Development through Process-centered Dramakangnamjoon.weebly.com/uploads/1/3/6/7/13673728/... · 2019-10-28 · Development through Process-centered Drama Dr. Vijay K. Sevak ... social

280

Development through Process-centered Drama

Dr. Vijay K. Sevak V. T. Choksi Sarvajanik College of Education

Lal Bungalow, Athwa Lines, Surat 395 007 (Gujarat- India)

Abstract

The Multi-disciplinary Experimental Study was carried out with a view to modulating and trying out a methodology to develop language improvement and personal as well as social habit formation take place among the participants through improvisational process-centered form of drama to foster personality growth and to facilitate learning rather than to train actors for the stage. The Single Group Pre & Post Test design was applied to the Purposive Sample of 55 students of Standard V. The methodology of the process-centered drama proved effective for the development of speaking and writing skills as well as personal and social habits of the participants.

Introduction

Drama is fun. Children enjoy when they are playing it. It is a make believe world and not only children but we all, too like to stroll around it. A small girl of three years plays the roles of her mother, father, relatives, friends and teachers in different situations in her imaginative world. Sometimes we also become a part of that play and enjoy the enactment. Sometimes in real life situations, too, we enact or have to enact differently. Actually, drama is a part of our life. It embraces man’s fantasy. It satisfies man’s need. This is the potential of the drama. But, applying drama as a tool for learning of the children or finding out its role in the personality development of the children or techniques

of applying drama creatively in education could be the areas of interest for any educationist.

Dewey (1902) said: “….. Moreover subject matter never can be got into a child from without. Learning is active. It involves reaching out of the mind. It involves assimilation from within…. . Learning begins from within. Active involvement and participation not external imposition… it is freeing the life process for its own adequate fulfillment.” Here lies the strength of drama. Drama is within us. Drama is active because the person who is involved in the drama activity has to pass through the linguistic and artistic processes

281

that develop his or her personality as a whole. Lowendes (1970) noted: “Through a process which involves looking, feeling, sensing, copying, expressing, experiencing and projecting, the children are building up a wider resource of expression, through which they can express their inner feeling, mood and ideas. They are undergoing experiences that are not only concerned with movement itself, but which are part of the integrated process that is total education.” Thus, Process Drama or Creative Drama is concerned with helping the children to gain mastery over their intellectual and linguistic powers. It enables them to develop the ability to use the words effectively and flexibly in ordinary conversation, simultaneously allowing them to express and affirm their perception of reality and the world around them. Keeping in mind the physical, mental, emotional and social potential of the art form of Process- centered Drama in Indian context particularly focusing the region of Gujarat the researcher has carried out a project to develop personality of the children through theatre techniques sponsored by West Zone Cultural Centre, Udaipur (WZCC) affiliated to Centre for Cultural Resources & Training (CCRT), New Delhi working under the Government of India’s Department of Culture and supported by the local authority- Surat Municipal Corporation (SMC), Surat. It was a multi-disciplinary experimental research project of 30 days aiming to develop some aspects of language learning and personality as a whole of the students of standard V who come from slum area as they don’t afford to get such experience besides the development of the

methodology for the process-centered drama as it has the potential mentioned by Davis and Behm (1978) to develop language and communication abilities, problem solving skills, and creativity; to promote a positive self concept, social awareness, empathy, a clarification of values and attitudes, and understanding of the art of theatre.

Definitions of the Terms

For the above mentioned experiment the definitions shown below were accepted:

Development: Development refers to the language improvement and personal and social habit formation takes place among the participants of the Process-centered Drama Workshop.

Process-centered Drama: Process-centered Drama refers to the improvisational process-centered form of drama in which participants are guided by a leader to imagine, enact, and reflect upon human experience. The process is dynamic. The leader guides the group to explore, express and communicate ideas, concepts and feelings through dramatic games, exercises and enactment. In process-centered Drama the group improvises action and dialogues appropriate to the content it is exploring, using elements of drama to give form and meaning to the experience. Following are the fundamental processes:

The primary purpose of Processcentered Drama is to foster personality growth and to facilitate learning rather than to train actors for the stage.

Objectives

1. To develop methodology for the Process-centered Drama.

2. To apply the methodology for the Process-centered Drama in a 30 day production oriented children theatre workshop.

3. To find out the effects of the methodology for the Processcentered Drama on the participants of the workshop i.e. students of Standard V ( Gujarati Medium).

4. To know the opinion of regarding the methodology for the Process-centered Drama.

5. To know the opinion of the participants regarding the methodology for the Processcentered Drama.

Hypotheses

Communicating

Evaluating

The primary purpose of Process-centered Drama is to foster personality growth and to facilitate learning rather than to train actors

To develop methodology for the centered Drama.

To apply the methodology for the centered Drama in a 30

day production oriented children

To find out the effects of the methodology for the Process-centered Drama on the participants of the workshop i.e. students of Standard V ( Gujarati Medium). To know the opinion of the experts regarding the methodology for the

centered Drama. To know the opinion of the participants regarding the methodology for the Process-

1. There will be no significant difference between the mean scores of the Language Writing Preand Post- test keeping in mind the following aspects:

• Form• Originality• Imagination• Creativity

2. There will be no significant difference between the mean scores of the Language Speaking Preand Post- test keeping in mind the following aspects:• Delivered Language : � Fluency, Speed,

Pronunciation, Intonation, Mood• Spoken Language : �

Speed, Pronunciation, Intonation, Mood

3. There will be no significant difference between the mean scores of the Personal and Social HabitPre-observation sheet and Postobservation sheet keeping in mind the following aspects:

• Cleanliness• Speaking softly• Following Rules • Cooperation

perceiving

Responding

Imagining

Creating

Communicating

Evaluating

282

There will be no significant difference between the mean scores

age Writing Pre-test test keeping in mind the

following aspects: Form Originality Imagination Creativity

There will be no significant difference between the mean scores of the Language Speaking Pre-test

test keeping in mind the following aspects: Delivered Language :

Fluency, Speed, Pronunciation, Intonation, Mood Spoken Language :

Fluency, Speed, Pronunciation, Intonation,

There will be no significant difference between the mean scores of the Personal and Social Habits

observation sheet and Post- observation sheet keeping in mind the following aspects:

Cleanliness Speaking softly Following Rules Cooperation

283

Methodology

1. Development of the Writing Methodology for the Process-centered Drama As it was a Process-centered Drama, there wasn’t any readymade play to rehearse and perform. Instead the participants were engaged in the process of improvising, writing and preparing a play. The play should emerge from the experiences of the participants besides their imagination, fancy, thinking, and creativity. So, selves of the participants, their identification and their expression should be given prime importance. So, after having practice of writing tasks developed by Sevak (2008) the participants should take part in the writing of ‘their’ original play. Keeping in mind all these things besides Valker Ludwig’s GRIPS method described by Paranjape (1994) and Sikes (1983) Drama Processes the researcher developed a strategy for writing a play which was approved by the eminent theatre and education experts after due discussions. Following are the stages to engage the participants in writing a play:

Stage 1: Creative Exploration Exercises and Games

This stage helps the participants to make them aware of themselves and helps them to identify their selves gradually.

Stage 2: Expression through Different Media

This stage helps the participants to express their experiences and imagination, thinking, fancy and creativity through different media.

Stage 3: Conversation & Informal Interview

This stage helps the participants to think and speak more about themselves. This way they are canalized to identify themselves by the director/s of the play. This stage helps the director/s of the play to identify the participants and to recognize their problems. It helps the director/s to decide the storyline and to develop group tasks accordingly, too.

Stage 4: Group Tasks for Writing & Developing Scenes i.e. Improvizations

This stage helps the participants to work in groups sharing their ideas, thinking, imagination, fancy and creativity to develop writing in different forms like narrative, story, dialogues etc. and then to perform whatever they have written. This stage helps the director/s to watch the potential of the participants and to make suggestions afterwards.

Stage 5: Group Tasks for Writing Scenes i.e. Improvizations

284

This stage helps the participants to use the words in proper contexts, frame sentences and write dialogues. This stage helps the director/s to watch the participants’ potential of writing, discussing the writing and to make suggestions afterwards.

Stage 6: Preparing Rough Draft

This stage helps the director/s to prepare the rough draft for the play.

Stage 7: Rehearsing the Scenes one by one

This stage helps the director/s to try out the rough draft with the participants assigning them different characters of the play.

Stage 8: Making Changes where and when necessary

This stage helps the director/s and the participants both to make some changes in the draft if required after sufficient discussion.

Stage 9: Preparing the Final Draft

This stage helps the director/s to prepare the final draft of the play for the performance.

2. Development of the Production Methodology for the Process-centered Drama

Generally Production covers the total theatre entities. So, it covers set designing, acting, costume designing, sound designing, light designing, direction, publicity and show arrangement etc. But, for this research project only acting and costume designing were taken care of for the participants. The other components were attended by the director/s. Following are the aspects developed for the participants:

Set Designing:

Making sketches of the Places included in the play

Discussion

Finalizing the locals

Drawing the sketches of the stage

Acting:

Speech Training through tongue-twisters, rhymes, jokes, and stories

Pronunciation charts

Body Training through exercises and movements

Expression Training through exercises

Costume Designing:

285

Drawing of the costumes of the characters

Discussion

Finalizing the costumes

Making the match stick drawings of the characters wearing costumes

3. Development of the Performance Methodology for the Process-centered Drama

Keeping in mind the stage performance the participants should be prepared for the final show. Following are the stages for preparing the participants:

• Understanding of the stage and set design

• Visiting the stage where the performance is planned

• Discussion • Rehearsals for Entry & Exits • Complete Rehearsal/s

4. Development of the Criterion Test • Criterion Test for Writing:

Pre Test & Post Test Writing includes narration, story, and dialogue writing during the Exploration Exercises sessions. The group wise writing of the participants were assessed and recorded in the evaluation sheet prepared by the researcher and compared with the Writing of the Rough Drafts of the play written by them.

• Criterion Tests for Speaking:

►Delivering Dialogues (Observation Sheet): The Observation Sheet includes the evaluation of the components of Speech skill like Pronunciation, Intonation, Rhythm, Mood, Volume, Intensity etc. The performance of the participants were recorded in marks with descriptive notes.

►Conversational Speaking (Observation Sheet): Speaking in day today conversation was also evaluated keeping in mind the same components of Speech skill. The experts had to give marks and write the descriptive comments in the observation sheet where required.

5. Development of the Observation Sheet for Personal & Social Habits

Some personal and social habits like cleanliness, speaking softly, following rules, and cooperation were included in the observation sheet. The experts had to give marks and write the descriptive comments in the observation sheet where required.

6. Development of the Opinionaire (For the experts)

It was a kind of evaluation of the complete programme. The experts had to give opinion regarding different sessions of the workshop.

286

7. Development of the Interview Sheet (For the participants)

To know the opinion of the participants regarding the training programme the questions about the liking and disliking activities along with reasons were asked during the discussion sessions or after the sessions during informal conversations.

Sample

As the research work was of experimental nature developing the process-centered Drama methodology and its trying out, the duration of the experiment is of 30 days excluding the final performance. So, according to Purposive Sample 55 students of Standard V of Nagar Shikshan Prathamik Samiti School No. 152/88 (Adajan-Surat) run by Surat Municipal Corporation who wanted to take part in the project were selected. They were of 10-12 years coming from the economically as well as socially backward strata of society i.e. slum area. One student could not participate in the programme as he fell ill after two days. So, in all there were 54 participants.

8. Procedure Before starting the workshop the Principal of the school was contacted to interact on the objectives of the project, but she was apprehensive of the examination results of the students as they had to spare time during the school hours, so proper message was not transmitted to the students . They were not encouraged to take part in the Children Theatre Workshop. So, only 12 students enrolled their names initially. But, watching the

activities of the first day and listening to the participants about the activities of the workshop, the next day the workshop was overcrowded with about 70 students from whom 55 were selected.

The details of the time allotted for each activity is given herewith:

287

Table:1

Alloted Time for the Experiment

Day Activity Time Total Time 1 Breathing Exercises 10 Mnt Body Training 30 Mnt Speech Exercises 15 Mnt Expression Exercises 05 Mnt Exploration Exercises 35 Mnt Informal Conversation 25 Mnt 2 Hr 2 Creative Introduction 20 Mnt Speech Exercises 10 Mnt Body Training 15 Mnt Expression Exercises 05 Mnt Expression through Different Media 45 Mnt Informal Conversation 25 Mnt 2 Hr 3-4 Speech Exercises 10 Mnt Body Training 15 Mnt Expression Exercises 15 Mnt Exploration Exercises for Writing 30 Mnt Presentation of the Scenes & Discussion 45 Mnt 2 Hr 5-6 Speech Exercises 10 Mnt Body Training 15 Mnt Expression Exercises 15 Mnt Reading & discussion of the Rough Draft 35 Mnt Selection of the Participants for the

Characters 45 Mnt 2 Hr

7 Speech Exercises 15 Mnt Body Training 15 Mnt Movement Exercises 15 Mnt Expression Exercises 15 Mnt Scene wise Rehearsals & Discussion 60 Mnt 2 Hr 8-9 Speech Exercises 15 Mnt Body Training 15 Mnt Movement Exercises 15 Mnt Expression Exercises 15 Mnt Stage Awareness Discussion & Exercises 20 Mnt Scene wise Rehearsals & Discussion 40 Mnt 2 Hr 10-11 Speech Exercises 15 Mnt Body Training 15 Mnt Movement Exercises 15 Mnt Expression Exercises 15 Mnt Costume Designing Discussion & Exercises 30 Mnt Scene wise Rehearsals & Discussion 30 Mnt 2 Hr

288

12-22 Speech Exercises 10 Mnt Body Training 10 Mnt Movement Exercises 10 Mnt Expression Exercises 10 Mnt Rehearsals with Discussion 80 Mnt 2 Hr 23 Visiting a Theatre & Practising Entry-Exits 120 Mnt 2 Hr 24-25 Recording 120 Mnt 2 Hr 26-28 Rehearsals with Music & Songs 120 Mnt 2 Hr 29-30 Rehearsals with Costumes 120 Mnt 2 Hr 31 Practising Entry-Exits with Music (If Any) & 30 Mnt Final Performance 120 Mnt 2 Hr

9. Research Design and Analysis of the Data

As it was an experimental research developing Methodology for Writing, Producing and Performing Process centered Drama and measuring their effectiveness, the Single Group – Pre and Post Test Design was adopted by the researcher. The criterion tests were developed and the marks obtained by the participants (Group wise) on the Pre and Post Tests were analyzed statistically using t test. Moreover, the development in the components of the Speech skill during delivering the dialogues and at the time of day today conversation of the participants individually was also measured in the

marks besides descriptive notes where required on the Observation sheets by the experts. Development in the Personal and Social Habits were also recorded on the Observation Sheet specially developed for the purpose.

The experts’ and the participants’ opinions regarding the Methodology for Writing, Producing and Performing Process centered Play were also analyzed.

The following results were found out:

289

Table: 2

The t value found on the Criterion Test for Writing Narration(Group wise)

Group Form Originality Imagination Creativity Comprehensive 1 3.31 2.37 3.33 2.20 2.80 2 2.22 2.34 2.27 2.13 2.24 3 2.16 2.15 2.33 2.14 2.19 4 2.76 2.64 2.16 2.24 2.45 5 2.15 2.34 2.22 2.54 2.31 6 2.15 2.23 2.43 2.23 2.26

Average 2.45 2.34 2.45 2.24 2.37 Significant at 0.01 level

Table: 3

The t value found on the Criterion Test for Writing Story(Group wise)



Table: 4

The t value found on the Criterion Test for Writing Dialogue(Group wise)



290

Table: 5

The t value found on the Criterion Test for Delivering Dialogues

No. Fluency Speed Pronunciation Intonation Mood Average 1-54 4.05 5.85 4.34 4.37 3.34 4.39

Significant at 0.01 level

Table: 6

The t value found on the Criterion Test for Day today Speaking

No. Fluency Speed Pronunciation Intonation Mood Average 1 2.88 4.58 3.34 2.98 2.33 3.22

Significant at 0.01 level

Table: 7

The t value found on the Criterion Test for Personal & Social Habits

Group Cleanliness Following Rules

Speaking Softly

Cooperation Average

1 3.65 3.45 3.32 3.58 3.50 2 3.78 3.43 3.04 3.34 3.39 3 3.23 3.34 3.34 3.45 3.34 4 3.76 3.56 3.67 3.65 3.66 5 3.44 3.34 3.16 3.60 3.38 6 3.19 3.23 3.30 3.37 3.27


As Table: 2 to 7 indicate the computed t values were significant at 0.01 level, it can be concluded that the mean post test scores were greater than the mean pre test scores. Hence the null hypothesis could not be accepted.

The results show that the methodology developed by the researcher for the Process centered Drama proved effective on language development as well as personal and social habits development of the participants.

291

10. Major Findings of the Study 1. The methodology for the Process-

centered Drama was found effective for the participants of the workshop.

2. The methodology for the Process-centered Drama was found effective for the language writing development of the participants of the workshop regarding the following aspects:

• Form • Originality • Imagination • Creativity

3. The methodology for the Process-centered Drama was found effective for the language speaking development of the participants of the workshop regarding the following aspects: • Delivered Language : � Fluency, Speed, Pronunciation,

Intonation, Mood • Spoken Language : � Fluency, Speed, Pronunciation,

Intonation, Mood 4. The methodology for the Process-

centered Drama was found effective for the personal and social habits development of the participants of the workshop regarding the following aspects:

• Cleanliness • Following Rules • Speaking Softly • Cooperation

5. Form wise clarity was more seen in story and narration than dialogue writing. Participants were found better in writing story than in writing dialogues and narration. The participants in Group:1 and 4 were found better in writing. Their imagination and creativity were seen in developing and writing scenes. On the whole the participants could prepare the

rough draft for the play which was created from their own experiences and in which their own hopes, dreams, imagination and creativity were integrated. The play was titled ‘Surajdadana Shaherman’ (In the City of Grand Pa –The Sun) and all the 54 participants performed in it playing different roles.

6. The methodology for the Process-centered Drama was found effective for the development of the speech skill of the participants. Notable change was found in the speed of the delivering the dialogues. The participants started delivering the dialogues with proper pronunciation and intonation with the required mood of the scenes. Before taking part in the workshop the participants were speaking the language having regional effect making some grammatical and phonetic mistakes. These mistakes gradually minimized and the participants started speaking better Gujarati language with the help of theatre techniques.

7. The methodology for the Process-centered Drama was found effective for the development of the speech skill in day today life. Notable change was found in the speaking speed and pronunciation. Fluency, intonation, and mood were also developed. One striking example noted by the experts and the press reporters was of one of the main characters played by the boy who was bit stuttering and having low confidence due to personal problems at home started speaking without jerks and with moderate audible volume. It was a therapeutic effect of Drama.

8. The methodology for Process-centered Drama was found

292

effective for the development of the personal and social habits like cleanliness, following rules, speaking softly, and cooperation. Notable change was found in cleanliness and cooperation. It was found that two participants used to chew tobacco and one to smoke bidies (cigarettes), but during passing through the process of developing and rehearsing the play they gave up their bad habits understanding the message of the play i.e. in any awkward situation we have to grow or we have to develop ourselves not giving up hopes and efforts. It was also therapeutic effect of Drama.

9. The methodology for Process-centered Drama was qualitatively evaluated by the eminent theatre and education experts with the help of free opinionnaire. They found the methodology very systematic and innovative having ample original and creative input. They unanimously appreciated the writing play sessions very innovative and interesting having academic potential and speech training sessions interesting and joyful. They appreciated the concept of Total Theatre included in the design of the training methodology for the Process-centered Drama.

10. The methodology for Process-centered Drama was qualitatively evaluated informally through routine conversation/ discussion sessions and the likes and dislikes were sought from the participants by the director and his assistants throughout the project. They found the methodology systematic. They unanimously liked speech exercises and training sessions very joyful and interesting. They liked

movement training sessions most as they got more space to act and they had to imitate others. They enjoyed most the dance and music sessions also as they had to dance freely on the tunes as actors do. Body training was somewhat tiresome in the second week for some of the participants as it is a set of exercises. Visiting a studio and a full-flagged theatre was curiosity for them. Recording in a studio and rehearsing on the stage was somewhat nervousness initially. But performing a play finally was excitement and a joyful experience that gave them a sense of satisfaction. The participants demanded more and more such experiences on regular base.

Educational Implications of the Study

As seen from the analysis of the data and findings it can be concluded that process-centered drama has great potential for the development of the academic skills as well as personal and social habits of the participants. If the participants are engaged in playful and joyful activity purposefully, the development not only in their speaking but in writing also will be felt. This development will affect their daily life too because transfer of training will take place as it was found in the results of participants’ speech skills. The improvement in pronunciation and intonation is noteworthy as most of the students generally speak the language having the regional effect. This improvement will transfer in day today speaking and in writing also.

293

As noted by the experts the participants used to wear somewhat not so clean clothes as they were coming from downtrodden strata of the society and slum area. But within a week they started wearing properly washed clothes. Notable change was found in their language also. They started speaking somewhat soft in place of rough language. Actually, the discussion i.e. interactive sessions included in the methodology for the process-centered Drama played an effective role in the development of the behaviour of the participants. They started co-operating one another in the activities carried out during the workshop in place of teasing others using rubbish words and techniques. Their regularity in the school was also increased. They started following rules of keeping off their shoes in a row systematically and not making noise during rehearsals. Thus, they became well behaved and well mannered students. That was the achievement of the project interwoven with the storyline of the play prepared and performed by the participants and guided by the director of the play. Actually, the researcher wants to underline the therapeutic use of drama with which not only mental and emotional but social problems of the students can be solved by making them involved in creative and productive activity instead of making them listened to heavy doses of didactic words.

With this experience the researcher emphasizes to make a suggestion to include Process-centered Drama methodology in the school subject as part of the syllabus. It has great potential to draw out the selves of the students and positive effectiveness on the total development of them as there isn’t

much difference in the process of preparing and performing plays if applied carefully without glamorized it and the process of learning. The Process-centered Drama methodology can be proved joyful and educative leading to self-identification, self-expression and self-learning. Therefore some more efforts should be made to make available the experts of the Children Theatre to the schools and colleges of education to start the Theatre in Education Department on regular base. Such methodology can be proved a guideline as the stepping stone for the real, joyful, creative, and productive activity oriented learning.

Conclusion

The findings of the study matches with the findings of the Stern’s (1980) study of ESL group that drama encourages the operation of certain psychological factors in the participant which improve communication: heightened self-esteem, motivation, and spontaneity, increased capacity for empathy, and lowered sensitivity to rejection. It seems to the investigator that the Process-centered Drama can have great positive impact in the field of education. With all its limitations, the investigator hopes that the present study would be a humble addition to the knowledge in the field of developing methodology in education as well as dramatics and that it would be proved inspirational to the researchers who wish to join this stream.

References

294

Davis, J. H. & Behm, Tom, 1978. Terminology of Drama/Theatre with and for Children: A Redefination. Children’s Theatre Review, Vol. 27, No. 1. p.10-11.

Dewey, John, 1902. The Child and the Curriculum. Chicago: University of Chicago Press, Reprinted in Dworkin, Martin S., ed. Dewey on Education.

Lowndes, Betty, 1970. Movement & Drama in the Primary School. London: B.T. Batsford Ltd.

Paranjape, M., 1994. A ‘Grip’ping Experience. Calcutta: Seagull

Theatre Quartely. Issue 3, October 1994. p. 7-11.

Sevak, V. K., 2008. Development & Tryout of an Aptitude Test in Writing (Gujarati), Gandhinagar: Gujarat Council of Educational Research & Training.

Sikes, G. B., 1983. Drama with Children. New York: Harper & Row.

Stern, Susan, 1980. Drama in Second Language Learning from a Psycholinguistic Perspective. Los Angeles: Language Learning 30/1.

Way, Brian, 1967. Development through Drama. London: Longman & Atlantic Highlands.

Paper received: July 26th, 2012 Revision received: September 17th, 2012 Paper accepted: October 26th , 2012

Documents

Development through Process-centered Dramakangnamjoon.weebly.com/uploads/1/3/6/7/13673728/... · 2019-10-28 · Development through Process-centered Drama Dr. Vijay K. Sevak ... social