Skip to main content

The Elements of Drama: An Intercultural Perspective

  • Chapter
  • First Online:
Embodying Language in Action
  • 887 Accesses

Abstract

This chapter focuses on the elements of drama, framed around the process drama literature. It illustrates how the elements of drama can be revisited from an intercultural perspective, and possible implications for second language learning. These include intercultural characters and relationships; intercultural dramatic focus; intercultural dramatic tension, time and place, narrative, language and movement; intercultural mood and symbol; and intercultural meaning, and their relationship/s with the pre-text, in structuring process drama. The discussion is presented through a praxial approach that aims to bridge theory and practice. The chapter includes a drama structure, The Jugglers, a workshop reflecting on issues related to migrating to a new country and working with language learners who are new to drama.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 89.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 119.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 119.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

References

  • Adžović, N. (2005). Rom. Il popolo invisibile. Roma: Editore Palombi.

    Google Scholar 

  • Allern, T.-H. (2001). Myth and metaxy, and the myth of ‘metaxis’. In B. Rasmussen & A.-L. Østern (Eds.), Playing Betwixt and Between: The IDEA dialogues 2001 (pp. 77–85). Bergen: IDEA Publications.

    Google Scholar 

  • Boal, A. (1985). Theatre of the oppressed. New York: Theatre Communications Group.

    Google Scholar 

  • Boal, A. (1995). The rainbow of desire: The Boal method of theatre and therapy. London: Routledge.

    Google Scholar 

  • Bolton, G. (1979). Towards a theory of drama in education. Harlow: Longman.

    Google Scholar 

  • Bowell, P., & Heap, B. S. (2001). Planning process drama. London: David Fulton.

    Google Scholar 

  • Bowell, P., & Heap, B. S. (2017). Putting process drama into action: The dynamics of practice. Abingdon, Oxon: Routledge.

    Google Scholar 

  • Brecht, B. (1964). Brecht on theatre: The development of an aesthetic. London: Methuen.

    Google Scholar 

  • Bundy, P. (1999). Dramatic tension: Towards an understanding of ‘tension of intimacy’. (Doctoral dissertation), Retrieved from https://www120.secure.griffith.edu.au/rch/items/dc50533c-7887-47d2-e176-f29d65389cbd/1/.

  • Bundy, P. (2003). Aesthetic engagement in the drama process. Research in Drama Education: The Journal of Applied Theatre and Performance, 8(2), 171–181.

    Article  Google Scholar 

  • Bundy, P., & Dunn, J. (2006). Pretexts and possibilities. The Journal of the Queensland Association for Drama in Education: Drama Queensland Says, 29(2), 19–21.

    Google Scholar 

  • Courtney, R. (1995). Drama and feeling: An aesthetic theory. Montreal: McGill-Queen’s University Press.

    Google Scholar 

  • Davis, S. (2015). Perezhivanie and the experience of drama, metaxis and meaning making. NJ: Drama Australia Journal, 39(1), 63–75.

    Article  Google Scholar 

  • Dawson, S. W. (1970). Drama and the dramatic. London: Methuen & Co.

    Google Scholar 

  • Fox, H. (2007). Playback theatre: Inciting dialogue and building community through personal story. TDR/The Drama Review, 51(4), 89–105.

    Article  Google Scholar 

  • Goffman, E. (1959). The presentation of self in everyday life. New York: Double Bay Anchor.

    Google Scholar 

  • Greene, M. (1988). The dialectic of freedom. New York: Teachers College Press.

    Google Scholar 

  • Hall, E. T. (1959). The silent language (Vol. 3). New York: Doubleday.

    Google Scholar 

  • Haseman, B., & O’Toole, J. (2017). Dramawise reimagined. Sydney: Currency Press.

    Google Scholar 

  • Kao, S.-M., & O’Neill, C. (1998). Words into worlds: Learning a second language through process drama. London: Ablex Publishing Corporation.

    Google Scholar 

  • Kramsch, C. (2009). The multilingual subject. Oxford: Oxford University Press.

    Google Scholar 

  • Lima, M. G. (1995). From aesthetics to psychology: Notes on Vygotsky’s “Psychology of Art”. Anthropology & Education Quarterly, 26(4), 410–424.

    Article  Google Scholar 

  • Morgan, N., & Saxton, J. (1987). Teaching drama: A mind of many wonders. Cheltenham: Stanley Thornes.

    Google Scholar 

  • Neelands, J., & Goode, T. (1995). Playing in the margins of meaning: The ritual aesthetic in community performance. NJ: Drama Australia Journal, 19(1), 83–97.

    Google Scholar 

  • O’Neill, C. (1995). Drama worlds: A framework for process drama. Portsmouth: Heinemann.

    Google Scholar 

  • O’Neill, C. (2015). Dorothy Heathcote on education and drama: Essential writings. Abington, Oxfon: Routledge.

    Google Scholar 

  • O’Neill, C. (2017). Seal Wife—Random observations. NJ: Drama Australia Journal, 41(1), 27–29.

    Article  Google Scholar 

  • O’Toole, J. (1992). The process of drama: Negotiating art and meaning. London: Routledge.

    Book  Google Scholar 

  • O’Toole, J., & Dunn, J. (2015). Pretending to learn: Teaching drama in the primary and middle years.

    Google Scholar 

  • Pheasant, P. (2015). The epiphany in process drama and language learning. p-e-r-f-o-r-m-a-n-c-e, 2(1–2), http://p-e-r-f-o-r-m-a-n-c-e.org/?p=919.

  • Ryle, G. (1949). The concept of mind. London: Hutchinson.

    Google Scholar 

  • Salas, J. (1996). Improvising real life: Personal story in playback theatre. Dubuque, Iowa: Kendall/Hunt Publishing Company.

    Google Scholar 

  • Schechner, R. (2013). Performance studies: An introduction (3rd ed.). London: Routledge.

    Google Scholar 

  • Styan, J. L. (1960). The elements of drama. Cambridge: Cambridge University Press.

    Google Scholar 

  • Swain, M. (2006). Languaging, agency and collaboration in advanced second language proficiency. In H. Byrnes (Ed.), Advanced language learning: The contribution of Halliday and Vygotsky (pp. 95–108). New York: Continuum.

    Google Scholar 

  • Taliaferro, D. M. (1998). Signifying self: Re-presentations of the double-consciousness in the work of Maxine Greene. The Passionate Mind of Maxine Greene: I “Am–Not Yet” (pp. 89–121). London: Falmer Press.

    Google Scholar 

  • Taylor, P., & Warner, C. D. (2006). Structure and spontaneity: The process drama of Cecily O’Neill. Sterling, VA: Trentham.

    Google Scholar 

  • Tschurtschenthaler, H. (2013). Drama-based foreign language learning: Encounters between self and others. Munster: Waxmann.

    Google Scholar 

  • Vygotsky, L. S. (1926/1971). The psychology of art. Cambridge, MA: MIT Press.

    Google Scholar 

  • Wagner, B. J. (1976). Dorothy Heathcote: Drama as a learning medium. Washington, DC: National Education Association.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Erika Piazzoli .

Workshop 3: The Jugglers

Workshop 3: The Jugglers

Description: This workshop explores issues related to migration, working with language learners new to drama.

Students’ Context—Inspiration for the Workshop: The Cultura e Accoglienza 2017 project, provided 30 adult asylum seekers and migrants in Padua (Italy) with access to the University of Padova’s library, the possibility to audit some modules, a tutor, and access to Italian (L2) classes. As part of this project, in collaboration with Fiona Dalziel, in 2017 we conducted a series of performative language workshops. This particular workshop (The Jugglers) was also open to international students. Participants were a group of male and female migrants from Nigeria, Cameroon and Gambia, as well as three international students from China and Germany. All were learning Italian (L2) at the University of Padua.

Pre-text: A participant’s story (with permission from the storyteller).

Educational Aims: Introducing the participants to basic elements of drama; introducing participants to intercultural awareness and reflection.

Level: A2 to B1 (CEFR).

Duration: Three hours.

This chapter has focused on the elements of drama, framed around the process drama literature. The core of the chapter illustrated how the elements of drama can be revisited from an intercultural perspective, and the implications this might have for second language learning. These include intercultural dramatic tension and the relationship between the pre-text and dramatic tension, in structuring process drama. The discussion was presented through a praxial approach that aims to bridge theory and practice. Yet, knowledge of the elements of drama—the coordinates to navigate the aesthetic dimension—is not sufficient; we also need an intuitive decision-making aptitude, to be able to interpret these coordinates in an ocean of possibilities. To address this question, we turn to the artistry of knowing-in-action.

Rights and permissions

Reprints and permissions

Copyright information

© 2018 The Author(s)

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Piazzoli, E. (2018). The Elements of Drama: An Intercultural Perspective. In: Embodying Language in Action. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-77962-1_4

Download citation

  • DOI: https://doi.org/10.1007/978-3-319-77962-1_4

  • Published:

  • Publisher Name: Palgrave Macmillan, Cham

  • Print ISBN: 978-3-319-77961-4

  • Online ISBN: 978-3-319-77962-1

  • eBook Packages: Social SciencesSocial Sciences (R0)

Publish with us

Policies and ethics