A significant body of research supports the affective benefits of drama activities in foreign language (FL) learning, yet little is known about how to train teachers to implement such activities. In this study, we tested a professional development program (PDP) aimed at galvanizing FL teachers to integrate improvisational drama techniques (IDTs) into their repertoire. IDTs are defined here as activities which place pupils in a fictional situation and stimulate spoken interaction. Nineteen Dutch secondary school FL teachers participated in the PDP. The goal of this research was to discover the extent to which (1) teachers implement IDTs according to the study’s definition, (2) the techniques become integrated into the teacher’s repertoire, and (3) teachers develop the self-efficacy to execute IDTs. All three areas were met with positive results as evidenced through questionnaires, logbooks, observations and interviews. Teachers demonstrated that they could inspire the fictional artistry of drama while simultaneously stimulating FL speaking. Frequency of implementation also increased after the training. Self-efficacy furthermore improved widely, both in implementing IDTs and speaking activities in general.
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A significant body of research supports the affective benefits of drama activities in foreign language (FL) learning, yet little is known about how to train teachers to implement such activities. In this study, we tested a professional development program (PDP) aimed at galvanizing FL teachers to integrate improvisational drama techniques (IDTs) into their repertoire. IDTs are defined here as activities which place pupils in a fictional situation and stimulate spoken interaction. Nineteen Dutch secondary school FL teachers participated in the PDP. The goal of this research was to discover the extent to which (1) teachers implement IDTs according to the study’s definition, (2) the techniques become integrated into the teacher’s repertoire, and (3) teachers develop the self-efficacy to execute IDTs. All three areas were met with positive results as evidenced through questionnaires, logbooks, observations and interviews. Teachers demonstrated that they could inspire the fictional artistry of drama while simultaneously stimulating FL speaking. Frequency of implementation also increased after the training. Self-efficacy furthermore improved widely, both in implementing IDTs and speaking activities in general.
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During the Middle Ages and early modern period, a dramatic culture of astonishing vitality developed in the Low Countries. Owing to the activities of organisations known as rederijkerskamers, or "chambers of rhetoric", drama became a central aspect of public life in the cities of the Netherlands. The comedies produced by these groups are particularly interesting. Drawing their forms and narratives from folklore and popular ritual, and entertaining in their own right, they also bring together a range of important concerns; they respond directly to some of the key developments in the period, reflecting the political and religious turmoil of the Reformation and Dutch Revolt, the emergence of humanism, and the appearance of an early capitalist economy. This collection brings together the original Middle Dutch text of ten of these comic plays, with facing translation into modern English. The selection is divided evenly between formal stage-plays and monologues, and provides a representation of the full range of rederijker drama, from the sophisticated Farce of the Fisherman, with its sly undermining of audience expectation, to the hearty scatology of A Mock-Sermon on Saint Nobody, and the grim gallows humour of The Farce of the Beggar. An introduction and notes place the plays in their context and elucidate difficulties of interpretation.
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Both within the Netherlands and beyond, young people often start their formal foreign language (FL) education just as they reach adolescence. Speaking the FL in class can be intimidating, and this challenge is often exacerbated as teachers lack ready access to engaging speaking activities. In language classrooms around the world, improvisational drama techniques (IDTs) have been shown to engender positive affective reactions (e.g. enjoyment) and spoken interaction. Yet little research has been conducted on how to train FL teachers to implement IDTs. With this doctoral research project, the goal was to discover which characteristics of a professional development program (PDP) can foster integration of IDTs in the FL classroom and in turn stimulate affective factors related to willingness to communicate among secondary school pupils. The first three studies focused on developing design principles for the PDP and consequently a prototype for this training. The following two studies involved testing and refining this prototype by offering this training to FL teachers. Finally, the impact of the PDP was evaluated among trained teachers’ pupils. The collective findings revealed that the PDP design was viable in its relevance to teachers in galvanizing them to implement IDTs. Their pupils found drama activities to be engaging and fun, and they expressed greater willingness to communicate than during other types of speaking activities. This project was conducted through the Multilingualism and Education Research Group at the University of Applied Sciences Utrecht in conjunction with Utrecht University, Faculty of Humanities.
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Survivors of father–daughter incest often suffer from complex trauma and sensory insensitivity, making it difficult to decipher the sensations in the body and experience body ownership, self-location and agency. This case study illustrates how sensory focused, Trauma-Centred Developmental Transformations can help restore or develop a bodily self, desensitize fear-based schemas, revise deeply buried beliefs and extend repertoire.
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Dutch secondary school pupils seldom speak the foreign language in class, citing anxiety as a primary factor (Haijma, 2013). Implementing improvisational drama techniques (IDTs), however, could help ameliorate this situation by generating positive affective reactions, such as confidence and joy, and in turn stimulate pupils to speak. The concept IDT in this study contains two key elements. Firstly, participants take on roles in fictitious situations. Secondly, the activities must elicit spontaneous speech as to offer language learners opportunities to practice real-life communication, which is central to the goal of this research. The question driving this study was: What types of IDTs induce positive affective reactions among pupils and, as such, have the potential to stimulate spoken interaction in FL classrooms? The study yielded 77 IDTs associated with positive affective reactions through a literature review and an analysis of student teacher reflections on their IDT use in their English classrooms. This combined evidence lends credence to the conception that it could be the essence of improvisational drama that generates positive reactions, rather than the type of activity—the essence being an invitation to enter a fictional world, combined with the improvisational element that readies learners for spontaneous interactions.
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Empirical studies in the creative arts therapies (CATs; i.e., art therapy, dance/movement therapy, drama therapy, music therapy, psychodrama, and poetry/bibliotherapy) have grown rapidly in the last 10 years, documenting their positive impact on a wide range of psychological and physiological outcomes (e.g., stress, trauma, depression, anxiety, and pain). However, it remains unclear how and why the CATs have positive effects, and which therapeutic factors account for these changes. Research that specifically focuses on the therapeutic factors and/or mechanisms of change in CATs is only beginning to emerge. To gain more insight into how and why the CATs influence outcomes, we conducted a scoping review (Nstudies = 67) to pinpoint therapeutic factors specific to each CATs discipline, joint factors of CATs, and more generic common factors across all psychotherapy approaches. This review therefore provides an overview of empirical CATs studies dealing with therapeutic factors and/or mechanisms of change, and a detailed analysis of these therapeutic factors which are grouped into domains. A framework of 19 domains of CATs therapeutic factors is proposed, of which the three domains are composed solely of factors unique to the CATs: “embodiment,” “concretization,” and “symbolism and metaphors.” The terminology used in change process research is clarified, and the implications for future research, clinical practice, and CATs education are discussed.
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Expressive cultural activities, such as viewing visual art, drama, or dance, are perceived as beneficial to individuals and societies, justifying public funding. However, not everyone benefits and participates equally. We intentionally sampled infrequent and frequent attendees among young adults in the Netherlands. Results indicated that infrequent and frequent attendees differed in expressive cultural activity constraints and socialization, though not on demographic background. Their cultural, social, and emotional experience through self-report and physiological data revealed no significant differences between the groups’ experience of a dramatic performance. These outcomes suggest that, as an example of expressive cultural activity, a dramatic performance experience can be equally emotionally beneficial to frequent and infrequent attendees, an important prerequisite to broader appeal and intergroup contact. Implications of the use of physiological data in leisure experience research are discussed
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Extended research proposal for the purpose of PhD study route at Guildhall School of Music and Drama, London (part-‐time)
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This text is the beginning of the analysis of conflicts between children in after school daycare and the interventions of caretakers. I don’t know yet what aspect of the conversation I will focus on for an article. For the moment I think it is a very interesting conversation and it is very interesting how children build their activities in conversation, how they create social order and how the caretakerhandles the conflict.For now I focuses on the participation frameworks, but I’m not even sure if this is the right concept for it. After this I discuss how the drama is being build. In the end I will analyse the assessments and the ‘he’s’ from the caretaker.
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