Drama Classes

Sustainable Development Goals (SDG)

• 4. Quality education
• 5. Gender equality

Objectives

The course offers future teachers the opportunity to explore, work and reflect on their skills in corporal and dramatic expression and to explore ways of applying them in their professional practice.

Objectives

• To deepen awareness and expressiveness of one's own body and vision.
• Develop spontaneity, creativity and imagination.
• Discover and learn dramatic resources such as puppets, shadow theatre and image theatre.
• Get to know and practise storytelling.
• Explore the performing arts as a formative experience.

Note: This course is taught in English. Students acquire the necessary skills and strategies to be able to teach dramatic expression in contexts of integrated learning of foreign languages and contents (CLIL).

Learning outcomes

• Shows sensitivity for expression in dramatic, corporal and verbal language. (LO1)
• Uses different dramatic and audiovisual resources for their application in the classroom. (LO5)
• Communicates to all types of audiences (specialised or not) in a clear and precise way knowledge, methodology, ideas, problems and solutions in the field of primary education. (LO9)
• Expresses him/herself through body and voice and develops different dramatic techniques. (LO6)
• Shows skills for critical reflection in the processes linked to the exercise of the teaching profession. (LO10)
• Assumes different responsibilities in individual or collaborative work and evaluates the results obtained. (LO11)

Competencies

General skills

• Establish systemic connections between fields of knowledge.

Specific skills

• Design, plan and assess teaching proposals for different areas of the curriculum, consistent with theories of learning and encouraging cooperative work.
• Encourage artistic and creative expression, through didactic proposals to stimulate creativity and sensitivity to artistic discourse and forms.

Basic skills

• Students can communicate information, ideas, problems and solutions to both specialists and non-specialists.

Core skills

• Be a critical thinker before knowledge in all its dimensions. Show intellectual, cultural and scientific curiosity and a commitment to professional rigour and quality.
• Interact in international and worldwide contexts to identify needs and and new contexts for knowledge transfer to current and emerging fields of professional development, with the ability to adapt to and independently manage professional and research processes.

Content

Actions of the subject

• To become aware of the expressive voice.
• To know and to put into practice the art of puppet manipulation.
• To discover the shadow theatre.
• To deepen and learn through storytelling.
• To reflect and document on performing arts and school.
• To develop a critical and reflexive look from the performing arts.
• To practice with intervention tools of image theatre.

Evaluation

Grade criteria allows the monitoring and progress of students in relation to the established objectives to be assessed through the use and comparison of different assessment techniques. The following assessment instruments are used:

Observation of participation and recording of monitoring and activities: 30% of the final grade.
The progress in the different dramatic activities is monitored and evaluated. The use and participation during the directed or autonomous work sessions and the application and work of new concepts, skills and attitudes acquired through the analysis and reflection of the evaluation activities themselves using the dramatic techniques proposed are also evaluated (RA1, RA2, RA3, RA5) [not recoverable].
Project in which students participate in the creation and representation through the dramatic resources presented: 40% of the final grade (RA1, RA2, RA3, RA4, RA5) [recoverable]. And, in parallel, viewing and learning of dramatic works related to the resources presented (RA4 and RA5) [recoverable].

Synthesis work: 30%.
Students must carry out different synthesis activities that are proposed at different moments of the learning process. [recoverable].

This subject has only one official open call per year.

Methodology

During the period of contact with the subject, an initial training activity is carried out to review the basic work plan in relation to the characteristics of the group. Subsequently, the work plan is revised and adapted according to the pace and demands arising from the learning process itself. Tutorials are included in the timing of the work plan without losing flexibility in order to meet the demands and needs that may arise during the semester.

The practical work sessions are interspersed with the theoretical work sessions during which the process of reflection and analysis is carried out.

The course is designed as a space for creation, exploration and dialogue based on the idea of the workshop as a place from which to act and reflect on one's own practice. This workshop seeks to establish a relationship with real environments that involve an overflow of the usual dynamics that occur in the classroom.

Bibliography

Key references

• Boal, Augusto (2002). Games for Actors and Non-Actors (2 ed.). Routledge.
• Carey, David., Clark Carey, Rebecca (2008). Vocal arts workbook: A practical course for achieving clarity and expression with your voice. Methuern Drama.
• Chuvarovsky, Tamara (2016). Cuentos para ver, oír y sentir: Cuentos breves para narrar, teatralizar y representar con títeres de mesa (4 ed.). Tamara Chuvarovsky.
• Rodari, Gianni (2008). Gramàtica de la fantasia. Proa Les Eines.
• Tudorache, Andreea-Loredana (2013). Methods for Social Change: Image and Forum Theatre. A.R.T. Fusion Association.

Further reading

Teachers will provide complementary bibliography and compulsory reading throughout the course via the Virtual Campus.