DYSL2007 Learning Through the Drama Of Second Life

1,161 views

Published on

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

http://sldiscoveryday.wikispaces.com/

Published in: Technology, Education
0 Comments
1 Like
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total views
1,161
On SlideShare
0
From Embeds
0
Number of Embeds
29
Actions
Shares
0
Downloads
0
Comments
0
Likes
1
Embeds 0
No embeds

No notes for slide

DYSL2007 Learning Through the Drama Of Second Life

  1. 1. Learning through the Drama of Second Life ® Kim Flintoff Edith Cowan University and Queensland University of Technology dysl2007
  2. 2. 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
  3. 3. 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
  4. 4. Home Process Drama Metaxis has been defined as "the state of belonging completely and simultaneously to two different autonomous worlds" (Boal 1995) dysl2007
  5. 5. 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
  6. 6. Home <ul><li>Planning Process Drama </li></ul><ul><li>Climate Setting </li></ul><ul><li>Pretext </li></ul><ul><li>Enrolling </li></ul><ul><li>Belief Building </li></ul><ul><li>Injection of tension </li></ul><ul><li>Deepening tension </li></ul><ul><li>Resolution </li></ul><ul><li>Reflection inside the action </li></ul><ul><li>Reflection outside the action </li></ul>dysl2007
  7. 7. Example: Issues of regulation in Virtual Worlds dysl2007
  8. 8. dysl2007
  9. 10. dysl2007
  10. 11. dysl2007
  11. 12. Home Process Drama Conventions dysl2007 Role Circle Mantle of the Expert Interview Writing in Role Conscience Alley Hotseat Forum Theatre Teacher in Role
  12. 13. 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
  13. 14. Dramat ARG y <ul><li>The level of immersion – potentially 24 hours a day – in every domain of the learner’s life. </li></ul><ul><li>Metaxis as an extended lived experience. </li></ul>dysl2007
  14. 15. Dramat ARG y Elements <ul><li>playful disposition – “generative play” </li></ul><ul><li>narrative starts </li></ul><ul><li>tiering </li></ul><ul><li>innovative use of drama conventions </li></ul><ul><li>participants create core content </li></ul><ul><li>“ suspension of disbelief” – accept the alternate reality – sometimes blur it. </li></ul><ul><li>unlike ARG – find creative/metaphorical/abstract mediums </li></ul><ul><li>joint construction of reality </li></ul>Some of these elements are drawn from and adapt the work of Christy Dena – http://www.cross-mediaentertainment.com dysl2007
  15. 16. DramatARGy Elements <ul><li>greater diegetic engagement </li></ul><ul><li>multi/trans/mixed media engagement (therefore the potential to be cross-curricular) </li></ul><ul><li>extended temporality </li></ul><ul><li>reactive/responsive development of narrative </li></ul><ul><li>discovery and controlled release of narrative information </li></ul><ul><li>active engagement is the only way </li></ul>Some of these elements are drawn from and adapt the work of Christy Dena – http://www.cross-mediaentertainment.com dysl2007
  16. 17. DramatARGy Elements <ul><li>engagement/purpose/participation can all be fragmented and partial </li></ul><ul><li>comfort with ambiguity/risk/uncertainty </li></ul><ul><li>always “on” </li></ul><ul><li>educational focus </li></ul><ul><li>entertainment is important </li></ul>Some of these elements are drawn from and adapt the work of Christy Dena – http://www.cross-mediaentertainment.com dysl2007

×