[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-315938-105":3,"doc-detail-315938-en":81,"detail-sidebar-cat-0-en-105":98},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","drama-in-the-classroom-a-national-perspective","Drama in the Classroom - A National Perspective","","A national perspective on drama education examines how classroom practice and curriculum policy interact across Australian states. Using observations from teacher visits in Victoria, it contrasts limited external understanding with the complex realities of teaching and learning. The discussion then analyzes curriculum documentation where “Drama” appears infrequently, arguing that policy trends and arts-framework restructuring strengthen drama’s status, particularly through mandated arts learning areas, performing-arts faculties, and Victorian framework and VCE requirements.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & Report",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/drama-in-the-classroom-a-national-perspective/315938/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/drama-in-the-classroom-a-national-perspective/315938.png","ImageObject",300,407,{"name":42,"@type":43},"Dipper","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-30","2026-09-20",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",9,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"Why does the author question whether classroom visits provide full understanding?","Question",{"text":63,"@type":64},"Visits to schools offer insights into teachers’ philosophies and drama programmes, but the author argues that observing part of a complex whole cannot equal complete understanding of teaching and learning.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How does the national curriculum’s treatment of “Drama” affect its perceived importance?",{"text":68,"@type":64},"The author notes that national curriculum documents mention “Drama” only a few times, which can create the impression that it holds little significance, even though state policy suggests a stronger position in practice.",{"name":70,"@type":61,"acceptedAnswer":71},"What policy and structural changes are described as strengthening drama in schools?",{"text":72,"@type":64},"Common mandatory learning areas for a balanced curriculum, development of arts curriculum frameworks, increased performing-arts resourcing, and reforms such as Victoria’s Arts Framework and VCE “Arts” participation are presented as driving expanded drama programmes.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},315938,1790466737,{"code":4,"msg":82,"data":83},"success",{"doc_id":79,"user_id":84,"nickname":42,"user_avatar":85,"doc_module":4,"category_id":86,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":87,"file_id":88,"file_url":89,"file_type":90,"file_size":91,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":86,"language":92,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":93,"faqs":94,"seo_title":95,"seo_description":12,"update_tm":96,"read_time":97,"preview_page_count":4},1374404997633,"https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd",8,"I am fortunate that I also have access to about 60 schools in Victoria through my jobas a Drama Method lecturer at Melbourne University's Institute of Education.I visit allmy third and fourth year B.Ed students during their schoolexperience rounds.This providesme with insights into the philosophy and style of many drama teachers in Victoria and theDrama programmes in many different schools.Although this is helpful I am wary ofclaiming that it gives me a full understanding.It strikes me that what any of us reallyknow about the teaching and learning in someone else's classroom is equivalent to whatwe really know about someone else's marriage.As close colleagues or friends we gain animpression of the quality of the interaction between teacher and students or husband andwife but it is only part of an extremely complex whole truth.No matter how observantwe are,we are outsiders liable to be shocked by an announcement of marital rifts orresignation from the school.We thought they were going so well...!  \nSo I offer the following as my attempt to present the current national position ofdrama.Others may care to add to it,disagree with it and rework it using information theyhave available to them.It has been a task that helped me clarify what I believe are theimportant themes,the differences between us and the uniting factors,the challenges forthe future of NADIE and of drama in our schools.  \nIf you look at a recently published national Curriculum document like Mapping theAustralian Curriculum prepared for all the Education Ministers across Australia,theword 'Drama'appears infrequently.I think it is mentioned only four times:as the 19thmost commonly studied subject in Years 11 and 12 in Queensland.;and as the 20th mostcommon in the Northern Territory;as one of the most common optional subjects at Years7-10in Tasmania;and finally in the section on The Most Common Range of subjects inthe Primary Curriculum it says:\"the six learning areas that are common to all systems areEnglish Language,Maths,Social Studies,Science,Health(Physical Education andPersonal Development)and the Arts bracket(including Music,Art Craft and Drama).”  \nThis quote is significant.The reason why,at first glance,Drama seems not to occupyaplace of any significance in the national curriculum of schools is because of the way theCurriculum is now organized and described.In fact the position of drama in schools inAustralia is,in the main,far stronger than the rhetoric in such documents suggests.  \nAccording to Commonwealth and State educational policy there is now a definitetrend towards an alignment of Drama with the Arts(rather than with English or even asan organizational unit on its own).The definition and interpretation in Curriculum termsof the Arts is still a contentious issue in some States but in most States it has been resolvedto improve Drama's position and status in schools.  \nMost States have now developed six to eight common learning areas which are requiredto be offered to form a “balanced”curriculum for students from their first year of schoolto at least Year 7 and in some States to Year 10.The Arts is one of these mandatory areas(cited as a priority curriculum area in NSW,Queensland and Tasmania in PrimaryCurriculum).  \nAll States,with the exception of NSW,have been developing over the last 7 yearsArts Curriculum Frameworks and/or Guidelines to assist teachers implementing the Artscurriculum.  \n## NJ,33:1,2009\n\nThis policy has affected the way schools are being organised.In Western Australiaand ACT senior colleges have established strong faculties of Performing Arts;the increasedresourcing for the Performing Arts and the often spectacular improvement in facilitieshas worked to Drama's advantage.In Victoria,South Australia and Northern Territoryschools are increasingly forming Visual and Performing Arts faculties to strengthen theirorganizational base and in order to share resources and staffing.  \nIn Victoria,the division of the curriculum into nine Framew","cbCaifeTmCGDIHmI","https://ap.wps.com/l/cbCaifeTmCGDIHmI","pdf",577474,"English","# National position of drama\n## Curriculum documents and the word “Drama”\n## Policy trend: drama aligned with the Arts\n## State approaches and arts frameworks\n## Victoria’s Arts Framework and VCE impact","[{\"question\":\"Why does the author question whether classroom visits provide full understanding?\",\"answer\":\"Visits to schools offer insights into teachers’ philosophies and drama programmes, but the author argues that observing part of a complex whole cannot equal complete understanding of teaching and learning.\"},{\"question\":\"How does the national curriculum’s treatment of “Drama” affect its perceived importance?\",\"answer\":\"The author notes that national curriculum documents mention “Drama” only a few times, which can create the impression that it holds little significance, even though state policy suggests a stronger position in practice.\"},{\"question\":\"What policy and structural changes are described as strengthening drama in schools?\",\"answer\":\"Common mandatory learning areas for a balanced curriculum, development of arts curriculum frameworks, increased performing-arts resourcing, and reforms such as Victoria’s Arts Framework and VCE “Arts” participation are presented as driving expanded drama programmes.\"}]","Drama in the Classroom - A National Perspective | PDF",1789908257,20,{"code":4,"msg":82,"data":99},[100,104,108,112,117,122,127,130,133,136,140],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},"Story & 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