29. Research on Arts Education
Paper
When Digital Stuff Plays a Role: A Sociomaterial Performance Analysis of Postdigital Theatre in Education
Felix Büchner1, Sören Traulsen2
1University of Oldenburg, Germany; 2Leibniz University Hannover, Germany
Presenting Author: Büchner, Felix;
Traulsen, Sören
In April 2023, a new edition of the prestigious theatre festival Theatertreffen der Jugend opened in Berlin. Seven youth theatre productions invited from various regions of Germany were presented to an international audience of theatre practitioners and experts – the topics ranged from feminism and far-right populism to sustainability (Berliner Festspiele, 2023). Within this, almost every theatre production dealt in some way with social transformation processes through and with digital media technologies. Thus, a trend became apparent that can currently be observed throughout the entire European theatre landscape: 'The digital' is finding its way into theatre (Leeker et al., 2017).
However, it is not self-evident what is understood as 'the digital' in theatre. While some discourse positions understand 'the digital' as playing with technologies on stage, others locate it, for example, in a certain aesthetic or in the lifeworld of the performers (Traulsen and Büchner, 2022). One reason for this diversity of interpretations is our social condition, which can be understood as postdigital. In this postdigital condition (Jandrić et al., 2023; Macgilchrist, 2021), digital technologies have become an integral part of our everyday lives that an ontological distinction between digital/analogue or online/offline no longer seems meaningful (Ralston, 2023). The growing field of postdigital studies aims to analyse these complex entanglements to understand "human relationships to technologies that we experience, individually and collectively" (Jandrić et al., 2018: 896). Following this, a close look at educational contexts has been initiated recently (Fawns, 2019; Jopling, 2023) which also affected arts education research by asking how digital technologies affect contemporary arts as well as students’ lives and learning (Jörissen, 2020).
Within this discourse, theatre in education seems to be a prolific object of analysis, as it bears "the potential to experience and understand digitalization more comprehensively in the context of aesthetic processes and performances than would be possible with purely cognitive means" (Jörissen and Unterberg, 2019: 8, transl.). Thereby, German school theatre plays a unique role in the European arts education, as it is institutionally established as an almost nationwide school subject with a high degree of student participation regarding creative and thematic codetermination in the production of scenes and performative practices (Kup, 2019).
An analysis of school theatre productions can – according to the basic premise of this paper – reconstruct the meaning-making and self-positioning practices of their young performers concerning the topic of the performance as well as their attitudes and affects towards 'the digital' itself. For this analysis, adopting a sociomaterial perspective appears particularly fruitful, as it, like postdigital theory, posits a fundamental interweaving of digital and non-digital phenomena (Selwyn, 2023). In this way, the perspective decentralises human agency and understands social and technological actions as co-constitutive (Gourlay, 2021).
Accordingly, our paper asks, firstly, how 'the digital' is produced performatively and aesthetically in German school theatre productions at the Theatertreffen der Jugend?; and secondly, which of the performers evaluations and positionings towards the postdigital condition can be reconstructed? In this way, we aim to precisely describe postdigital performance strategies in contemporary youth theatre, to improve the conceptualization of postdigital theatre in education (Büchner and Traulsen, 2021). Furthermore, our paper aims to ascertain knowledge about how young participants in arts education take a stance towards the postdigital condition. Although the empirical investigation of this paper is situated in Germany, the research object and its analysis extend beyond this scope and hold significance for the broader European arts education discussion, as the lived experiences of adolescents and postdigital trends like social media or the datafication of daily life transcend regional and national boundaries.
Methodology, Methods, Research Instruments or Sources UsedIn order to investigate our research questions, two performances of German school theatre were analysed. Both performances took place at the Theatertreffen der Jugend 2023 – a national youth theatre festival funded by the German Federal Ministry of Education and Research. With its focus on being "a place of learning where young theatre makers can negotiate their working methods and […] are encouraged in their individual, artistic forms of expression" (Berliner Festspiele, 2023), rich insights into current trends of the European youth theatre scene can be gained. As the festival can be defined as a place where current discourses on youth theatre and theatre in education condense, it points beyond its local situatedness and towards the general European arts education landscape.
In the performance ERWIN OLAF RE:WORKS 21 students interpret pieces of the digital artwork of Dutch photographer Erwin Olaf and perform them in various scenes. This production is characterized by digital projections of these pieces, which are playfully altered by digital editing, morphing, and glitching as well as by a live DJ who controls sounds directly on stage. In the biographical performance UnGeformt seven students negotiate conflicts between them growing up and societal expectations. Determining for this play are powerful group scenes with all adolescents performing together in form of choral speaking, dancing and (inter-)acting with minimalistic requisites on stage. Video recordings of both performances were used for the analysis.
For the analytical procedure, a phenomenologically oriented performance analysis was used, which allows the examination of performances in the entirety of their characteristics (Roselt, 2019). The performance analysis was expanded to include an explicitly sociomaterial perspective in order to capture the complex interplay of human and non-human actors on and off stage. Through this sociomaterial lens, theatrical effect is produced by the circulating agency of various entities that are social, technical or material in nature (Ernst, 2019).
The first step of the analysis was the identification and documentation of moments in which 'the digital' was performatively or aesthetically present in the respective productions. Secondly, these moments were categorised and generalised into three different dimensions of how 'the digital' is produced. Thirdly, performative strategies were derived to substantiate the three dimensions and to capture performative characteristics of contemporary youth theatre. Lastly, hypotheses on how these strategies relate to their young performers' meaning-making and evaluation processes were generated.
Conclusions, Expected Outcomes or FindingsThe (preliminary) sociomaterial performance analysis shows that 'the digital' is produced in both productions on three different dimensions: (1) the fundamental localisation of 'the digital', (2) the performed mediality and (3) the performance infrastructure. On each of these dimensions, different performative strategies were identified. These are understood as differently located practices on three spectrums of performative practices:
1. Localisation: exhibit <-> report
'The digital' is either exhibited on stage in the form of digital artefacts (digitally produced music, digital photo and video editing) or it is reported on from off stage experiences (personal experiences of performers in dealing with the postdigital condition).
2. Mediality: overwrite <-> reenact
'The digital' is either overwritten in its mediality on stage (performers inscribe themselves with their bodies and actions in photos and videos projected onto the stage and thus overwrite their mediality) or its mediality is reenacted on stage (performers simulate media formats such as advertising films).
3. Infrastructure: being guided <-> being accentuated
'The digital' guides the performance either very actively and governs the performance sequences (personified by the DJ and through conspicuously setting music or lighting cues) or accentuated the action sequences (through subtly setting music or lighting cues).
With regard to the positioning practices of the performers in relation to the postdigital condition, a (preliminary) hypothesis can be stated: the performance strategies on the left-hand side of the three spectrums suggest a rather positivistic-affirmative attitude towards 'the digital', while the strategies on the right-hand side point to critical-reflexive perspectives. This would allow conclusions to be drawn as to how theatre in education can be considered together with knowledge practices and stance formation of its young participants. In this sense, developing and applying performative strategies is closely linked to reflecting on and forming attitudes towards the postdigital condition.
ReferencesBerliner Festspiele (2023) Theatertreffen der Jugend. Available at: https://www.berlinerfestspiele.de/treffen-junge-szene/theatertreffen-der-jugend (accessed 2 December 2023).
Büchner F and Traulsen SJ (2021) ,Postdigitales Schultheater’. Einladung zur Gegenstandserkundung. Zeitschrift für Theaterpädagogik (78): 13–15.
Ernst W-D (2019) Scenography and Actor-Network Theory : Analytical Approaches. London: Methuen Drama, pp. 183–197.
Fawns T (2019) Postdigital Education in Design and Practice. Postdigital Science and Education 1(1): 132–145.
Gourlay L (2021) There Is No ‘Virtual Learning’: The Materiality of Digital Education. Journal of New Approaches in Educational Research 10(1): 57.
Jandrić P, Knox J, Besley T, et al. (2018) Postdigital science and education. Educational Philosophy and Theory 50(10): 893–899.
Jandrić P, MacKenzie A and Knox J (2023) Postdigital Research: Genealogies, Challenges, and Future Perspectives. In: Jandrić P, MacKenzie A, and Knox J (eds) Postdigital Research: Genealogies, Challenges, and Future Perspectives. Postdigital Science and Education. Cham: Springer Nature Switzerland, pp. 3–9.
Jopling M (2023) The Postdigital School. In: Jandrić P (ed.) Encyclopedia of Postdigital Science and Education. Cham: Springer Nature Switzerland, pp. 1–6.
Jörissen B (2020) Digital Nature - Wie Digitalisierung all unsere Lebensbereiche verändert. Schultheater theater:digital: 5.
Jörissen B and Unterberg L (2019) Digitale Kulturelle Bildung. Bildungstheoretische Gedanken zum Potenzial Kultureller Bildung in Zeiten der Digitalisierung. KUBI Online. Epub ahead of print 2019.
Kup J (2019) Das Theater der Teilhabe: Zum Diskurs um Partizipation in der zeitgenössischen Theaterpädagogik. Berlin Milow Strasburg: Schibri-Vlg.
Leeker M, Schipper I and Beyes T (eds) (2017) Performing the Digital: Performativity and Performance Studies in Digital Cultures. Digital Society. Bielefeld: transcript.
Macgilchrist F (2021) Theories of Postdigital Heterogeneity: Implications for Research on Education and Datafication. Postdigital Science and Education. Epub ahead of print 15 May 2021.
Ralston SJ (2023) Towards a Theory of Postdigital Parity. In: Jandrić P, MacKenzie A, and Knox J (eds) Postdigital Research: Genealogies, Challenges, and Future Perspectives. Postdigital Science and Education. Cham: Springer Nature Switzerland, pp. 33–49.
Roselt J (2019) Phänomenologie des Theaters. In: Phänomenologie des Theaters. Brill Fink.
Selwyn N (2023) Afterword: So, What *Is* Postdigital Research? In: Jandrić P, MacKenzie A, and Knox J (eds) Postdigital Research: Genealogies, Challenges, and Future Perspectives. Postdigital Science and Education. Cham: Springer Nature Switzerland, pp. 295–298.
Traulsen SJ and Büchner F (2022) ‹Postdigitales Schultheater›: Eine Kartografie zentraler Akteurinnen des Diskurses ‹Theater und Digitalität›. MedienPädagogik: Zeitschrift für Theorie und Praxis der Medienbildung: 331–362.
29. Research on Arts Education
Paper
Theater as an Immersive Space for Learning Science: Lessons from Sciencetheater
Jelena Joksimovic1, Natalija Drakulovic2
1Faculty of education Jagodina, Serbia; 2Škograd (Schoolcity), Serbia
Presenting Author: Joksimovic, Jelena
And, with, through, alongside… In scientific literature, all of these words are used to couple drama and learning science. Moreover, phrases such as “using drama in learning science” are equally represented. In this paper, we argue that the marriage between drama and science learning is most fruitful when both are considered equally important for the process of learning, and neither is utilized to enhance the other but the merging, or meeting point, is a qualitatively new ground. On this ground, we created a term "sciencetheater" (Serbian "naukoteatar") as a theater play/workshop integrating topics from science and art in an immersive space. This paper is therefore an evaluative study in which our main research question is how sciencetheater, as a form, contributes to learning engagement. The play we analyze is titled “Story about the Metamorphosis”1 about the naturalist Maria Sibilla Merian, and it was performed 18 times with 450 children aged from 4-10 years.
From the content analysis of children's statements, interviews with teachers, and interviews with the authorial team, we draw lessons about the importance of embodied, immersive, and dramatic ways of learning science.
Modes of learning science through drama can take different levels and forms of participation, with the most commonly mentioned being:
- Appreciating drama
- Performing drama
- Making drama (Baskerville et al., 2023).
Sciencetheater is closest to what is here called performing drama but can also be considered as process drama where the learning experience is in focus, and participating in the plot is more important than displaying it (O’Neill, 1995). In this way, children become "spect-actors," engaged creators of the performance that changes their experience and forms their learning and transformation (Boal, 1995). We map the theoretical background of this study in socio-constructivist theory, rooted in Piagetian and Vygotskian traditions. We aim to move towards ‘discourse communities’ that take space for negotiating and sharing meanings (Driver et al., 1994; Dorion, 2009) by being engaged in dialogues with each other, with actors, with space, and scenography.
Moreover ‘embodied cognition theory’ proposes that cognition is “grounded in the body through sensory-motor processes and interactions with the environment as well as the brain” (Stagg, 2020, p. 255). The immersive environment opens up the possibility for children to undertake responsible tasks and share them with experts, shown to increase their engagement and confidence (Bolton, 1995).
The primary objective of the play/workshop was to raise awareness about the contributions of women to science and the challenges they faced throughout history. To make the scientists come alive, students personally “met them” through acting. It was important that the students were transported to the time the performance takes place in order to understand the difference between the scientific methods of then and now. Costumes, video projection, sound, and the rest of the set design aimed to help children immerse themselves in voyaging through the rainforest. The key scientific concept we focused on was the metamorphosis of the caterpillar and its stages. The last part of the performance, embodying Maria Sibylla Merian, aimed to challenge students’ scientific identity. Although some boys felt uncomfortable taking on the role of a woman, most of them surprisingly responded well to this task. With all this, we recognize that sciencetheater supports the dynamic developmental system of a child by nurturing collaborative learning, a sense of community and motivation and competence (Darling-Hammond et al., 2020).
1The play was created and performed by Jelena Joksimović, Natalija Drakulović, Aleksandra Kojčinović, and Jana Samardžić, with art direction by Sanja Crnjanski, as part of the program at the Center for the Promotion of Science in Belgrade, Serbia.
Methodology, Methods, Research Instruments or Sources UsedOur main research method is content analysis, based on a sample of:
- 98 statements made by children during the performances,
- 2 interviews with teachers,
- 3 interviews with authors.
Key thematic categories include science learning, embodiment, immersiveness, engagement, and gender.
The Context
The context for the sciencetheater play/workshops was the International Day of Women in Science, celebrated on the 11th of February. Learning about metamorphosis is an unavoidable part of the curriculum in Serbia, but the significant contribution of Maria Sibylla Merian to this discovery is never mentioned.
The Plot
Act One: Students are invited to board a ship by the captain. They sit on the floor facing a canvas with a video projection of the ocean. Large nylon on the floor emits blue light, simulating waves. The sounds of the waves and seagulls fill the space. The captain invites Maria and her daughters Dorothea and Johanna to board the ship for Suriname. The voyage begins as the daughters take the nylon and wave. During the journey, Maria shares her work, interest in science, and the challenges she faces as a woman. She displays her paintings of butterflies and caterpillars, but in their excitement, the daughters accidentally drop them into the water. Everyone helps retrieve the drawings.
Act Two: The scene shifts to the Surinamese rainforest. Everyone searches the jungle for a caterpillar to explore metamorphosis and restore the damaged illustrations. When an image appears in scenography (a complex illustration recreated from Maria's original works), students begin helping repair the damage by drawing the missing parts they find in nature. The scene ends with the onset of a storm where actual water drops fall from the sky, causing panic and everyone to board.
Act Three: Present day. Museum. An exhibition about Maria is being opened. The guest, her descendant, a fictional character inserted to discuss the significance of women in science throughout history, gives a speech at the opening and then guides the students through the exhibition. Actresses then bring out a cardboard cutout in the shape of Maria Sibila Merian's body with an empty space instead of her face. Each student has the opportunity to embody Maria by positioning their head through a hole in the cutout and convey a message to the world inspired by the journey they've participated in.
Conclusions, Expected Outcomes or FindingsOur findings suggest that sciencetheater:
- Comprises the potential for holistic development, as reported by teachers.
Teacher A stated, “I remember the reaction of two girls who were interested in science and nature. Both girls are also involved in painting, so the combination of science and art of Maria S. was a real revelation to them.”
- Strongly engages children in embodied learning, as reported by teachers and the authorial team.
Teacher A mentioned, “The children were very attentive because the performance was interactive. They were active participants, and there were various activities, so they were attentive and motivated.”
Author N added, “The set design, sound effects, and the rain spraying significantly helped to experience this performance with all senses and therefore remember the whole story better. Although they knew it wasn't real, they allowed themselves to be carried away by the atmosphere.”
Child: “This is like a 7D cinema!”
- Engages children in responsible tasks that support their confidence, as reported by teachers and children themselves.
One child (8 years old) said, “I suggest everyone carry a diary with themselves and write about everything they see in nature.” Many children emphasized how a person can be both an artist and a scientist simultaneously, that everyone has equal rights to education regardless of gender, and that Maria should be included in biology textbooks.
Author N noted, “Provoking interaction and engagement is in every part of the process. For example Johana and Dorotea (daughters of the scientist) couldn't pronounce the word 'metamorphosis' correctly, and they tried many times inspiring children to help them pronounce but in fact engaging them to learn it.”
- Provokes deep interconnections between science and art and deconstructs disciplinary identities of educators (Sochacka et al., 2016), as reported by the authorial team.
ReferencesBaskerville, D., McGregor, D., Bonsall, A. (2023). Re-thinking Theorising About the Use of Drama, Theatre and Performance in Learning Science. In: McGregor, D., Anderson, D. (eds) Learning Science Through Drama. Contributions from Science Education Research, vol 11. Springer, Cham. https://doi.org/10.1007/978-3-031-17350-9_2
Boal, A. (1995). The rainbow of desire. The Boal method of theatre and therapy. (A. Jackson, Trans.). Routledge.
Darling-Hammond L, Flook L, Cook-Harvey C, Barron B, Osher D. (2020) Implications for educational practice of the science of learning and development. Applied Developmental Science. 24: 97–140. https://doi.org/10.1080/10888691.2018.1537791
Dorion, K. (2009). Science through drama: A multicase exploration of the characteristics of drama activities used in secondary science classrooms. International Journal of Science Education, 31(16), 2247–2270.
Driver, R., Asoko, H., Leach, J., Mortimer, E., & Scott, P. (1994). Constructing scientific knowledge in the classroom. Educational Researcher, 23(7), 5–12.
Sochacka, N., Guyotte, K., & Walther, J. (2016). Learning together: A collaborative auto- ethnographic exploration of STEAM (STEM + the arts) education. Journal of Engineering Education, 105(1), 15–42.
Stagg, B. C. (2020). Meeting Linnaeus: improving comprehension of biological classifcation and attitudes to plants using drama in primary science education. Research in Science & Technological Education, 38(3), 253–271. https://doi.org/10.1080/02635143.2019.1605347
O’Neill, C. (1995). Drama worlds: A framework for process drama. Heinemann.
29. Research on Arts Education
Paper
Using Drama Techniques during Early Childhood Teachers' Involvement in Sociodramatic and Imaginative Play
Anthia Michaelides, Eleni Loizou
UNIVERSITY OF CYPRUS, Cyprus
Presenting Author: Michaelides, Anthia;
Loizou, Eleni
Play indisputably can have an impact on children's learning and development and teacher's involvement is crucial in supporting children’s play skills (Bodrova & Leong, 2003; Einarsdottir, 2012; Fromberg, 2002; Gmitrova, 2013; Jung, 2013; Lohmander & Samuelsson, 2022; Miller & Almon, 2009; Wood & Attfield, 2005). To appropriately participate in and support children's play, teachers need to have the necessary knowledge and develop their own play skills (Avgitidou, 2022; Loizou &Trawick-Smith, 2022; Trawick-Smith & Loizou, 2022). Specifically, teachers’ involvement in children’s’ play is supported by Vygotsky’s Zone of Proximal Development (ZPD), since their involvement can enhance children’s play (Bodrova,2008). Teachers’ involvement in play can take different forms; such as direct and indirect involvement (e.g. giving children the play theme for direct involvement, and offering role choices for indirect) (Trawick-Smith & Dziurgot, 2010; 2011). Other studies indicate characteristics of teachers’ involvement such as role participation, dialogic interactions of the characters, dramatic tension (Bredikyte & Hakkarainen, 2011).
Drama and specifically improvisation fall within the ZPD (Graue, Whyte &Delaney,2014) and Profession Development Programs (PDPs) that use drama develop teachers’ skills (Lobman,2005). There are common features between drama skills and children’s sociodramatic and imaginative play skills. These include roles, tension in play, scenario, verbal and non-verbal communication, language and use of props. It is evident that drama and play have an undeniable connection (Dunn & Stinson,2012) and research suggests drama as a means to support children’s and teachers’ play skills (Lobman,2005). Teacher’s professional development studies have used drama as a means to support teachers play skills and showed positive outcomes (Lee, Cawthon & Dawson, 2013; Lobman, 2005; Raphael & O’Mara, 2002; Stinson, 2009).
This study is part of a doctoral thesis that examined the development of teachers’ play skills through the implementation of a drama PDP focusing on teachers’ socio-dramatic and imaginary play skills. In this study we respond to the following research questions: 1) Which drama techniques can be employed in designing an educational drama program that supports early childhood teachers' (ECTs) social-dramatic and imaginative play skills? and 2) Which drama techniques do early childhood teachers' (ECTs ) use during their involvement in play and how do these techniques relate to their socio-dramatic and imaginative play skills?
Methodology, Methods, Research Instruments or Sources UsedThis study is part of a doctoral thesis. Data collection methods comprised of drama literature, through which drama techniques were identified and related to the socio-dramatic and imaginative play skills. Based on the results a PDP focusing on ECTs’ socio-dramatic and imaginative play skills using drama techniques was designed and implemented. Furthermore, interviews before and at the end of the program were conducted, as well as video recordings of teachers involved in a socio-dramatic or imaginary play area before, during and at the end of the program. The video recordings took place during free or/and structure time, 7:45am to 9:05am and had a duration of about eighty minutes. Also, the participants kept a reflective journal and field observations were taken by the researcher.
The participants of the larger study were thirteen in-service ECTs but four provided the data for this study. All participants were in service teachers working either in the public or private kindergarten. Additionally, their classrooms comprised of children of ages 4-6 years old.
Consent forms were given to all parties involved in the research, specifically to the in-service ECT participants, the principal and the classroom assistants. Regarding the children’s assent their parents/guardians gave permission to take part in the study. All necessary permissions were obtained by the Centre of Educational Research and Evaluation. All of the participants had the option to withdraw from the research at any given time. Also, the use of pseudonyms, offered anonymity and confidentiality.
Conclusions, Expected Outcomes or FindingsThe present study is part of a doctoral thesis. Through a literature review we were able to determine the ECTs’ socio-dramatic and imaginative play skills. These were: the Role Enactment skill, the Interactive Dialogue skill, and the Interactive dialogue with Role enactment skill. Furthermore, the results of this study revealed a connection between drama techniques and the three socio-dramatic and imaginative play skills that ECTs must have to effectively participate in children's play. By comparing the content of the drama techniques with the characteristics of each of the three skills it was found that there was a connection between the two. Specifically, there were drama techniques that were best related to one skill while other techniques that were associated with more than one skill’s characteristics. The participants during their involvement in children’s play on several occasions implemented the drama techniques: teacher in role, telephone conversations, hot sitting, and reportage. Through using these drama techniques, the characteristics of the three skills were implemented. For instance, in the case of the drama technique of telephone conversations the participants exemplified the characteristics of receiving and accepting of ideas/suggestions.
The conclusions of this study refer to the ECTs Zone of Proximal Active Involvement in which the three skills relate to the ECTs’ general teaching skills while unfolding the principles of improvisation. This study supports ECTsin implementing play pedagogy and provides innovative and new suggestions for developing teachers’ play skills.
ReferencesAvdi, A. & Hadzigeorgiou, M. (2007). The art of drama in education, 48 suggestions for theater education workshops [Η τέχνη του Δράματος στην εκπαίδευση, 48 προτάσεις για εργαστήρια θεατρικής αγωγής]. Athens, Greece: Metaichmium.
Beaty, J. J. (2012). Skills for Preschool Teachers. Boston, USA:Pearson.
Bennett, N., Wood, E., & Rogers, S. (1997). Teaching through Play: Teachers' thinking and classroom practice. Buckingham, UK: Open University Press.
Bodrova, E. (2008). Make‐believe play versus academic skills: a Vygotskian approach to today’s dilemma of early childhood education. European Early Childhood Education Research Journal, 16(3), 357-369. doi: 10.1080/13502930802291777
Bodrova, E., & Leong, D. J. (2003). Chopsticks and Counting Chips: Do Play and Foundational Skills Need To Compete for the Teacher's Attention in an Early Childhood Classroom?. Young Children, 58(3), 10-17.
Bodrova, E., & Leong, D. J. (2003). The Importance of Being Playful. Educational Leadership, 60(7), 50-53.
Bredikyte, M., & Hakkarainen, P. (2011). Play Intervention and Play Development. In C. Lobman, & B. E. O’ Neil (Eds.), Play and Performance. Play & Culture Studies, Volume 11 (pp.59-83). Lanham, USA: University Press of America.
Desimone, L. M. (2009). Improving impact studies of teachers’ professional development: Toward better conceptualizations and measures. Educational researcher, 38(3), 181-199. doi: 10.3102/0013189X08331140
Dunn, J. (2017). Do you know how to play? A “Beginner’s Guide” to the vocabularies of dramatic play. In O’Connor, P. & Gomez, C.R. (Eds.), Playing with Possibilities (pp. 34-49). Newcastle: Cambridge Scholars Publishing.
Farmer, D. (2011). Learning through drama in the primary years. Drama Resource www.dramaresource.com
Gmitrova, V. (2013). Teaching to play performing a main role–effective method of pretend play facilitation in preschool-age children. Early Child Development and Care, 183(11), 1705-1719. doi: 10.1080/03004430.2012.746970
Lobman, C. (2003). The Bugs Are Coming! Improvisation and Early Childhood Teaching. Young Children, 58(3), 18-23.
Lobman, C., & Lundquist, M. (2007). Unscripted learning: Using improv activities across the K-8 curriculum. New York, USA: Teachers College Press
Logue, M. E., & Detour, A. (2011). " You Be the Bad Guy": A New Role for Teachers in Supporting Children's Dramatic Play. Early Childhood Research & Practice, 13(1), 1-16.
McCabe, U. (2017). The drama in sociodramatic play: implications for curriculum and pedagogy. NJ, 1-11. doi: 10.1080/14452294.2017.1329689
Tsolakidis, E. (2013). Improvisation in theatre [Ο αυτοσχεδιασμό στο θέατρο]. Athens, Greece: Exandas.
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