“In this way, students’ needs were placed at the center of the educational experience… the teacher filled the position of guide or facilitator. As a result of the new ‘child-centered or student-centered’ approach in education, a discussion about educational drama arose in England” (Weltsek-Medina, Blatner & Weiner 2008).-- child/student-centered and focused on intrinsic needs. In the 20th century, a prominent teacher and drama education practitioner, Harriet-Finlay Johnson expressed that drama education focused too much and primarily on adult interpretations. In turn, aesthetic valuation of the ‘product’, production or performance of plays worked on in schools focused primarily on adult cognitive interpretation. (Weltsek-Medina, Blatner & Weiner 2008; Johnson 1900’s). Johnson advocated that the ‘product’ – a play performance – should be by and for the student. Johnson proposed, “… the student should create the product, the play, regardless of how an adult might perceive the outcome. A student’s aesthetics and perspective should be the gauge through which the value of drama or theatrical experience be judged. It is in this way that drama and theatre education might move away from teacher-centered to student-centered” (Weltsek-Medina, Blatner & Weiner; Johnson 1900’s). Process vs Product Drama in Education.
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