Eğitimde drama ve Türk çocuklarının ritüel nitelikli oyunlarının eğitimde drama kullanımı
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Date
1997
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Sosyal Bilimler Enstitüsü
Abstract
The basic idea of dramatic education is that the child learns about himself/herself and the world around him/her from his/her experience of "role- taking"; dramatic activity is an effective and natural method of learning. Drama functions through improvisation and dramatic activities. From the first decades of the twentieth century, dramatic education has become increasingly widespread. At the same time, while drama has been growing steadily, different approaches, techniques and activities have been adopted in its use. Meanwhile some other countries, especially Canada and Australia produced their pioneers, who began to adapt the methods to their situation. Writers on the subject employed various terms to describe the methods that they wish to promote, e.g, The Dramatic Method, The Play Way, Creative Dramatics, Playmaking, Child Drama, Drama in Education. We tried to clarify these terms briefly and to do so essentially in a chronological order reflecting the ways in which dramatic education has developed historically. In the second chapter, the relation between the personality configuration and the culture of the society to which the individual belongs has been examined. It has been accepted that cultures affect personality and personalities affect culture. The society derives all its qualities from the personalities of the individuals; and the personality of every individual within the society develops and functions in constant association with its culture. Therefore, it is necessary to know the characteristics of a culture and of an individual's personality in it to make the drama program useful and effective. In the third chapter, rituals and their dramatic nature have been examined first. Rituals, because of their educational value and power to create possibilities for dramatic playing, are one of the materials that could be used as a context and/or structure for drama. Additionally, rituals, as one of the oral cultural heritage ofsocieties reflecting pure (or virtually pure) cultural patterns, could be adapted for use by children so that they may become more familiar with their culture and identify with it. Considering these facts, in the second part of the second chapter, the Turkish children's ritualistic games studied under three headings: games for celebrating the coming of spring, games to make the rain fall, and death and resurrection games..C. YURSEKoeRM - ;.
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Tiyatro