Development of Knowledge and Skills through Drama - Essay Example

?Development of Knowledge and Skills through Drama The National Curriculum man s certain s to be included in the Key Stage 3. Incorporated in The Arts program is drama. This particular area can stimulate several skills and knowledge. Due to the elements of performances, pupils can express themselves in various avenues. The following discussions delve into the importance of drama in developing learners’ creating, performing, and evaluating processes. Normally, students in the key stage 3 are from 11 to 14 years of age. Different theorists have their respective explanations regarding this stage. Generally, these years encompass changes in physical, socio-emotional, and cognitive dimensions. This is an excellent time to hone and portray creativity since teenagers can be inspired by all the adjustments that they are going through. Moreover, drama encourages pupils to create stories as well as interpretations that may be based on fiction or actual familiarities. From the behaviorist perspective, Burrhus Frederick Skinner asserts that creativity is connected to the pleasant experience that results from the activity. He also asserts that it involves the person’s innate desires. For instance, a teenager who enjoys music can progress his creativity through drama especially in parts where music is concerned such as integrating songs in productions. This way, students will feel rewarded when they are able to create an output basing on their interests. Similarly, Lev Vygotsky is a strong supporter of creative subjects like writing, drawing, and drama. “Vygotsky’s interest in literature and drama established his reputation as a brilliant lecturer” (Connery, Steiner, & Shane, 2010, p.5). The arts had helped him engender interesting techniques in facilitating learning in his classrooms. In his perspective, drama is an excellent expression of thoughts. A pupil may create something valuable while exploring the aspects of language. Another theorist who has made significant contributions in education psychology is Jerome Bruner. He specified that the learning environment should emphasize what makes humans exceptional. In relation to creativity, one of the hallmarks of humanity is the ability to innovate. When a person seeks to come up with lines or dialogues in a stage show, he enhances his innovative side. From the same field, Jean Piaget’s cognitive theory states that in the middle school years, adolescents are in the formal operational stage. This implies that they are already capable of abstract thinking. Hence they have the necessary faculties in creating scripts, foreseeing endings, evoking emotions, and other requirements of drama. Particularly, Piaget wrote, “…to understand is to discover, or reconstruct by discovery, and such conditions must be complied with if in the future individuals are to be formed who are capable of production and creativity and not simply repetition” (1972, p.20). Indeed, students may uncover hidden facets of themselves and of the ones around them through drama. Also, Howard Gardner values the benefits of creativity. His assertion on multiple intelligences relates drama to a number of areas such as intrapersonal, interpersonal, verbal-linguistic, musical, logical, kinesthetic, and visual spatial. Since drama can come into contact with diverse facets of intelligences, it can likewise tap ingenuity in altered aptitudes. Drama techniques can liberate a person’s energy in different levels, thereby aiding him in generating worthwhile products. Performing concerning drama involves a wide array of activities such as theatrical exhibition, managing sound systems, conceptualizing moods, and creating props. With such opportunities, the students can perform diverse skills like communication, time management, cooperation, acting, initiative, and many more. In relation to Gardner’s intelligences, the students’ different expertise may be exhibited in the different areas of coming up with a show. As a result, they can have a higher level of self-confidence and self-esteem. Students need to enunciate and sound like the character that they are portraying during performances. There should be enough attention to correct grammar and suitable vocabulary. They also need to practice effective communication with others during preparations as well as in execution of their plans. Thus, drama can hone teens’ interaction skills. Moreover, the usually hectic schedules of rehearsing for drama shows require efficient time management. For instance, pupils will learn how to make use of their hours productively by making sure that all props, sequences, scripts, and other related matters are ready for the presentation. Undeniably, cooperation is refined by the factors of drama. The participants must depend on each other to come up with a cohesive production. Consequently, drama participants need to act successfully to communicate the essence of the story to the audience. This entails proper facial expressions, tone of voice, gestures, and posture. Since certain segues, impromptus, and improvements require initiative, pupils in drama classes can emulate this virtue. In relation to Piaget’s theory, teenagers can excellently process implications and incompatibilities. This makes them adept to sense situations when they need to take control and show their scheme. Finally, drama classes can sharpen pupils’ evaluating proficiencies. This is done by being adept in judging one’s skills as well as others. For example, a student will assess whether he did well in his performance. Bandura talked about self-efficacy. It is how an individual believes in his own capability to achieve things. If his theory would be applied to drama scenarios, a performer who evaluates himself as quite efficacious can indeed deliver admiringly. On the other hand, someone who would think of himself as incapable would eventually present a not so satisfactory output. A pupil would also assess others’ strengths and weaknesses that he may suggest some forms of improvement. He also has to reflect on how he can productively state his critique. In connection to Piaget, individuals in the formal operational stage are very much ready to make logical decisions based on their assessments. In addition, children and teens can evaluate the roles assigned to them and the best way that they can be interpreted. Drama classes can teach them how to assess feelings and the ways that these moods can be obtained. This is specifically associated to Gardner’s interpersonal intelligence. Actors should see events from various perspectives and other people are affected by these situations. With a strong interpersonal intelligence, effective understanding and relating with the other characters and audience may be achieved. Furthermore, the exercises can assist in pupils’ evaluation of their roles in connection to their own lives. According to Vygotsky, learning can be best achieved by experiences and the society’s influence. He emphasized the essence of past occurrences in understanding new and present information. Thus, pupils can better absorb knowledge and insights by incorporating the values in their role plays. Indeed, drama can be an incredibly useful tool in education. Pupils’ creativity, execution skills, and evaluation techniques play central roles in this kind of art. Several theorists’ concepts can be applied to the various aspects of theater or play. When students create, they can be reinforced by the sheer pleasure that they experience in the process. Originating also accentuates their being human. When it comes to performing, pupils can have prospects in articulating and displaying their personalities. In the progression, several skills are fostered. As for evaluating, performers can be more aware of what to improve as well as the nature of their portrayal. Overall, drama as an essential component of the curriculum can be potent enough to command learning in its deepest constructs. References Connery, M.C., Steiner, V.P., & Shane, A. (2010). Vygtosky and creativity. New York, NY: Peter Lang. Piaget, Jean. (1972). To understand is to invent. New York, NY: The Viking Press. Read More