DYSL2007 Learning Through the Drama Of Second Life

Slide 1: Learning through the Drama of Second Life ® Kim Flintoff Edith Cowan University and dysl2007 Queensland University of Technology

Slide 2: Process Drama A complex form of “improvisation” Home Creative/ structured play Participatory performance – are inside the performance An “open” work, meaning is negotiated… a ‘writerly’ (Barthes) text Always Fiction dysl2007

Slide 3: Process Drama Process Drama is a group engagement in a Home 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

Slide 4: Process Drama Metaxis has been defined as "the state Home of belonging completely and simultaneously to two different autonomous worlds" (Boal 1995) dysl2007

Slide 5: Planning Process Drama The stages in planning and implementing Home 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

Slide 6: Planning Process Drama • Climate Setting Home • Pretext • Enrolling • Belief Building • Injection of tension • Deepening tension • Resolution • Reflection inside the action • Reflection outside the action dysl2007

Slide 7: Example: Issues of regulation in Virtual Worlds dysl2007

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Slide 12: Process Drama Conventions Teacher in Role Forum Theatre Home Hotseat Conscience Alley Writing in Role Interview Mantle of the Role Circle Expert dysl2007

Slide 13: DramatARGy The suggestion is that we consider Home adopting some of the structures and assumptions of ARG and combine them with some of the conventional wisdom of Process Drama dysl2007

Slide 14: DramatARGy The level of immersion – potentially 24 hours a day – in every domain of the learner’s life. Metaxis as an extended lived experience. dysl2007

Slide 15: DramatARGy 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

Slide 16: 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

Slide 17: 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

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