ISSN : 2241-4665
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ISSN : 2241-4665
Ημερομηνία έκδοσης: Αθήνα 18 Ιουλίου
2023
«Theatrical Play
in Teaching Children with Special Educational Needs in Primary Education: Teachers'
Views for Their Training»
Xafis Thomas
Teacher, Directorate of Primary Education,
Karditsa Prefecture
Abstract
In the modern educational system, Theatrical Play
is a teaching approach which reflects the developmental activities of the
students while it also contributes to the development, conquering and
organizing of their skills. This article is part of research conducted to
register the aspect of primary education teachers regarding Theatrical Play as
an alternative educational approach. Especially, in teaching children with educational
needs such as dyslexia, behavioral problems, and attention-deficit/
hyperactivity disorder. The quantitative method was used to collect the data
from primary education teachers. The data showed teachers views about their
training and specialization. Furthermore, it showed that teachers included
theatrical tools in the educational process. Results showed the that teacher
recognized their knowledge and exposure to the suggested educational approach
as incomplete. However, the teacher believes in the mandatory and official
educational form and accept it as an alterntive way of teaching.
Definition - Theater Education - Theater Game
The term Theater
Education consists of two familiar words. On the one hand "theatre"
where etymologically it comes from the ancient verb "theomai" which
means I watch an event, I see a show, I also admire the treatment which refers
to a pedagogical process (Kouretzis, 1991). Theater education was used to
describe a group of theatrical activities which used in education. The
application of Theater Education both in kindergarten as well as elementary
school has the form of the theatrical game.
In the play there
is again the word theater, which is used as an aggressive determiner to the
noun "game". The term "game" includes action and is
directly related to the verb act (Kouretzis, 1991). Through through play
children develop psychologically, socially, aesthetically and cognitively level.
In addition, the game keeps children active and motivates them to learning
(Alkistis, 2012).
Theatrical play is
a means of activating, liberating the imagination raising awareness and
cultivating the participants' psychomotor expression. "Theatrical play is
not an accidental discovery of a new method" (Kouretzis 1991). In a school
where, in many cases, the traditional model dominates teaching and students are
overwhelmed by a large amount of information which they are called to
demystify, the theatrical game is a way to knowledge through experience and
living.
Theatrical play is
something different from the theater and something more from the simple game.
It is a combination of pantomime and improvisation in it from role-playing
games shaped by group dynamics with help of the animator (Grammatas, 2009:12).
It is therefore an activity through which children are entertained, learn, know each other better the
other and at the same time know better themselves and the their feelings.
Through the theatrical play the world of art is transferred in the game world.
Too often there is
confusion between theatrics and 'perfect school play' with the 'ideal actors'
performing a role with aim for applause. In the theatrical game, unlike the
school ones performances, spontaneity and authenticity prevail. Basic pursuit
is children to experience and not to represent a theatrical text. It is
promoted self-expression and there is no talent search, as the goal is
creativity expression and awareness. It is a pedagogical approach with a goal the
familiarization of children with knowledge, skills and theatrical experience,
without it focuses on the perfect, right or wrong (Papadopoulos 2010:89).
Therefore,
according to the above, the theatrical game is a psych pedagogical and artistic
activity that moves between theater and the game, different from traditional
school performances, is ma modern teaching method, which can make students
learn, to express feelings, communicate with their classmates and get to know
aspects o of themselves, which may have been unknown to them.
Generally
Theatrical Education is
a series of thematic activities used in the educational process. Theatrical
Education in Nursery but also in Grammar School has the form of theatrical
play.
In modern schooling,
experiential learning and teaching in teams is promoted. Theatrical play
combines both, since learning emerges through experience, but also through team
interaction. The benefits are multifold, both in the cognitive but also in the
social sector. The students learn to cooperate with each other, to accept and
respect otherness The role of the teacher in the process of theatrical play is
of the utmost importance, since he/she only encourages, but also coordinates
the process. There are several theatrical techniques, which may be applied
depending on the needs and interests of the group. Theatrical play goes through
four phases, each of which serves specific expedience.
When one talks of
special education, one refers to any additional support offered to children
with special needs. Essentially, it is about teaching persons with special
teaching needs. Over the years, dealing with persons with special needs went
from rejection to pity and it evolved into the era of equal opportunities. In
our days, the aim of Schooling is the inclusive education and the creation of
One School for All. A school that accepts otherness and provides equal
opportunities to all students.
Theatrical
Education may by applied to Special Education and provide very positive results
for the students. Theatrical play may be adjusted to the special needs of each
group in order to succeed. The teacher, once more, has a vital role in the
process of theatrical play. If certain preconditions are met, theatrical
education may turn into a source of joy and learning for the pupils with
special educational needs.
Introduction
Theatrical Education and
its application through theatrical play, is a pleasant and experiential
learning process, in which children they are asked to dramatize events from the
world of fantasy or real life (Kouretzis, 1991). Through theatrical play,
children they express themselves freely and at the same time socialize.
The theater game
balances between play and theater. Follows the rules of the game, it has its
characteristics and to be carried out it requires Team Spirit. It is also a
source of pleasure for the participants (Faure & Lascar, 1990). Still, this
is a game that uses theatrics techniques. Theatrical play, of course, has
nothing to do with "perfect theater performance', as a specific text is
not followed nor are the roles predetermined (Sarris, 2002), on the contrary,
improvisation prevails.
The benefits of Theater
education are many, both for typical children development, as well as for
children with special educational needs. Its use theatrical play has positive
results in the cognitive field and at the same time contributes to the
socialization of children (Kouretzis, 1991). The students they cooperate,
interact, know each other better, accept the diversity and develop their
self-confidence. To achieve it theatrical play must be adapted to the needs of
each group and to her interests. The education of people with special
educational needs has changed a lot times over the years and reached the era of
the claim of equals opportunities. The aim of the modern school is inclusion,
i.e. creation of a school that has room for everyone and can meet everyone's
needs student. The theatrical game can be applied to all students as long as adapt
to the particular needs of each and rely on the possibilities of.
Dramatic play
combines features of both play and of the theater. Symbolic play is often used
by children, as imagination in childhood is developed. No way it's not going to
for free play, but for organized, with rules and flow. The theater from on the
other hand, it requires the activation of all sides of the human personality,
as it mobilizes the body and at the same time the spirit. In other words, it is
a game, which takes place through the theater.
1. Theoretical Framework
The term learning disabilities was first used in April 1963 by
psychologist and special educator Samuel Kirk, at a conference of special
education professionals and parents with children who had learning problems.
Learning disabilities describe the disorders that a group of children has in
language, speech, reading and social interaction skills (Panteliadou and
Argyropoulos, 2011). Learning disabilities are manifested by a number of
characteristics that are not common to the whole population and are the most common
category special educational needs. The marked differentiation of
characteristics led to the following subcategories: dyslexia, dysspelling,
illegibility, dyscalculia, dyspraxia, dysphasia (Papadomarkakis et al., 2011).
There are two main educational approaches for students with learning
difficulties in relation to curriculum modification. The first approach
concerns the simplification of the Curriculum, i.e., the provision of basic
knowledge, and the second approach the enrichment of the Curricula, where it is
not limited to the removal of curriculum, but enriches the knowledge and
teaching methods of the student, e.g., learning strategies (Panteliadou and
Argyropoulos, 2011).
Dyslexia is a specific learning disability of neurobiological basis. It
is characterized by difficulties in accurate and/or easy word recognition and
poor spelling and decoding skills (Panteliadou and Argyropoulos, 2011).
Anastasiou (2008: 393) states that "in order to be defined as dyslexic a
person must be lacking in reading and spelling, have average or higher
intelligence, adequate opportunities to learn to read and write, have no
sensory or severe neurological damage, nor even psychiatric or serious
emotional problems". The following types of dyslexia are distinguished, specific
and acquired (Gargalianos, 2011).
In problem behavior or otherwise emotional and behavioral disorders,
emotional, social and behavioral disorders, emotional and behavioral problems
or behavioral problems, there is a lack of valid and reliable criteria for
accurately measuring personality, adaptation, anxiety or other psychological
concepts relevant to the definition of the problem. Research data show that
deviations and disturbances in children's behavior at school are major sources
of stress and anxiety for teachers (Kyriacou, 1996). This means that teachers
are not sufficiently informed to deal with their students who have behavioral
problems. The role of the teacher, not only in the educational course of
students, but also in the development of their personality, becomes important.
One of the most common behavioral disorders is ADHD (attention deficit
hyperactivity disorder). The term refers to children and adults who experience
severe behavioral and cognitive difficulties in important areas of their lives:
interpersonal relationships, school, work and family, due to excessive motor
activity and problems with attention and impulse control (Kakouros and
Maniadaki, 2000). According to Vlassopoulou et al., the main symptoms of ADHD
are: attention deficit, impulsivity and hyperactivity (Vlassopoulou et al.,
2007).
Theatrical practice is defined by a double need: expression and
communication. Thus, there is Theatrical Play from the moment one expresses
oneself for others with movement and/or speech, with pleasure (Faure &
Lascar, 2001). It is a game whose basic techniques result in the joy of
playing, expression and communication. The contribution of theatre in the form
of theatrical animation to the teaching process is supported by many studies,
regardless of the method and practices they propose (Kefalaki, 2012). In many
countries it is applied as a means of learning and is associated with
activities such as the development of work plans, environmental education
programs, health education, etc. (Kontogianni, 2000). In Greece, many experts
stress that the application of such methods in the teaching of lessons results
in the strengthening and enrichment of teaching, the cooperation and active
participation of students, the change in the teacher's communication relationship.
The theatrical act is defined by a double need: expression and communication.
Therefore, there is theatrical play from the moment one expresses oneself for
others by movement and/or speech, with pleasure (Faure & Lascar, 2001). It
is a game whose basic techniques result in the joy of playing, expressing and
communicating. The contribution of Theatre in the form of Theatrical Animation
to the teaching process is supported by many studies, regardless of the method
and practices proposed (Kefalaki, 2012). In many countries it is applied as a
means of learning and is associated with activities such as the development of
work plans, environmental education programs, health education, etc.
(Kontogiannis, 2000). In Greece, many experts emphasize that the application of
such methods in the teaching of lessons results in the strengthening and
enrichment of teaching, the cooperation and active participation of students,
the change in the teacher-student communication relationship (Grammatas, 1997),
the possibility of aesthetic shaping of the course, the contribution to the
clarification, understanding and discovery of knowledge, the development of
critical thinking (Kouretzis, 1997), as well as the interdisciplinary and
interdisciplinary approach to knowledge (Govas, 2001). The aim of this paper is
to record the opinions of the interviewed teachers regarding the training of
teachers on the Theatrical Game.
2.
Research Methodology
A questionnaire with closed-ended questions was used as a research tool,
which was created exclusively to meet the requirements of this research. Five
of the questions of the specific questionnaire related to training issues, and
these are presented in this paper. The selected sample consisted of 70 primary
education teachers in Attica, with the largest percentage of
participants/participants being women. The sample size was chosen in proportion
to other similar studies (Giavrimis, Papanis, Neofotistos and Valkanos, 2010;
Tsiaras, 2004; Kalaitzidis, Blitsas, 2012). The selection of teachers was done
randomly and impartially (Zafeiropoulos, 2005). Experience was the criterion.
More specifically, the selected teachers of the sample had the experience of
teaching at least one student with learning difficulties/dyslexia or with
behavioral problems or with attention deficit/hyperactivity disorder, during
the questionnaire response. The research was carried out in 25 primary schools
of the Prefecture Attica, of which 5 were private. Of the 20
public, 3 were special schools. The choice of schools was deliberate, as most
of the studied learning difficulties, due to their characteristics, are found
in the entire range of schools and not exclusively in special schools. For this
reason, mainly public and private general education schools were chosen. At the
same time, special school teachers were also selected, however in a smaller
proportion than general ones, so that a complete record of the opinions of
teachers working in all types of primary education schools can be made. It is
pointed out, however, that the studied learning difficulties lead the students
to general education schools and follow the general trend for uniform
education. The areas in which the schools are located cover the North, South,
West and Central sectors of Athens, Piraeus, East and West Attica, apart from the
island complex of Argosaronicos, Troizena and Kythera, due to a weak approach
of the teachers in the due to regions. The purpose of this selection is to
record the different social and economic stratification of the population, as
well as the different degree of urbanization. That is, the degree that captures
the urbanization of the environment in which all participants in the
educational process live, train and work. Both the teachers and the children
who come from an urban environment, have come into contact as spectators or as
actors with the official theatrical act or with parallel forms of theater
education. The research lasted a total of one and a half months, starting on
23/03/2023 and ending on 10/05/2023. The completion and collection of the questionnaires
was done with the physical presence of the researcher in the school units where
the teachers served.
3.
Analysis of the Data
The training of teachers in Theatrical Game was examined through
questions related to basic education, the method of acquisition and the level
of knowledge, the necessity or not of training, as well as the adequacy of
knowledge for the purpose of its application.
In the
first table, it is recorded whether the knowledge in Theater Game was mastered
during the basic pedagogical education.
Table 1
|
Did you receive training in Drama as part of your basic education? |
Rate |
|
Now |
40 (57,1%) |
|
Yes |
30 (42,9%) |
From the above table it appears that the majority of the sample has not
acquired theater training in their basic curriculum, since 40 teachers answer
that they have not received corresponding training in the context of their
basic studies (57.1%).
Regarding
the investigation of the way of acquiring the knowledge about the Theatrical
Game, the response of the sample is shown in Table 2.
Table 2
|
How did you gain knowledge about Theater Game? |
Rate |
|
From personal information and experience |
32 (45,7%) |
|
From participation in corresponding seminars |
25 (35,7%) |
|
From participation in a theater group |
7 (10%) |
|
From studies in Theater pedagogy |
6 (8,6%) |
he main way of acquiring theatrical knowledge comes from the
non-university area. Specifically, 45.7% of the respondents answered that they
acquired them through personal information and experience and 35.7% from
participation in seminars, while 10% stated that they themselves participated
in theater groups and only one 8, 6% have formal relevant studies in Theater
pedagogy.
Regarding the self-characterization of the level of knowledge, the
evaluations are reported in Table 3.
Table 3
|
Describe your level of knowledge and skills in Drama |
Rate |
|
Average |
30 (42,9%) |
|
Low |
24 (34,3%) |
|
Very good |
9 (12,9%) |
|
I have no knowledge |
6 (8,6%) |
|
Excellent |
1 (1,4%) |
In their self-assessment of the level of knowledge, most participants
answer that it is either at a moderate (42.9%) or at a low level (34.3%). Few
teachers answer that they have a very good or excellent level of knowledge
(12.9% and 1.4% respectively), while some answer that they have no relevant
knowledge at all (8.6%).
Table 4 shows the necessity
of training in theatrical knowledge.
Table 4
|
Should the training of teachers in Theater Games be compulsory? |
Rate |
|
Yes |
58 (82,9%) |
|
Now |
12 (17,1%) |
The majority of teachers (82.9%) believe that the training of teachers
in Theater Play should be mandatory.
The self-characterization of the teachers in terms of the degree of
competence is shown in Table 5.
Table 5
|
Is your knowledge of Theater Game sufficient to apply it? |
Rate |
|
Not at all |
8 (11,4%) |
|
Minimum |
21 (30%) |
|
A little bit |
25 (35,7%) |
|
Very |
12 (17,1%) |
|
Very much |
4 (5,7%) |
The teachers feel that their knowledge is little or not enough to
implement the Theater Game (total 77.1% of the sample) and only 22.8% consider
that their knowledge is very and very sufficient.
The relevant findings for the first research question show that the
participants have a moderate contact with the Theater Game and their knowledge
does not reach depth. A fairly large number of the sample has not received any
training related to Theatrical Game from their basic educational studies. This
is an indicator of the fragmentary and incomplete way of integrating theatrical
educational tools into the offered subjects of the educational programs of the
country's Pedagogical Institutions or the low degree of choice of the possible
courses offered by the students. The sources of knowledge about Theatrical Play mist vary. It is mainly informal knowledge and learning, since more than
half of the teachers in the sample answered that the main source of knowledge
was the personal effort for information and their participation in a theater
group. It is encouraging that a significant number of teachers have
participated in relevant seminars. It is most likely that their participation
takes place in their personal time and the costs are covered by them, as they
are probably private seminars. This means that rather as active teachers, with
experience in teaching, they realize the importance of theater techniques in
education and do not hesitate to invest at their own cost to update themselves
on the subject. So, an education provided free of charge as part of the basic
studies (Departments of Pedagogical Studies), combined with the relevant
parallel general aesthetic education from both primary and secondary education
and social informal culture, is likely to activate potential teachers and it
will attract their interest. The training provided should be continued during
the working life of the teachers, through short-term continuing education
programs provided by the state structures.
In addition, their level of knowledge mostly ranges between low and
moderate, with only a few teachers reporting that they have a very good or
excellent level of knowledge. Perhaps more worrying is that a fairly
significant number of respondents answered that they had no knowledge at all.
After all, most of them report that their knowledge is little or not sufficient
to implement the Theater Game. However, they have a positive opinion about the
mandatory training of teachers in Theater Play, as evidenced through the
quantitative analysis of their answers, in which they point out that this
should be the case. It may therefore be that, because of the experience they
now have as teachers, they feel that as learners in their basic studies at university
they should receive a relevant theater education focused on education, which
will help them to face their teaching work today. In addition, the lack of
training is too much or too big an obstacle for most educators when it comes to
the implementation of the Theater Game.
In conclusion, although the teachers state that they have insufficient
knowledge and contacts with the proposed educational approach, they
nevertheless believe in the mandatory and formal form of training and accept it
as an alternative way of teaching.
Conclusions
and Suggestions for Further Study
The findings of the present study highlight that the theatrical game can
offer:
a)
knowledge about basic issues of strengthening social integration,
b)
development of self-esteem,
c)
negotiation of negative emotions (fear, rejection) and
c)
entertainment.
The present research comes to give a trigger for further reflection on
its use theatrical play in the educational process. It emphasizes that it is a
suitable tool in the hands of educators of children with special needs, and as
such should be used in the daily practice of educating these children. In
particular, its main objectives syllabus can be more easily mastered through
drama activities.
Dramatic play can help children with special needs become familiar with activities
and behaviors necessary for autonomous or semi-autonomous living. The drama
play can be applied to a variety of educational programs, such as using home devices,
technology, public transport, financial and social transactions, etc.
What is recommended is teachers and all those involved in the education
of children with special needs to be trained in play activities so that they
can they offer all the advantages and positive effects of dramatic art to
students their.
Finally, the findings of the study reinforce the position that children
with special needs have a right in learning through alternative education
methods that enable them to experience situations of everyday life through the
use of theatrical play, painting and music. Within such educational contexts
the child with special needs stands out for the his abilities and not for his
inabilities and he is educated as a separate entity that he has right to
education and above all right to life itself.
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