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AN APPROACH TO
CHILDREN’S THEATRE THROUGH CREATIVE DRAMATICS
TABLE OF CONTENT
TITLE PAGE
CERTIFICATION
DEDICATION
ACKNOWLEDGEMENT
TABLE OF CONTENT
ABSTRACT
INTRODUCTION
LITERATURE REVIEW
CHAPTER ONE
THE BASIC CONCEPT OF THE STUDY
1.1 CHILDREN’S THEATRE PRACTICE
1.2 THE ORIGIN OF CHILDREN’S THEATRE INSTITUTION
1.3 AIMS AND OBJECTIVES OF CHILDREN THEATRE
1.4 THEORIES ON PLAY
CHAPTER TWO
THE NATURE OF THE CHILD
2.1 WHO IS A CHILD?
2.2 AG DIFFERENCES
2.3 WHY WE ADOPT DRAMATIC APPROACH
CHAPTER THREE
THE PLAY WAY METHOD
3.1 THE APPROACH TO CHILDREN’S THEATRE
3.2 THE ART OF CREATIVE DRAMATICS
CHAPTER FOUR
4.1 THE ROLE OF ADULT, TEACHER OF LEADER IN CHILD DRAMA
4.2 THE ESSENCE EXPERIENCE WITH YOUNG CHILDREN’S
CONCLUSION
SUGGESTION
BIBLIOGRAPHY
ABSTRACT
This project titled ‘’Approach to children’s theatre through
creative dramatics is about the importance of drama to the life of children.
Chapter one of this project deals with the basic concept of
the study. Here, the definition of children theatre, the origin of children’s
theatre in Tertiary Institutions, the aims and objectives of children’s theatre
and theories on play are discussed.
Chapter two looks at the nature of the child, with particular
reference to the personality of the child, Age differences and we adopt
dramatic Approach.
Chapter three of this work is on the Approaches to children’s
theatre and the Art of creative dramatics.
The last chapter which deals with the role of Adult teacher,
or leader in child drama, the essence of Drama in education and the dramatic experiences
with young children.
CHAPTER ONE
BASIC CONCEPT OF THE STUDY
1.1 CHILDREN’S
THEATRE PRACTICE
Children’s
theatre practice is a dramatic activity in which young people acquire knowledge
and skill through drama.
According to Stanley Obuh’s lesson notes 2000/2001.
‘’children’s Theatre or drama are those categories of plays,
performances and related literatures that caters for the interests, instincts,
emotional and psychological needs of children’’.
Children theatre is a diluted version of theatre which is
prepared mainly for youngsters between the ages of five to twelve years, it can
continue also till adult life. In this categories of plays children perform for
children, or adult for children to watch. Children’s drama or theatre are meant
for children’s cognitive development. When drama is introduced in those
formative years, it serves as a foundation for future development.
Education may be formal or informal and in both modes, drama
has a part to play. Informal education de-emphasizes the school setting hence
it occurs through play. Play acts as an important element for a young child. It
is from play that drama takes it’s roots. Through play children develop their
physical and mental skills. It is therefore important to note that the instinct
to play is inborn in man and so remains well after childhood. Although, most
people still hold the view that play is not useful in life but educationist are
beginning to appreciate the special advantages of learning and teaching through
play way method. Such approaches have been adopted by modern day nursery
schools. That means learning is fostered through fun. The playing method is
usually explored in dramatic activities. This, through play and drama, children
and young people acquires knowledge and skills.
Drama for children however has four major areas:
(1) Creative Dramatics
(2) Children theatre
(3) Recreational theatre
All the four areas have their peculiar methodology.
Creative Dramatics:It is the education of the whole person.
It enables the child to acquire such skills for problems solving. It increases
awareness, concentration, imaginative impulses and it develops the control of
the physical self in creative dramatics, playmaking involves acting out the
stories and scenes without a script. Creative dramatics is divided into two
different areas:
(A) Internally
absorbed learning
(B) Externally
absorbed learning
Creative dramatics is a non-performing theatre, that is to
say, the audience is non-existence.
Finally, creative dramatics is highly recommended for the
classroom situation.
RECREATIONAL THEATRE:This involves theatre by children for an
audience of children or children and adult. Note that the performers here are
mainly the children. A good example of this are such dramatic activities put
together by the teachers of the University Demonstration primary school
(U.D.P.s) university of Port Harcourt, to mark their end of year activities.
The teachers prepares the children to entertain themselves as well as their
teachers and the parents are usually invited.
EDUCATIONAL DRAMA: It is also known as curricular drama. It
is designed around an educational institution. Educational drama has two
dimensions:
(a) Drama as a method
(b) Drama as a curricular subject or discipline.
Drama as a method has to do with the use of drama as a method
to stimulate education or knowledge. While drama as a curricular subject or
discipline is a drama considered as a discipline on its own and not as a means
to an end. That is to say, drama treated as a curricular subject with its own
academic content.
Children’s Theatre: This is basically a theatre for children
where the child’s interest is upper most. It is an organised theatre in which
adults or adults and children perform for children before an audience of
children. Again, it is not impromptu, there has to be a script, learnt through
rehearsals and also under the supervision of a teacher or leader/director.
Children’s theatre is highly technical and as such trains the mind of a child
over group instinct, trust and confidence in others. It is structured in such a
way that it combines play with intellectual work. It also acts as a shorthand
in teaching process there by passing information with a reduced hardship.
Here language
usage is made simple because it is designed for the consumption of the child
only, although audience may be permitted but the target is the child. Through
this programme a child is more enlightened and liberated from extreme
primitively.
1.2 THE ORIGIN OF
CHILDRENS’S THEATRE IN TERTIARY INSTITUTION
The beginning
of children’s Theatre in Tertiary Institutions started in University of Ibadan
in 1962. The name that was given to it was Saturday Theatre for Young people.
It was conceived and designed as a workshop for the children’s participants.
The children that participated in the S T Y P were between the ages of six and
ten years, and they are campus and neighbourhood children. They came on
Saturday morning under the direction of a staff member.
The purpose of S T Y P was to raise money for the handicaps
or disables. Secondly to provide education for young people. The children takes
part in all sorts and varieties of artistic and creative activities, creative
dramatics story teaching, playmaking, music, song, dance, drama poetry, mine
and movement. The children also had fun with arts and crafts drawing, painting,
modelling and puppetry. All these are down in a free and informal classroom
situation in order to achieve an uninhibited free expression. The goal is to
help children develop creative self-expression, creative imagination and to
inculcate in the child artistic insight and appreciation.
The Saturday Theatre for Young people created a forum for
meeting children, parents and staffs of the University. Through it the image of
children’s theatre was projected to other parents of the world and
institutions.
S.T.Y.P CONSTRIBUTION TO CHILDREN
For the
children, the STYP is both educational and a developmental process. The value
to children exposed to it are many and tremendous. They include:
i)
Socialization and development of personal resources and talents.
ii)
Inculcation and development of creativity in the cultural and creative
arts – development of skills of communication and self-expression.
iii) Development
of social awareness and the social of social responsibility.
iv) Exposure
to and opportunity of international experience and friendship
1.3 AIMS AND
OBJECTIVES OF CHILDREN’S THEATRE
The theatre happens to be one of the most powerful and direct
means of strengthening human reason and enlightening the nation. By extension,
children’s drama/theatre serves as an educational instrument for children’s
upbringing. The ultimate aim is to inculcate in the child, the habit of
play-consumption, construction and appreciation from early childhood. If this
is achieved, the theatre will then have a responsive and responsible adult
audience in the future.
The theatre places children in a condition in which they can
recall and interpret past experiences and apply them to present realities.
Essentially, early children’s theatre experiences or experiments in at creating
the necessary awareness that would enable them to understand the true
potentials of the theatre. When the necessary awareness is created during these
formative years, then one can claim that the foundation for sustainable growth
has been laid, thereby reducing the prejudices and scepticism which often
stifle theatre development.
Drama has power and can positively influence children. In recognition
of the positive effects of drama, S. C. Evernden (1977) explain that
‘’in areas and schools where drama has had a fair trial, it
has in fact helped children to become articulate and self-reliant, move at
peace with themselves and better adjusted to society’’ (Unpaged forward to
Permberton, Billing and S.D. Clegg’s book Teaching Drama 1977).
Children by nature are initiative and playful and they learn
a lot through play and imitation at home and elsewhere. There, they assume the
roles of parents, teacher, leaders etc.
The theatre serves as an avenue for the actualization of the
and playful tendencies. It has also been established that children assimilate
more through drama than formal method of teaching, because the dramatic
approach is more concrete, immediate, economical and has a way of arresting the
five senses (touch, smell, taste, hearing and sight). Drama also exposes
children to such values as honesty, hard work, and respect for elders,
obedience, self-discipline and allegiance to societal norms.
Children’s theatre aims at developing the young ones
physically, intellectually, psychologically, emotionally and culturally. These
noble ideals are achieved by installing confidence, discipline and respect in
the younger ones. The theatre also helps to increase children’s vocabulary and
gives them self-confidence and improves their self-expression.
1.4 THEORIES
RELATED TO CHILDREN’S DRAMA
A theory
simply means those discoveries of findings tested, experimented and generally
acceptable by those of a similar profession or ideology. The theoretical
postulation of philosophers such as plato, Aristotle, Moreno, Sigmund, Freud,
John Dewey, and Jean piaget about drama and education will be examined in this
work.
Plato the Greek philosopher is of the view that education
should begin early in a child’s life in a playful manner without any air of
constraints. He rejected the idea of theatre for children, arguing that the
imitative nature of drama will compel children to imitate bad characters. Plato
also conceived of imitation as ‘’copying’’ where as Aristotle says it is
creativity. Apart from the clash in ideas between the two, they both support
the use of drama as a method of fostering child development.
Aristotle added that the theatre does not imitate realities
as such but abstract ideas. According to Aristotle, imitation is a natural
tendency of man. That is to say it is inherent from children. He further sees
imitation as a key factor in drama. Jean Piaget a French-Swiss psychologist in
his Assimilation and Accommodation theory(Richard Courtney 1968 page 260) also
acknowledges the significant of play in the assimilated the model role through
play now imitates it’s parts. Another theorist to discuss is Sigmund Freud a
psycho-analyst who stresses the importance of infancy as the formative period
for developing human personality (Courtney 1968 page 65). To him, play and
games assists the child in his adjustment to himself, others and his
environments. He recognised two instincts which are self-preservation and the
preservation of the species.
Dr. J.L. Moreno’s ideas of imitation and play are also worthy
of consideration. Moreno and Aristotle have divergent views on imitation and
drama. While Aristotle sees drama as an imitation of life, Moreno takes it to
be an extension of life. (Courtney 1968 page 96). Moreno says that we are all
actors from birth. The art of play helps the child in both his social and
formal learning. Socially, the child improvises situations that occurs in
everyday life, while the formal one takes care of school subjects.
What really brought the philosophers and theorists of
education and drama together is their agreement on the importance of drama in
children’s life. They all stresses the significance of children’s play and
affirm that drama involves the child in interaction with others and his
environment. All the theorists expressed the view that drama should be introduced
early in a child’s life so as to equip him with a sound physical, intellectual,
emotional and moral training for his future sustenance and growth.
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