DRUG, PREVENTION, DRAMA AND THEATRE

Novák Géza Máté PhD.ELTE BGGYK

TAMK University, Tampere, 13-24.05.2013.

21ST THEATRE IN EDUCATION

The 21st Theatre in Education Association was founded in 1998.

➢ taking part in public education

➢ educate children and young people through theatre

➢ drug prevention through drama pedagogy

➢ create alternative, experimental theatre performances

ABOUT METHODOLOGY

drama in education and in the process of learning helps to develop openness, tolerance, a democratic way of thinking

it helps us find our way in our world’s communication labyrinth

we would like to help them find the way to get over stress and conflicts

DRUG PREVENTION WITH DRAMA (1999-2007)

LET THE WORLD GO!DRUG PREVENTION DRAMA PROGRAM FOR 13-16 YEAR-OLD STUDENTS

Aims:

➢ awaken the individuals’ responsibility➢ draw attention to the problem of asking for and giving help

The class as a community is able to help the classmate who is in crisis

The participants of our drama program say that our drama work is effective because it does not act as a deterrent but it is based on such interactive role plays and creating stories in which the player has an opportunity to have their own viewpoint.

CONFLICT MANAGAMENT AND PREVENTION FOR THE VIOLENCE FREE SCHOOL – THE MODEL PROJECT OF THE 21ST THEATRE IN EDUCATION ASSOCIATION (2006)

PROGRAMME ELEMENTS OF THE PROJECT

I. Relationships (drama workshop)

II. Teresa – complex drama workshops about aggression

III. Intoxication – a complex drama programme about taking responsibility

Relationshipsdrama workshop

➢activities including classroom dynamics, skills, relaxing, concentration and trust

➢ the aim of the drama play here is to evolve creativity, to develop the personality

If we do not consider each other we will not be able to cooperate.

When, why and how does this happen?

If we would like to resolve this problem then what do we do about it as a member of a community?

Teresa – complex drama workshop about aggression

What happens in those who are accidentally there as an innocent third person?

➢ physical and emotional abuse towards each other in the classroom

➢ causes crisis situations within a group of children based on fear and aggression

➢ the roles offer a framework

➢ what happens inside us before this happens?

➢ help in creating new schemes in their culture of behavior that avoid risks

➢ offers an alternative that avoids and rejects the world of drugs and aggression

➢ the role of arts that shape personalities and communities

➢ involves 900 young people

What are the possibilities of a drama teacher in prevention?

➢we should not manage our conflicts

➢ be able to understand them

➢ think about the same situation in a different way

➢ use ’learning through actions’ ➢ drama teacher uses a role, acts as an active character of scenes

The success of drama programmes: ➢ using pedagogical

methods

➢ realized according to special educational needs

Drama can be an effective and powerful tool if it is used to ask questions about the quality of relationships at the school.

“Drama is the best way ‘cause you just feel you can be more yourself”

A TIE-project in the classroom

Basic hypothesis: Drama and theatre

applied in the educational process helps teenagers in the value orientation and value acquisition.

THE RESEARCH IS FOCUSED BY FOLLOWING QUESTIONS1. What does value acquisition for teenagers?

2. What does value orientation mean for teachers of teenagers?

3. Is there value crisis in the value systems of Hungarian teenagers today?

4. How does one particular theater in education model project influence the value orientation attitudes of teenagers?

5. Due to the affect of the drama project will the pre-observed advantage or disadvantage between the two groups remain or will it disappear by the end of the action research?

Target Groups of the action research(2007/2009)

Three secondary school classes of the same age group.

Different social backgrounds (with low and high SES)

different cognitivecompetences

different socialization from two different cities (Budapest and Vác).

Methods of the Research

Qualitative methodological procedures: structured, semi-structured, unstructured

interviews interviews within a focus group comparative and trend examinations document analysis quantitative and qualitative analysis (CA) recorded audio-visual material (video

recording of the workshops)

Outcomes after the TIE-project:

Student Needs(as Drama

Goals)

Arguments for truth

Supportive attitude

Family peaceVictims / Aggressors/

Innocence Bystanders

Analyzing of narratives Theoretical framework: „Arts Based Research Practice” (ABR); Leavy 2009; Norris 2000; Conrad

2009. Keynotes:1. Which parts of the TIE-project resonates with the students?2. Can they speak confidently and in depth about the TIE-topics?3. What are they missing from their own reality?4. What kind of values important for them, which is good to move or fight?5. How can they interpret it as new understanding, express it and how can

they come it to their new own reality?6. What kind of personal memories are provoked and how the students

deal with them and express them? Can they see the connection to their own lives?

Drama Project conclusion Last week we had our last drama meeting, which – according to others and myself – was the best one. W e got to see the last but one scene of the story which was really interesting. I can’t wait to see the conclusion. I haven’t been able to attend all the meeting, but I can only agree with those who think this last one was the best. W e were not nervous about being filmed or having our pictures taken, we got used to all that. I’m still a bit shy, I choose not to act unless it’s really necessary, but not because I’m not comfortable in front of my classmates and drama teachers. That’s what was really good about this whole experience. W e’re more comfortable acting and voicing our opinions, we know we don’t have to be afraid that someone will laugh at our remarks or thoughts. It was interesting to hear how different we really are, how differently we think about moral issues or life or anything that has come up so far. These are topics we don’t usually discuss during breaks and it was inte resting to hear others’ opinion about these topics. We may have discovered things about classmates we wouldn’t have found out otherwise. That’s all that comes to my mind right now. I really enjoyed these meetings. It was an unusual way of discussing more serious matters that don’t come up on ‘normal’ classes. (Dóri, K . notes)

REFERENCES

GALLAGHER, K. (2001) Drama Education in the Lives of Girls Toronto, University of Toronto Press.

NOVÁK, G. M. (2006): Let the World Go – Drug Prevention with Drama. Conflict Management and Prevention for the violence free school – the model project of The 21st Theatre in Education Association. Ed.: Dr. Attila Sárváry. In: International Visegrad Found. Epidemology and Social Effects of Drug-taking in the Visegrad Fourcontries. Nyíregyháza.

NOVÁK, G. M. (2011): The Effect of Drama on Teenagers’ Value Orientation: a Theatre in Education Project in the Hungarian Classroom. Practice and Theory in Systems of Education, Volume 6 Number 1/2011, pp: 27-38.

SWARTZ, L. (Ed.) (2004): The Bully Issue. OISE/ÚT’s Magazine for Schools, Vol. 34, Toronto.

Thank you for your attention! mate.geza.novak@gmail.com