Dancing through the fourth wall: Process Drama as an enactment of Critical Pedagogy

This thesis explores the interplay of process drama and critical pedagogy and addresses the question of how the principles of the two pedagogies relate and whether process drama can enact critical pedagogy. While a significant and previously recorded association exists between the principles of critical pedagogy and process drama, the complexities of this relationship demand further examination. This research reveals potential for process drama as an enactment of critical pedagogy and outlines the key elements for practitioners seeking a form of critical process drama. I chose to employ qualitative methods and frame the research as a dance to honour the reflective and responsive quality of critical research. My qualitative research employs two case studies to reflect and inform one another as a cumulative case study In case study A, I analysed the well-known process drama work The Seal Wife by Cecily O'Neill and in case study B, I observed a Mantle of the Expert process drama unit. I focused my analysis of The Seal Wife upon a Melbourne workshop held in 1993 and my analysis relied upon the published account of the workshop, articles responding to it and the draft record of proceedings. I observed a Mantle of the Expert unit conducted over a six-week period and facilitated by an experienced practitioner, as an example through which to consider the form more broadly. This research draws upon arts-based methods, it invites multiple voices and honours the capacity of drama to make meaning through the body. I asked the focus group participants in case study B to engage in drama activities during the group interviews, to stimulate and provoke through the body. I developed a new research method 're-writing in role' to generate and communicate the data. This method involves re-writing the data from the perspective of fictional characters, to highlight key areas of interest. It is considered, obvious and partial reconsideration of initial data and draws upon elements from a range of narrative methodologies to provide a new data generation method. Re-writing in role provided a distanced frame from the factual events which motivated further reflection and welcomed multiple viewpoints. This thesis offers a framework for critical process drama and suggests the methodological innovation of re-writing in role. The research findings offers the six key elements of, Ambiguity, Action, Agitation, Agency, Aesthetics and Hope which cooperate and inform one another around a given theme to open fluid spaces of reflection in action and critical pedagogy.

Name thesis:degree_name

PhD

Level thesis:degree_level

Doctoral

Discipline thesis:degree_discipline

Education

Grantor dc:publisher

ResearchSpace@Auckland

Year dc:date.issued

2019

Author dc:creator

• Coleman, Claire

Advisor dc:contributor.advisor

• O'Connor, P

Statement dc:rights

• Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher.

Licence dc:rights.uri

• https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm

Handle dc:identifier.uri

https://hdl.handle.net/2292/49823

OAI identifier oai:identifier

oai:researchspace.auckland.ac.nz:2292/49823