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DramaPlayShop A case for ICT integration and rethinking the role of Drama Education http:// dramaplayshop .org http://drama-education.com
Background Norway 2001 4 th  IDEA WORLD CONGRESS Special Interest Group #7 was convened for the first time to look at Drama and New Media
The congress wanted to allow multifarious dramatic activities, which would focus on ethical issues and drama/theatre as an artistic, educational and cultural practice. The four congress themes were connected to global challenges, respect for the individual, personal and cultural identity, dialogue between cultures and cultural expressions and challenges linked to the new media:  •  New dramatic expression in the contemporary multi-media society • Building cultural competence through drama/theatre • Dramatic arenas for ethical dialogues • Reality at stake. Drama/theatre confronting a troubled world.   Background
Background Canada 2004 5 th  IDEA WORLD CONGRESS Special Interest Group #7 was reconvened. 55 delegates attended
Drama and Technology 1996 – Edith Cowan University Graduate Diploma of Education
Drama and Technology Drama and IT: Discovering the Human Dimension by Jonothan Neelands;  National Council for Educational Technology (NCET); (1993)   Students should be enabled to use IT in creative and imaginative contexts as an entitlement and in order to enhance their understanding of its power, how it can be used and the extent to which they have control over it.
Drama and Technology Computers as Theatre Brenda Laurel Addison-Wesley Pub Co. (1993)
… ..since 1997  Lifeforms project (http://www.lifeforms.com/) gener8 @rts   Awesome Festival
… ..since 1997  Lost Cities MOO (QUT Brisbane) Project Woomera (2002) Online Process Drama  94 realtime participants
… ..since 1997  Active Worlds Educational Universe http://www.activeworlds.com
The state of play?
Electronic/Digital Arts? David Haines “ The work uses Six degrees of freedom for navigation. The  work uses extensive number of  video textures with alpha channels to create a richly cinematic environment along with hand modelled 3d objects to make up the world.  In this prototype, navigation is via a traditional game controller but the work will eventually use neural feedback i.e.  thought  control  for navigation.”
Digital Spaces? levitation grounds Hinterding and Haines http://www.sunvalleyresearch.com
New Spaces for Enactment? A completely new approach to online/virtual performance, theatre and storytelling is in development. http://www.upstage.org.nz/ UpStage (NZ)
CyberPerformance? New interfaces provide new ways of thinking about the world, art, design and performance.
globally dispersed cyberformance? Avatar Body Collision   A B C http://www.avatarbodycollision.org/abc/
Really Virtual? Uncle Roy All Around You Blast Theory http://www.blasttheory.co.uk/
Virtual-Real Research? MRL – Mixed Reality Lab http://www.mrl.nott.ac.uk/ Kevin Warwick I, Cyborg
Predictable Future? ,[object Object]
We are the Borg
Beyond the Interface
Who am I today?
Who will I be tomorrow?
Drama as a frame for exploration? Where else in school do we get to ask questions and explore the human implications of “cyberculture” ?
The Nature of Drama in ICT interactions Often the introduction of ICT with Drama generates a focus on “product” archival artifact (learning objects)  ----- more exciting possibilities lie within the exploration of ROLE, IDENTITY and CONSTRUCTION OF NARRATIVE within virtual environments, or utilising virtual spaces.
Drama creates new metaphors? Drama works explicitly with Metaphor – we need new metaphors to accommodate new technologies http://peace.saumag.edu/faculty/Kardas/Courses/CS/spratt.htm
To the Spice Islands Prof John Carroll at CSU has utilised online interaction to develop a “new media” form of Process Drama. http://www.csu.edu.au/faculty/arts/commun/newmedia/batavia/index.html
Computer games as theatre. “ Role-playing games are theatrical in a non-traditional but thrilling way.  Players are both actors and audience for one another, and the events they portray often have the immediacy of personal experience ”  Janet Horowitz Murray  “ Hamlet on the Holodeck”
Computer games as theatre. MMORPG M assive  M ultiplayer  O nline  R ole  P laying  G ames  Why aren’t we using these as educational role-playing environments?
Fear of the Unknown “ The birth of a new medium of communication is both exhilarating and frightening.  Any industrial technology that dramatically extends our capabilities also makes us uneasy by challenging our concept of humanity itself.” Janet Horowitz Murray  “ Hamlet on the Holodeck”
Virtual Performance Examples   Theatre has been quick to adopt and explore the possibilities – what happened to Drama Education?
Virtual Performance Examples   Universities are utilising their resources to explore possibilities;  how do we translate to the classroom?
Virtual Performance Examples   Drama teachers need to see beyond the footlights – new futures exist for our students.
A vehicle for inclusion? Physical, social and emotional limitations might be challenged by engaging with technology
The place of drama teachers
The scope of our teaching It is possible we may need to redefine our function as Drama teachers. Where else will students explore the implications of the virtual?
The Learning Process One of the positive offerings of technology such as the Internet is the ability to engage with multiple users in real-time.  This should be familiar territory for Drama teachers provided they are not overwhelmed by new interfaces.   Group Interaction still the core
Take the Red Pill – See the Matrix The nature of all human interaction – including Drama is modified in a digital world.  Teachers need to  add  to their ways of perceiving and presenting Drama and Computing.
Starting Points ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Computers  before  the Drama ,[object Object],[object Object],[object Object],[object Object],[object Object]
Computers  during  the Drama ,[object Object],[object Object],[object Object]
Computers  after  the Drama ,[object Object],[object Object],[object Object],[object Object],[object Object]
Computers  in  the Drama ,[object Object],[object Object],[object Object]
Drama  in  the Computer  ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
And new dimension  Drama in real and virtual spaces can intersect.
What answers will emerge?? Why aren’t I seeing all this exciting engagement with technology in the schools I visit around the state, the nation and the world?

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Digital Pretext: DramaPlayshop

  • 1. DramaPlayShop A case for ICT integration and rethinking the role of Drama Education http:// dramaplayshop .org http://drama-education.com
  • 2. Background Norway 2001 4 th IDEA WORLD CONGRESS Special Interest Group #7 was convened for the first time to look at Drama and New Media
  • 3. The congress wanted to allow multifarious dramatic activities, which would focus on ethical issues and drama/theatre as an artistic, educational and cultural practice. The four congress themes were connected to global challenges, respect for the individual, personal and cultural identity, dialogue between cultures and cultural expressions and challenges linked to the new media: • New dramatic expression in the contemporary multi-media society • Building cultural competence through drama/theatre • Dramatic arenas for ethical dialogues • Reality at stake. Drama/theatre confronting a troubled world. Background
  • 4. Background Canada 2004 5 th IDEA WORLD CONGRESS Special Interest Group #7 was reconvened. 55 delegates attended
  • 5. Drama and Technology 1996 – Edith Cowan University Graduate Diploma of Education
  • 6. Drama and Technology Drama and IT: Discovering the Human Dimension by Jonothan Neelands; National Council for Educational Technology (NCET); (1993) Students should be enabled to use IT in creative and imaginative contexts as an entitlement and in order to enhance their understanding of its power, how it can be used and the extent to which they have control over it.
  • 7. Drama and Technology Computers as Theatre Brenda Laurel Addison-Wesley Pub Co. (1993)
  • 8. … ..since 1997 Lifeforms project (http://www.lifeforms.com/) gener8 @rts Awesome Festival
  • 9. … ..since 1997 Lost Cities MOO (QUT Brisbane) Project Woomera (2002) Online Process Drama 94 realtime participants
  • 10. … ..since 1997 Active Worlds Educational Universe http://www.activeworlds.com
  • 11. The state of play?
  • 12. Electronic/Digital Arts? David Haines “ The work uses Six degrees of freedom for navigation. The  work uses extensive number of  video textures with alpha channels to create a richly cinematic environment along with hand modelled 3d objects to make up the world. In this prototype, navigation is via a traditional game controller but the work will eventually use neural feedback i.e. thought  control for navigation.”
  • 13. Digital Spaces? levitation grounds Hinterding and Haines http://www.sunvalleyresearch.com
  • 14. New Spaces for Enactment? A completely new approach to online/virtual performance, theatre and storytelling is in development. http://www.upstage.org.nz/ UpStage (NZ)
  • 15. CyberPerformance? New interfaces provide new ways of thinking about the world, art, design and performance.
  • 16. globally dispersed cyberformance? Avatar Body Collision A B C http://www.avatarbodycollision.org/abc/
  • 17. Really Virtual? Uncle Roy All Around You Blast Theory http://www.blasttheory.co.uk/
  • 18. Virtual-Real Research? MRL – Mixed Reality Lab http://www.mrl.nott.ac.uk/ Kevin Warwick I, Cyborg
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  • 20. We are the Borg
  • 22. Who am I today?
  • 23. Who will I be tomorrow?
  • 24. Drama as a frame for exploration? Where else in school do we get to ask questions and explore the human implications of “cyberculture” ?
  • 25. The Nature of Drama in ICT interactions Often the introduction of ICT with Drama generates a focus on “product” archival artifact (learning objects) ----- more exciting possibilities lie within the exploration of ROLE, IDENTITY and CONSTRUCTION OF NARRATIVE within virtual environments, or utilising virtual spaces.
  • 26. Drama creates new metaphors? Drama works explicitly with Metaphor – we need new metaphors to accommodate new technologies http://peace.saumag.edu/faculty/Kardas/Courses/CS/spratt.htm
  • 27. To the Spice Islands Prof John Carroll at CSU has utilised online interaction to develop a “new media” form of Process Drama. http://www.csu.edu.au/faculty/arts/commun/newmedia/batavia/index.html
  • 28. Computer games as theatre. “ Role-playing games are theatrical in a non-traditional but thrilling way. Players are both actors and audience for one another, and the events they portray often have the immediacy of personal experience ” Janet Horowitz Murray “ Hamlet on the Holodeck”
  • 29. Computer games as theatre. MMORPG M assive M ultiplayer O nline R ole P laying G ames Why aren’t we using these as educational role-playing environments?
  • 30. Fear of the Unknown “ The birth of a new medium of communication is both exhilarating and frightening. Any industrial technology that dramatically extends our capabilities also makes us uneasy by challenging our concept of humanity itself.” Janet Horowitz Murray “ Hamlet on the Holodeck”
  • 31. Virtual Performance Examples Theatre has been quick to adopt and explore the possibilities – what happened to Drama Education?
  • 32. Virtual Performance Examples Universities are utilising their resources to explore possibilities; how do we translate to the classroom?
  • 33. Virtual Performance Examples Drama teachers need to see beyond the footlights – new futures exist for our students.
  • 34. A vehicle for inclusion? Physical, social and emotional limitations might be challenged by engaging with technology
  • 35. The place of drama teachers
  • 36. The scope of our teaching It is possible we may need to redefine our function as Drama teachers. Where else will students explore the implications of the virtual?
  • 37. The Learning Process One of the positive offerings of technology such as the Internet is the ability to engage with multiple users in real-time. This should be familiar territory for Drama teachers provided they are not overwhelmed by new interfaces. Group Interaction still the core
  • 38. Take the Red Pill – See the Matrix The nature of all human interaction – including Drama is modified in a digital world. Teachers need to add to their ways of perceiving and presenting Drama and Computing.
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  • 45. And new dimension Drama in real and virtual spaces can intersect.
  • 46. What answers will emerge?? Why aren’t I seeing all this exciting engagement with technology in the schools I visit around the state, the nation and the world?