdrawals. This method of teaching is ineffective and does not support any learning. The poem about school enabled me to learn that creativity would be enhanced further if learners learnt by doing. For example, the boy in class was drawing something different from classmates before the teacher asked him to draw like other students. After reading the poem aloud, the teacher asked us to give still images of the characters in the poem. Drawing forced everyone in the class to think creatively in order to discern the features of the boy, the teacher, and other pupils who were in class. Exploring in physical space constituted the greatest source of creative learning. Through the myth of Icarius, I appreciated the three different period of painting. The myth revealed that creativity could be different just like there were different artworks. No one cared when Icarius was drawn into the sea, implying that mistakes in creativity are acceptable. From the works of Winston (2010), I realized that people who share vested interests in education embrace creativity more or less uncritically. Creativity is used across variety of fields such as politics, business, economics, and other areas of human activities. For example, Winston (2010) contends that politicians and businesspeople see creativity as a way of developing new products and markets to counter the competitive forces of globalised economies. Educationists have embraced the use of creativity as a learning tool more than all other fields that share vested interests in creativity. In Chol Theatre with Vicky Sawka, I recognized that Vicky’s introduction of the project of imaginary communities was necessitated by the objective of instituting the principles of creative learning. Through the ways Vicky introduced creativity, I learnt that there was a wide difference between assessment, pedagogy and curriculum. Initially, I was not aware of the pedagogies of drama; it is through the module that I identified them as experiential, social constructivism, aesthetic, playful, and integrated code. When teaching using creative drama, all the aforementioned pedagogies feature. Another thing I learnt during the course is that education throughout the world is currently facing unprecedented challenges posed by economic, technological, social and personal factors. Policy makers and education stakeholders emphasize the urgent need to develop human resources in teaching. Human resources in teaching include the teachers that facilitate classroom learning. As I have come to understand, excellent human resources in education is intended to promote creativity, adaptability and the powers of communicating ideas in the learning process. For example, drawing on Erick Booth’s notions of creative restrictions, learners explored ways though which narratives provide strong frameworks for creativity. I believe that new approaches based on broad conceptions of learners’ abilities are required to promote self-esteem, skills and aptitudes. Reading various books and journal articles has enabled me to identify several misconceptions about creativity. Different authors define and understand creativity in different ways. Changes in time have also largely contributed to misconceptions and varied definitions of creativity. Some people associate creative learning with lack of discipline in education. Other authors have viewed creativity as a way of preserving the gifted few instead of focusing on the majority such as the whole classroom. However, reading NACC’s (1999) enabled me to understand that creativity is possible in all areas of human activity including the arts and sciences, and even in playing, working and other activities that people are involved in their daily life. Thus, everyone has his or her own creative abilities at different levels. I also identified that creativity is not just a matter of letting go, but a serious creative achievement that relies on knowledge, command of ideas, and control of materials. One aspect that is unforgettable from the experience is that creative education involves a balance between teaching knowledge and skills while at the same time encouraging innovation. This is evidenced by several creative activities that we engaged in throughout the module. Conclusion Drama and theatre education are vital aspects in the learning process. Drama occurs in forms of art that give insights of human conflicts and tensions. The role of drama is to take the form of the story whose presentation is done to an audience through action and dialogue. The elements of theatre such as acting, scenery, costumes, acting, props, music and sound are used to convey the story. Learners of all ages use drama in education as an educational pedagogy to enhance the extent to which they understand content. Drama incorporates the actor’s elements in facilitating learners’ physical, emotional, social, and cognitive development. As a multisensory mode of learning, drama is designed to increase awareness of self and improve clarity and creativity in communication of both verbal and non-verbal ideas, which constitute creativity in learning. References Anderson, A. (2012). A History of Drama Education. London, Continuum Beane, J (2011) Curriculum integration and the disciplines of knowledge p193-200 In: The international handbook of Creative Learning (electronic resource) https://drive.google.com/file/d/0B2QKca0cYoFAb2RZc3QzcXZSS1U/view?usp=sharing Bernstein B (1977) On the classification & Framing of Education Knowledge. In: Bernstein B Class Codes & Control VOL 1. London Henley Boston: Routledge & Kegan Paul, Ch.11, pp.202-230. (online) https://drive.google.com/file/d/0B2QKca0cYoFAajd0c2ZhcWNDV0E/view?usp=sharing Boal, A. (1976). Theatre of the Oppressed. Pluto Press: London Bolton, G (1979) Classification of dramatic activity. In: Bolton, G Towards a theory of drama, London: Longman Group Limited, Ch.1, pp.1-11. Bolton, G. (1993). New Perspectives on Drama. Simon Shuster: London Bourdieu, P. (1993) The Field of Cultural Production: Essays on Art and Literature; Polity Press: Cambridge Clark, Jim et al (1997) Lessons for the Living: drama and the integrated curriculum. Newmarket, Ontario: Mayfair Cornerstone. Chapter 1 – online https://drive.google.com/file/d/0B2QKca0cYoFASW1KdWk2UUNIOGc/view?usp=sharing Craft, A & Cremin, T & Burnard, P (eds). (2008) Creative Learning 3-11 and How we Document It, Trentham Press, Stoke-on-Trent. Fleming, M (2011) Learning in and through the arts. In: International Handbook for Creative Learning https://drive.google.com/file/d/0B2QKca0cYoFATWFEVzRHWVg4R00/view?usp=sharing Friere, P. (1998) Pedagogy of Freedom, Rowman and Littlefield: New York Grady, S. (2000) Drama and Diversity, Heinemann; Portsmouth, NH Green, J & Sinker, R (2000) Creativity, London, Routledge Hornbrook, D. (1998). 2nd Edition Education and Dramatic Art. Routledge London. Juliet Raynsford : Creative Development – Early Years Matter (2011) Produced by The Department for Children, Schools and Families (DfCSF). Available at http://www.earlyyearsmatters.co.uk/wpcontent/uploads/2011/03/eyfs_learn_creative_dev(1).pdf Laris, M. (2005). Designing for play. In M. Dudek (Ed.). Children’s Spaces, pp. 14-29 Loi, D., & Dillon, P. (2006). Adaptive educational environments as creative spaces. Cambridge Journal of Education, 36 (3), 363-381. https://drive.google.com/file/d/0B2QKca0cYoFAd3ZYZ3REOWRiT0E/view?usp=sharing Martin-Smith, A (1996) British Conceptions of Drama in Education: the fifties to the nineties https://drive.google.com/file/d/0B2QKca0cYoFAZjRyM012RWdLRkk/view?usp=sharing Muijs, D & Reynolds, D (2011) Constructivist Teaching (Course online extracts) https://drive.google.com/file/d/0B2QKca0cYoFARHg5cDM1MXNnYmM/view?usp=sharing Neelands, J & Goode, T (2000) Theatre as a Learning Process (Online course extracts) https://drive.google.com/file/d/0B2QKca0cYoFAZ0g5Z3lILXpJYVk/view?usp=sharing Neelands, J (1992) Drama as a Curriculum Framework. In: Neelands, J Learning through Imagined Experience, London: Hodder & Stoughton Limited, Ch.3, pp.35-48. https://drive.google.com/file/d/0B2QKca0cYoFAcUN3aklDSEtDLW8/view?usp=sharing Neelands, J (1992). Drama as a Curriculum Framework. In: Neelands, J Learning through Imagined Experience, London: Hodder & Stoughton Limited, Ch.3, pp.35-48. https://drive.google.com/file/d/0B2QKca0cYoFAcUN3aklDSEtDLW8/view?usp=sharing Neelands, J. (2010), in Sefton-Green, J, Thomson, P, Bresler, L. and Jones K. Drama as Creative Learning, Routledge International Handbook of Creative Learning London; Routledge https://drive.google.com/file/d/0B2QKca0cYoFAZ0g5Z3lILXpJYVk/view?usp=sharing Newmann and associates. Authentic achievement : restructuring schools for intellectual quality. 1st ed., San Francisco: Jossey-Bass Publishers. Ch.1, pp. 2148 https://drive.google.com/file/d/0B2QKca0cYoFAVW1HMk1SZGl1cFE/view?usp=sharing Nicholson, H (2005) Creativity and Social Intervention. In: Applied drama: the gift of theatre. Houndmills: Palgrave Macmillan, Part III, Ch.6, pp.109-130 https://drive.google.com/file/d/0B2QKca0cYoFAU1JPVk9IbHV4VDQ/view?usp=sharing Rasmussen, B. (1996) Educational Drama in a Cultural Performance Context: Another Apologetic Reappearance? in NJ Vol. 20 No. 1 Sefton Green, J (2011) Theories and Histories: creative Learning and its contexts (p9-15) In: International Handbook of Creative Learning (electronic resource via Library) https://drive.google.com/file/d/0B2QKca0cYoFAWDRoV3YxWjhBUWs/view?usp=sharing Taylor, P. (2000) The Drama Classroom. London; Routledge. Wehlage, G (1996) Standards for authentic achievement and Pedagogy. In: Fred M. Winston, J (2005) ‘Drama and Spirituality: the Selfish Giant in Drama and English at the Heart of the Curriculum. https://drive.google.com/file/d/0B2QKca0cYoFASjIyaEpNcjMtT3c/view?usp=sharing Winston, J (2010) Beauty and Education - Chapter 3 Beauty as Educational Experience’ https://drive.google.com/file/d/0B2QKca0cYoFAS1JnMGpiSndsckk/view?usp=sharing Winston,J (2000) Year 5: The Sea Woman. In: Drama, literacy and moral education 5-11. 1st ed. London: David Fulton. Ch.1, pp.56-71. https://drive.google.com/file/d/0B2QKca0cYoFANWF0OHV5dXp0Qjg/view?usp=sharing Read More