• Korean Journal of Child Studies
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• v.25 no.5
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• pp.41-58
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• 2004

This study examined the relations between children's Impulsivity temperament, socio-dramatic play, and self-regulation of 4-year-old children. Subjects were 117 4-year-old children(59 boys and 58 girls) selected from three kindergartens. Each mother completed a questionnaire on her child's temperament. Naturalistic observations of total socio-dramatic play, complex socio-dramatic play, solitary dramatic play and of self-regulation in two classroom contexts - clean-up periods and group circle time - were conducted for obtaining data. Significance was analyzed by Pearson's correlation and multiple regression analysis. Children's Impulsivity was negatively related to self-regulation and to total and complex socio-dramatic play, but impulsivity was positively related to solitary dramatic play. Total and complex socio-dramatic play was positively related to self-regulation while solitary dramatic play was negatively related to self-regulation. Total and complex socio-dramatic play, and solitary dramatic play displayed a mediating role between impulsivity and self-regulation during clean-up periods.

• Korean Journal of Child Studies
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• v.19 no.2
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• pp.159-171
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• 1998

This study compared Korean and American children on scaffolding by peers during dramatic play. Thirty Korean and twenty American 5-year-old kindergarteners participated. The data were analyzed by Spradly's (1980) Developmental Research Sequence (DRS), using qualitative methods. The results showed that the categories of scaffolding (theme and communication) occurred more frequently among American children than among Korean children. In both cultures, more capable peers scaffolded children during dramatic play and were able to extend the dramatic play.

• Korean Journal of Child Studies
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• v.16 no.1
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• pp.167-181
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• 1995

The purpose of this study was to examine how the intervention of a literacy environment influences young children's literacy behavior in dramatic play. Four classrooms at S kindergarten and Y kindergarten in Seoul were randomly selected for this study. Each of the classrooms was designated as an experimental group: that is, experimental group A (38 children), experimental group B (34 children), experimental group C (35 children) and a Control group (40 children), respectively. Group C was provided with literacy materials, theme of dramatic play and teacher's intervention. Group B was provided with literacy materials and theme of dramatic play. Group A was provided with only literacy materials. It was found that the intervention of the literacy environment in dramatic play brought about an increase in children's total literacy behavior, increase in the frequency of children's reading behavior, and increase in the frequency and function of children's writing.

• Korean Journal of Human Ecology
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• v.5 no.1
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• pp.1-14
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• 1996

The purpose of this study was to examine children's dramatic play and dramatic play themes in the same-age and mixed-age kindergarten classrooms. The subjects were 45 children in three classrooms of 4-year-olds, 69 children in three classrooms of 5-year-olds, and 60 children in three mixed-age classrooms of 4-and 5-year-olds. Observations were conducted by videotape recordings. Observation periods were of five-minutes duration. There were ten observations of children's indoor free-play periods. Four-and five-year-olds in mixed-age classrooms were more likely to engage in group-dramatic play than 4-and 5-year-olds in same-age classrooms. Four-year-olds in mixed-age classrooms were more likely to engage in domestic and family, war/violence, school, animal, and vehicle play themes than 4-year-olds in same-age classrooms. However, 5-year-olds in mixed-age classrooms were more likely to engage in family and school play themes than 5-year-olds in same-age classrooms. 5-year-olds in same-age classrooms were more likely to engage in vehicle and animal play themes than 5-year-olds in mixed-age classrooms. 5-year-olds in same-age classrooms did not differ from 5-year-olds in mixed-age classrooms on the war/violence themes used during dramatic play. In terms of sex differences, boys were more likely to engage in violence, adventure fantage themes than girls. Conversely girls were more likely to engage in family/marriage static play themes than boys.

• Korean Journal of Child Studies
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• v.21 no.1
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• pp.253-268
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• 2000

The social dramatic play of seventeen five-year-old children was videotaped and transcribed for analysis of Intersubjectivity and play role types. The teachers of the children rated children's social competence. Results showed that children's Intersubjectivity in social dramatic play was related to their play role types and peer competence. Children with a high level of Intersubjectivity play leading roles during social dramatic play and were rated as socially competent by their teachers. The results were discussed from the Vygotskian perspective. Implications for early childhood teachers and suggestions for future studies were provided.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• Korean Journal of Human Ecology
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• v.19 no.3
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• pp.443-453
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• 2010

This study analyzed the effects of dramatic play using Economic-fairy tales on young children's basic- economic understanding and the consumer behavior. The participants in this study were 42 young children who attended a kindergarten in G city. The mean age of participants was 70 months. The experimental group participated in 'Dramatic play using Economic-fairy tales' while the control group participated in a 'Discussion activity using Economic-fairy tales'. The experiment used 'The Basic-Economic Concept Test' and 'The Consumer Behavior Test' in the collection of data and T-test was used to statistically analyze the data. Significant differences were found between the experimental group and comparison group in both the post-test score of Basic-Economic Understanding and of Consumer Behavior NOTE. In conclusion, the results of this study suggested that the technique of dramatic play using Economic-fairy tales which was developed in this study are probably effective in developing young children's basic-economic understanding and consumer behavior.

• Korean Journal of Child Studies
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• v.19 no.2
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• pp.173-184
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• 1998

The present study investigated the effects of a theme-relevant play center on children's play behavior and intersubjectivity with an integrated approach to early childhood education. The subjects were 24 kindergarten children (12 boys and 12 girls). Half of the experimental subjects participated in a novel dramatic play center connected with a specific theme for the duration of 5 weeks. pre- and post-testing was conducted for all children. The theme-relevant dramatic play center wits an integrated approach to early education facilitated a high level of play behavior and children's intersubjectivity.

• Journal of Digital Contents Society
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• v.17 no.6
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• pp.531-536
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• 2016

This study highlights the effectiveness of analyzing the feelings children have when interacting with robots in a dramatic play setting using augmented reality in Human Robot Interaction (HRI). Existing dramatic play activities using robots by QR-markers were edited, and their weaknesses have been corrected so that children could interact more effectively with robots. Additionally, children's levels of interest and engagement in dramatic play activities, the accuracy of robotic props, and the smartness of robots were analyzed throughout children's interactions during such activities using augmented reality. Younger participants were more likely to find robots interesting and intelligent, and participants with no previous experience with robots had relatively higher levels of interest in robots and tended to notice changes in robots' costumes.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.539-565
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• 2009

T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.