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DYSL2007 Learning Through the Drama Of Second Life

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Information about DYSL2007 Learning Through the Drama Of Second Life

Published on November 16, 2007

Author: kimbowa

Source: slideshare.net

Description

This is the presentation used during the Discover Your Second Life day (November, 17, 2007).

http://sldiscoveryday.wikispaces.com/
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Learning through the Drama of Second Life ® Kim Flintoff Edith Cowan University and Queensland University of Technology dysl2007

Home Process Drama A complex form of “improvisation” Creative/ structured play Participatory performance – are inside the performance An “open” work, meaning is negotiated…a ‘writerly’ (Barthes) text Always Fiction dysl2007

Home Process Drama Process Drama is a group engagement in a negotiated fictional space where participants role play (in realistic and creatively expressed forms) around a theme or issue primarily for the benefit of shifts in empathetic understanding and extended perspective. dysl2007

Home Process Drama Metaxis has been defined as "the state of belonging completely and simultaneously to two different autonomous worlds" (Boal 1995) dysl2007

Home Planning Process Drama The stages in planning and implementing a Process Drama vary a bit but can be broken down into a series of phases – the order of which can change depending on the nature of the drama… dysl2007

Home Planning Process Drama Climate Setting Pretext Enrolling Belief Building Injection of tension Deepening tension Resolution Reflection inside the action Reflection outside the action dysl2007

Planning Process Drama

Climate Setting

Pretext

Enrolling

Belief Building

Injection of tension

Deepening tension

Resolution

Reflection inside the action

Reflection outside the action

Example: Issues of regulation in Virtual Worlds dysl2007

dysl2007

 

dysl2007

dysl2007

Home Process Drama Conventions dysl2007 Role Circle Mantle of the Expert Interview Writing in Role Conscience Alley Hotseat Forum Theatre Teacher in Role

Home Dramat ARG y The suggestion is that we consider adopting some of the structures and assumptions of ARG and combine them with some of the conventional wisdom of Process Drama dysl2007

Dramat ARG y The level of immersion – potentially 24 hours a day – in every domain of the learner’s life. Metaxis as an extended lived experience. dysl2007

The level of immersion – potentially 24 hours a day – in every domain of the learner’s life.

Metaxis as an extended lived experience.

Dramat ARG y Elements playful disposition – “generative play” narrative starts tiering innovative use of drama conventions participants create core content “ suspension of disbelief” – accept the alternate reality – sometimes blur it. unlike ARG – find creative/metaphorical/abstract mediums joint construction of reality Some of these elements are drawn from and adapt the work of Christy Dena – http://www.cross-mediaentertainment.com dysl2007

playful disposition – “generative play”

narrative starts

tiering

innovative use of drama conventions

participants create core content

“ suspension of disbelief” – accept the alternate reality – sometimes blur it.

unlike ARG – find creative/metaphorical/abstract mediums

joint construction of reality

DramatARGy Elements greater diegetic engagement multi/trans/mixed media engagement (therefore the potential to be cross-curricular) extended temporality reactive/responsive development of narrative discovery and controlled release of narrative information active engagement is the only way Some of these elements are drawn from and adapt the work of Christy Dena – http://www.cross-mediaentertainment.com dysl2007

greater diegetic engagement

multi/trans/mixed media engagement (therefore the potential to be cross-curricular)

extended temporality

reactive/responsive development of narrative

discovery and controlled release of narrative information

active engagement is the only way

DramatARGy Elements engagement/purpose/participation can all be fragmented and partial comfort with ambiguity/risk/uncertainty always “on” educational focus entertainment is important Some of these elements are drawn from and adapt the work of Christy Dena – http://www.cross-mediaentertainment.com dysl2007

engagement/purpose/participation can all be fragmented and partial

comfort with ambiguity/risk/uncertainty

always “on”

educational focus

entertainment is important

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