DRUG, PREVENTION, DRAMA AND THEATRE Novák Géza Máté PhD. ELTE BGGYK

1. DRUG, PREVENTION, DRAMA AND THEATRE Novák Géza Máté PhD.ELTE BGGYK

2. 21ST THEATRE IN EDUCATION The 21st Theatre in Education Association was founded in 1998. taking part in public education educate children and young people through theatre drug prevention through drama pedagogy create alternative, experimental theatre performances

3. ABOUT METHODOLOGY drama in education and in the process of learning helps to develop openness, tolerance, a democratic way of thinking it helps us find our way in our world’s communication labyrinth we would like to help them find the way to get over stress and conflicts

4. DRUG PREVENTION WITH DRAMA (1999-2007)

5. Let the World Go!Drug prevention drama program for 13-16 year-old students Aims: awaken the individuals’ responsibility draw attention to the problem of asking for and giving help The class as a community is able to help the classmate who is in crisis The participants of our drama program say that our drama work is effective because it does not act as a deterrent but it is based on such interactive role plays and creating stories in which the player has an opportunity to have their own viewpoint.

6. CONFLICT MANAGAMENT AND PREVENTION FOR THE VIOLENCE FREE SCHOOL – THE MODEL PROJECT OF THE 21STTHEATRE IN EDUCATION ASSOCIATION (2006)

7. PROGRAMME ELEMENTS OF THE PROJECT Relationships (drama workshop) Teresa – complex drama workshops about aggression Intoxication – a complex drama programme about taking responsibility

8. Relationships drama workshop

9. activities including classroom dynamics, skills, relaxing, concentration and trust the aim of the drama play here is to evolve creativity, to develop the personality If we do not consider each other we will not be able to cooperate. When, why and how does this happen? If we would like to resolve this problem then what do we do about it as a member of a community?

10. Teresa – complex drama workshop about aggression

11. What happens in those who are accidentally there as an innocent third person? • physical and emotional abuse towards each other in the classroom • causes crisis situations within a group of children based on fear and aggression • the roles offer a framework • what happens inside us before this happens?

12. help in creating new schemes in their culture of behavior that avoid risks offers an alternative that avoids and rejects the world of drugs and aggression the role of arts that shape personalities and communities involves 900 young people

13. What are the possibilities of a drama teacher in prevention? we should not manage our conflicts be able to understand them think about the same situation in a different way use ’learning through actions’ drama teacher uses a role, acts as an active character of scenes

14. The success of drama programmes: • using pedagogical methods • realized according to special educational needs • Drama can be an effective and powerful tool if it is used to ask questions about the quality of relationships at the school.

15. “Drama is the best way ‘cause you just feel you can be more yourself”

16. A TIE-project in the classroom Basic hypothesis: • Drama and theatre applied in the educational process helps teenagers in the value orientation and value acquisition.

17. The research is focused by following questions What does value acquisition for teenagers? What does value orientation mean for teachers of teenagers? Is there value crisis in the value systems of Hungarian teenagers today? How does one particular theater in education model project influence the value orientation attitudes of teenagers? Due to the affect of the drama project will the pre-observed advantage or disadvantage between the two groups remain or will it disappear by the end of the action research?

18. Target Groups of the action research(2007/2009) • Three secondary school classes of the same age group. • Different social backgrounds (with low and high SES) • different cognitive competences • different socialization from two different cities (Budapest and Vác).

19. Methods of the Research Qualitative methodological procedures: • structured, semi-structured, unstructured interviews • interviews within a focus group • comparative and trend examinations • document analysis • quantitative and qualitative analysis (CA) • recorded audio-visual material (video recording of the workshops)

20. Outcomes after the TIE-project:

21. Analyzing of narratives • Theoretical framework: • „Arts Based Research Practice” (ABR); Leavy 2009; Norris 2000; Conrad 2009. • Keynotes: • Which parts of the TIE-project resonates with the students? • Can they speak confidently and in depth about the TIE-topics? • What are they missing from their own reality? • What kind of values important for them, which is good to move or fight? • How can they interpret it as new understanding, express it and how can they come it to their new own reality? • What kind of personal memories are provoked and how the students deal with them and express them? Can they see the connection to their own lives?

23. References GALLAGHER, K. (2001)Drama Education in the Lives of Girls Toronto, University of Toronto Press. NOVÁK, G. M. (2006): Letthe World Go – DrugPreventionwithDrama. Conflict Management and Prevention for theviolence free school – the model project of The 21st Theatre in Education Association. Ed.: Dr. Attila Sárváry. In: International Visegrad Found. Epidemology and Social Effects of Drug-taking in the VisegradFourcontries. Nyíregyháza. NOVÁK, G. M. (2011): The Effect of DramaonTeenagers’ ValueOrientation: a Theatrein Education Project intheHungarianClassroom.Practice and Theoryin Systems of Education, Volume 6 Number 1/2011, pp: 27-38. SWARTZ,L. (Ed.) (2004): The Bully Issue. OISE/ÚT’s Magazine for Schools, Vol. 34, Toronto.

24. Thank you for your attention! mate.geza.novak@gmail.com