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Young Barbarians (2022), a successful theatrical production by the Hungarian State Theatre of Cluj, Romania, is set against the backdrop of the socio-political tragedies that shaped Central and Eastern Europe in the first half of the 20th century. Inspired by the lives of Hungarian composers and ethnomusicologists Béla Bartók and Zoltán Kodály, this study examines how Young Barbarians provides an effective model for rethinking contemporary tragedy in performance. The analysis focuses on the interplay of various compositional elements, both in their sources and effects: the scenic presence of actors, dancers, choir, and musicians; ethnographic practices tied to the collection of folk music among diverse ethnic groups; and subsequent cultural phenomena, such as the Hungarian dance house movement, which serves as both a revival and a living tradition. The study further explores the dynamic interaction between embodied culture – manifested in the performers’ acting–and written culture, represented by the textual materials informing the performance. Given the multilayered contextuality of the production, the research also addresses how the play mediates specific stages of crisis within the multilingual, multi-ethnic regional setting. [ABSTRACT FROM AUTHOR]

Children have a right to play, as outlined by the United Nations, due to its important role in holistic development. However, as with many other human rights, children's access to their right to play was disrupted by the COVID-19 pandemic and associated restrictions. With several studies demonstrating the ways in which children's play changed during times of restriction, this research aimed to explore whether these changes continued to be observed once restrictions had lifted. A mixed methods design was utilised: a 22-item questionnaire was distributed by schools in England to 124 caregivers who shared their observations of their children's play during times of restriction and the six months prior to data collection. Quantitative analysis demonstrates that increases in time to play, adult-child play, and outdoor play during the pandemic had been counteracted since restrictions were lifted; however, device play remained elevated. Qualitative comments highlight the impact of children's affect on their play, the activities children chose to pursue, and the extent of increases in screen time. The implications of these findings are discussed, including a need to place greater value on play in the home and the role of educational psychologists in supporting this. [ABSTRACT FROM AUTHOR]

The text features interviews with women professionals in the creative industries, such as cinematography, post-production, costume design, and filmmaking. The practitioners share their career paths, obstacles encountered, and stress the significance of representation and diversity in their field. The interviews underscore the dedication, resilience, and unique perspectives these women bring to their roles, emphasizing the need for equal opportunities in the creative sector. Mairéad Ni Nuadháin's interview delves into her broadcasting career, from presenter to producer, highlighting the challenges of managing personnel and schedules while advocating for vision and execution in the industry. She discusses the balance between work and personal life, particularly when traveling and caring for young children, and offers guidance for aspiring women in Irish language broadcasting, stressing the importance of language proficiency, writing skills, and meaningful engagement beyond social media. [Extracted from the article]

The article explores the cultural and feminist implications of the Barbie doll, tracing its history and impact on popular culture. It delves into the production and reception of a live-action Barbie film directed by Greta Gerwig, examining its feminist credentials and the public discourse surrounding it. The text also discusses the global reception of the film, intertextual entanglements, and the film's engagement with feminist themes, highlighting the diverse interpretations and critiques it has generated. Ultimately, the article reflects on the film's complex relationship with feminism, popular culture, and capitalist agendas. [Extracted from the article]

Socio-dramatic play is an everyday occurrence in early childhood education as children create narratives together in shared imagined worlds. The teacher's role in this type of play is less clear and this paper draws on a study using Lindqvist's "playworlds" approach to gain insight into how teachers participate in children's play. In applying Kravtsov and Kravtsova's concept of children's "double subjectivity" in dramatic play, the paper argues that teachers can also maintain dual affect roles—those of teacher outside the play, and co-player within the play—to co-create with children in their dramatic play narratives. In this study, four teachers in Melbourne, Australia participated in weekly playworlds with the researcher in their kindergarten rooms, resulting in identification of a third affect role for teachers—that of "public performer." This third affect was found to hinder teachers' capacity to maintain simultaneous subject positions of themselves as teacher and a co-player, thereby minimizing the improvised narrative trajectory and potential of the dramatic play. We argue this third affect should be acknowledged to support teacher participation in children's play. [ABSTRACT FROM AUTHOR]

This phenomenological study aimed to develop a framework integrating play into preschool curriculum based on educators' lived experiences using play-based methods. Fifteen educators from 12 centers were interviewed using theoretical sampling. Data analysis revealed nine pathways linking play types, educator roles, and learning objectives. Results culminated in a comprehensive framework elucidating how educators actualize educational goals through play. [ABSTRACT FROM AUTHOR]

Copyright of Moreana is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Among all the English translations of Liaozhai Zhiyi, Giles' and Minford's translations received the most reviews from Western readers. Their translations are rich in peritexts, which make up a large proportion of the two translations. Based on Genette's Paratexts theory and Batchelor's latest research in this field, this article examines the two translations' peritext strategy, main functions, and efficacy in the reception of Liaozhai Zhiyi with a view to seeing the roles that two types of peritexts play in the dissemination and reception of the book in English world. Looking closer to the two translations' peritext strategies, including covers, acknowledgments, prefaces, introductions, notes, illustrations, and appendices, the author summarizes five main functions of the peritexts: to reveal to some extent the translator's translating aims, to show the commissioner's peritext strategies, to spread Chinese culture, and to consciously or unconsciously manifest socio-cultural context. In addition, the article, through contrastively analyzing readers' reviews of two translations' peritexts, concludes that the efficacy of the peritexts in Minford's translation is much better than that in Giles' translation, which means that the former may, to a large degree, help promote the reception of Liaozhai Zhiyi, while the latter may not. It is also anticipated that the research pattern can be used in the study of the roles peritexts and epitexts play in the reception of a wider genre of Chinese works so as to facilitate the going-global of Chinese works and culture. [ABSTRACT FROM AUTHOR]

The article discusses the importance of family literacy programs in early childhood education, emphasizing the value of collaborative partnerships between families and educators. These programs aim to support children's academic success, social-emotional development, and overall literacy skills. The article provides a detailed description of a family literacy program implemented in a preschool setting, highlighting the activities, schedule, and outcomes. The program focuses on engaging families in literacy activities, promoting parent involvement, and fostering a love for books at home. [Extracted from the article]

Responsive technology and digital learning influence how Generation Alpha (born after 2010) communicates and interacts with media (parfitt 2019, joones 2018, li 2021). This study analyses Czech radio plays for children and adolescents, focusing on narrative strategies and motifs. Using the theory of fictional worlds (doležel 2003) and the audionarratology (mildorf 2016, huwiler 2014), the authors examine thirteen radio titles from 2020 to 2022. They explore how current technologies and implicit communication models are reflected in categories such as narrator, spacetime, and narrative techniques in contemporary audio production. [ABSTRACT FROM AUTHOR]

In this artistic essay using (re)photography, we analyse two interactions in a Washington DC, classroom that features a play-based approach to child development. The pioneers of early childhood education helped frame play as a method of learning. However, the racial memory of a place continuously disturbs this pioneering conceptualisation of the play-based approach. Adopting Avery Gordon's (2008) notion of haunting, this essay unsettles the play-based approach to learning by evoking our sense of unease, which derives from articulating children's play with the racial history of the local community. We invite the readers into our affective connections with the place to show how child's play becomes a gesture by which to create a space to remember or honour a ghost. In doing so, we hope to show how we critically mobilised the pioneering conceptualisation of the play-based approach. [ABSTRACT FROM AUTHOR]

Introduction: This work arises from a previous research, "Pikler educators early in the morning" carried out in the Emmi Pikler Nursery School in Budapest through Systematic Observation. In it, Piklerian choreographies were found in observed educators' behavior during the studied three daily activities: feeding breakfast, dressing to go to the garden and free play accompanying. All of them share certain Piklerian principles, which are synthesized in three central keys: the stability of the educator's behavior, her strategic and intentional positioning, and an active emotional control. Objectives: This study aims to contrast this synthesis of results by means of an in-depth interview with the two observed educators, and to apply the methodological approach of indirect observation within mixed methods for its analysis. The objective is to confirm whether the three central keys are recognized as their own and to look for new theoretical-practical elements within the studied educational approach. Materials and methods: We applied an in-depth interview and analyzed it following the guidelines of indirect observation. The participants were the two educators previously observed, a translator from the Pikler team, and the three observers, authors of this work. An ad hoc observation instrument was elaborated, and the three macro-stages QUAL-QUAL-QUAL proposed within mixed methods were rigorously followed. Results: Lag sequential analysis was used to conduct data analyses. We deepened in prospective lags and obtained the response pattern underlying the interview. Then, we performed a concurrence analysis to investigate the relationship between the central keys obtained in our original research and Piklerian ideas. Conclusion: In-depth interview within mixed methods has been a novel and generous tool leading us to substantial and methodological contributions, despite the simplicity of performed analyses. Interviewed educators' response pattern is a faithful reflection of the Piklerian modus operandi. The study of concurrences shows that Piklerian education is something natural, integrated in its professionals, with the exception of emotional control, which still requires permanent reflection. [ABSTRACT FROM AUTHOR]

Autobiographical memory supports three functions of remembering past, the self, social, and directive. Previous studies undertaken with adults recalling their play experiences have identified three aspects: the ages between 7 and 12 years are key; there are significant adults involved in the play and location that play talks place. This paper, drawing on an online questionnaire (n = 55), explores adult memories of attending an after-school club as a child between 1990 and 2010. A thematic analysis was undertaken on the responses from the fifty-five participants. The results from this study found adults had predominately positive memories of their time at the after-school club in respect of the activities that were on offer, the supervising adults, the food provided, and friendships made. One negative theme of boredom was identified. This study has implications for professional practice in after-school provision in supporting children's play. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Pedagogical Sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Elementary Education in Theory & Practice is the property of Jesuit University Ignatianum in Krakow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Elementary Education in Theory & Practice is the property of Jesuit University Ignatianum in Krakow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is currently a debate as to whether academic content at kindergarten crowds out time spent in creative arts, free play, and physical activity. Analyzing kindergarten teachers' reports of their instruction from the ECLS-K:2011, this study examined whether core academic content or advanced academic content in math or English language arts (ELA) displaces time spent in creative arts, indoor free play, and physical activity. The results suggested that neither core academic content nor advanced academic content in either subject displaced physical activity. More time spent on advanced math and advanced ELA was associated with more time spent on creative arts. However, teachers who reported spending more time on advanced math also reported spending less time on indoor free play. [ABSTRACT FROM AUTHOR]

The majority of foreign observers recognize that the most important aspect of Chinese pianism is its technical perfection, which can be explained in two ways: first, by social factors (the close resemblance between the traditional Confucian conception of education and the foundations of learning to play the piano, parents' interest in their children's success as pianists, the competitive nature of Chinese society), and second, by the classical setting of children's piano education to develop strict finger technique. Though it was unable to gain traction at all levels of Chinese piano teaching, the image of "singing on the piano" was also important for the development of Chinese pianism. The monosyllabic nature of the contributes language, as well as the dynamic brokenness and temporal syncopation of its intonation contribute to the specificity of the "singing on the piano" tradition in Chinese music culture. In general, the performing image of the piano in China is comparable to the image of the "salon piano," just as the current piano boom in China is comparable to the "golden age" of the piano in Europe and America at the close of the 19th century. [ABSTRACT FROM AUTHOR]

Disasters are life-changing events that children find frightening and unfathomable. Seen through the eyes of children, disasters are always enigmatic, thus stirring questions, such as what are they? What causes them? And how can they be confronted? Environmental works for children often feature disasters to help children understand the threats that their world is subjected to. Disasters are thus used as symbols through which writers can deliver moral and ecological lessons to the young audience/reader. In this comparative study, the representation of disasters will be examined in two environmental plays for children in which natural and environmental disasters impact the lives of the young protagonists: One Snowy Night (2007) and The Storm in the Barn (2012). The plays have been selected because, firstly, they have not been critically dealt with, to the best of my knowledge, and, secondly, they shed light on the immense impact of disasters on children. Through the element of fantasy, the disasters are personified to help children understand the symbiotic relation between humans and nature. By giving voice to the personified representations of disasters, children understand the environmental role humans can play: either mitigating or increasing the effects of disasters. Both works thus highlight how disasters are viewed in the eyes of children and how they impact their outlook of life and the environment (whether their hometowns or the natural world). Thus, the purpose of this paper is to investigate the portrayal of natural and environmental disasters through the lens of critical disaster studies shedding light on its key concepts and terms that are reflected in the plays. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet International Journal of Education is the property of Cumhuriyet University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the implementation of dramatic play areas at the Lester Public Library in Two Rivers, WI, and their significant role in children's development. Topics include the educational benefits of play in enhancing conflict resolution and comprehension, the library's engagement with the community to create a safe environment for families, and the various themed play centers that promote creativity and learning.

One vital constant in pedagogical narratives is the link between children's play and education. Study of their relationship from a philosophical perspective is marked by paradoxes and tensions that have often raised the implementation of their use in educational practice in differing and even opposing ways. This article seeks to set out new ways of interpreting the relationship between play and education from a conciliatory approach. This relationship is explored from the works of three contemporaneous pragmatist thinkers of the late nineteenth: Jane Addams, John Dewey, and George Mead. The results suggest that the possibility of a relationship between children's play and education is not so much found in the development of potentially educational materials, an extraordinary teaching method, or strictly teaching the curriculum. Rather, the significant contribution is concentrated in the conviction that play could be crucial for the cultivation of democracy. Pragmatists such as Addams and Dewey relied on the aesthetic experience of play as one of the most powerful possibilities for not only keeping democracy alive but also cultivating a cosmopolitan citizenship. [ABSTRACT FROM AUTHOR]

One of the general concepts underlying Waldorf education is that teaching is an art. Although this idea is certainly not unique to Waldorf education, what is unique is the way it has been integrated into Waldorf teacher education. While Waldorf teacher education programs are diverse, both in national and international contexts, one of the central elements which they share is the prominent role which different forms of artistic practice play throughout the course of pre-service and in-service programs. This article explores the reasons and aims behind the inclusion of subjects such as music, sculpture, and speech in Waldorf teacher education, at first within the larger context of viewing different perspectives and justifications for the inclusion of the arts in teacher education outside of Waldorf pedagogy. In light of the educational challenges posed by widespread sensory deficits among children and adolescents, viewed here as being connected to the extensive role/s which different forms of digital media play in their lives, the case is made for the potentials of the arts as a way to address those deficits. In examining both the arguments for arts-based courses in teacher education and the pedagogical challenges of our times I propose a concept for the inclusion of the arts in teacher education connected to the concept of aesthesis, from the Ancient Greek concept of aisthésis, understood here as the primary perceptual-sensory basis of aesthetic experience. The integration of scientific courses with arts-based practice in teacher education is seen as providing a fruitful basis for teachers to be able to take on these educational challenges. [ABSTRACT FROM AUTHOR]

The theatrical performance embodies a multi-faceted aesthetic taste that has emerged from the creative human consciousness. As human thinking evolved and developed a love for play and entertainment, it began to fill its aspects with singing, acting, shaping, and decorating. The basics of this study consist of the primary form of theatrical performance and its symbols, meanings, and the use of children's theatre in efforts to achieve visual and kinetic events through harmony and development of various means until it became the fundamental and essential role in using the actor's tools as a tangible sign and nucleus in the formation of the theatrical performance. This medium is especially true when the theatrical act gains a diverse aesthetic formation to entertain and delight children. Therefore, the researcher presented his study entitled "Aesthetics of Theatrical Performance Formation in Children's Theatre (Jad and Yara in the World of Arts - Model)" in the light of four chapters according to the scientific research methodology, seeking to achieve the research goal of revealing the aesthetics of the formation of theatrical performance in the Jad and Yara in the World of Arts play. The study concluded with several results, the most important of which is that the aesthetics of theatrical performance were characterized by diversity, repetition, and change of visual forms, the use of kinetic performance of visual and auditory elements, and its intellectual and aesthetic significance. In addition, the consistent colour harmony, in which the theatrical performance formed an interactive product, was a dynamic organization in which balance and form were transferred. [ABSTRACT FROM AUTHOR]

Considering different definitions of game, one can categorize them into different types. Inevitably, games have influenced everyone's life at different ages. Games not only entertain individuals, but also reflect the concerns and problems of life. Furthermore, players both repeat such concerns and transmit them, too. ''Poetry'' is one of the most important means of transmitting elements. This element can be changed based on the time and place and it can be compatible accordingly. This research has been done based on descriptiveanalytical method and it has classified and considered the play-songs of the people of Fars. The results show these songs used in those games with two or more groups of audiences and mostly considered as non-actional/ verbal games which are constructed on four principals of repetition, dialogue, teasing and consonance. Also, they were counted in counter side of actional games. This spectrum of play-songs (verbal to action) also fits with the element of age because the tendency of young people is more towards verbal games as they get older, they move towards action games. Another point is the poem which is the game and is not part of it, that it is in the four initial categories of game. It is underlined that poem is so dominant in the folklore life. Another is that many of the action games have rules and frameworks in poems and these rules are included in seven groups such as: calling out for game, role calling, choosing the head of the game, starter and fellow, selecting the fired one or the reserved one, punishment, not paying the penalty and announcing the end of the game. The players should accept and perform the rules. The order of these rules and in general, all the songs of the game played a big role in the socialization of the players. [ABSTRACT FROM AUTHOR]

The purpose of this study is to investigate the role of certain mnemonic techniques in memorizing a melodic fragment by music school students. In the study group, in the process of memorizing a given melody, students used, in addition to sound, visual, psychomotor, and logical memory. In this study, 108 third-grade students from Nanchang Postal Road Primary School participated: 54 in the study group and 54 in the control group, respectively. After listening to a piece of music three times, the children played it with their voices with appropriate accompaniment. The evaluation was carried out according to the following criteria: integral continuous performance, the number of errors associated with inaccurate hitting of the tone, and the number of errors in the structure of the melody. During the study, it was observed that incorporating mnemonic techniques, which involve engaging different forms of memory alongside auditory memory, enhances the memorization of melodies. This approach can be used in the preparation of training programs for music school students, as it contributes to the formation of musical memory and hearing. [ABSTRACT FROM AUTHOR]

To children, nature is not only the shelter, savior, and life-maintaining force, but also the impressive world that they are involuntarily attracted to. The immense fascination with nature in children's literature shows the significance of such a relation. This paper seeks to examine two plays for children that deal with the relation between young girls and nature: Baba Yaga and the Black Sunflower (2000) by Carol Korty and The Girl Who Swallowed a Cactus (2020) by Eric Coble. Both plays do not merely highlight the importance of nature and the natural world, but also emphasize the relentless attempts of young girls to protect nature and reconcile with its inhabitants. The protagonists in both plays emerge as the central driving force; they embark on a journey to the natural world in which they find peace, understand the value of nature, and, finally, save the natural and the human world as well. Drawing upon ecofeminism, the paper aims to examine both plays as ecofeminist texts through analyzing the young girls' perception of the injustice done to the natural world and its dwellers, and their journeys that end with the reconciliation with nature. [ABSTRACT FROM AUTHOR]

This article explores the themes of homecoming and justice in Wagner's opera "Der fliegende Holländer." The author discusses how Wagner's heroes embark on journeys to find their ancestral homes and achieve emotional equilibrium. The article draws parallels between Wagner's heroes and classical figures who also sought homecoming and justice through vengeance. The author suggests that Wagner's personal experiences and fascination with Greek mythology influenced his portrayal of these themes. Another text discusses various aspects of the opera, including its themes of home, redemption, vengeance, and the role of women. It highlights Wagner's progressive views on the power of the feminine and how women ultimately resolve the problems created by men. The text also explores the connection between revenge and reciprocal gift-giving, and how the refusal of a gift symbolizes a turning away from redemption and home. The Bayreuth production by Dmitri Tcherniakov emphasizes the bitterness and horror of the Dutchman's quest for home and the intelligence of the feminine in bringing the drama to its conclusion. The production also links the themes of home and justice with classical mythology and Nordic sagas. Overall, these texts provide a deeper understanding of the opera's themes and the human condition. [Extracted from the article]

As play is crucial for fostering children's creativity, social skills, and overall well-being, barriers that impede access to play environments must be conquered. [ABSTRACT FROM AUTHOR]

The effect of national literary works on children’s character development was investigated through both naturalistic observation and mixed methods data analysis. The children who took part in this study were, on average, eight years old. The findings demonstrate that: 1) language intervention through national literary works enhances children’s character development by appealing to them through the setting, action, characters’ appearance, expression, and colors; 2) parents play key roles in this process by selecting appropriate themes, enforcing viewing rules, accompanying their children while watching, and discussing the content of the stories with them; 3) the roles of teachers and individuals in the children surroundings include supporting the parents’ program which requires them to treat the children in line with the information provided by the parents regarding their children. This study concludes that language intervention through national literary works positively impacts children’s character development when supported by the roles of parents, teachers, and individuals in their environment. This study contributes to teaching character through literature. [ABSTRACT FROM AUTHOR]

This article discusses the concept of "serious play" in Jewish early childhood education. The author describes their experience leading professional development workshops for early childhood educators, who view play and learning as inseparable. The article includes several case studies that highlight the importance of play in Jewish education, such as the transformation of a junkyard into a playground and children's exploration of Jewish concepts through imaginative play. The article also explores the role of gender in play and the use of children's literature to teach about race and racism. Overall, the article emphasizes the significance of play in early childhood education and its impact on children's learning and development. [Extracted from the article]

This study examines the English retranslation and public performance of two classic Chinese operas--The West Wing and The White Snake. It highlights two aspects: First, these retranslations of the dramas aim at reaching their target theatres and audiences rather than publications and readers. Second, these stage productions were each conducted by a three-in-one specialist who acts as a scholar, translator, and director. Departing occasionally from semantic accuracy for dramatic viability and performance logistics, the retranslator focuses on effective sensual transmission, engendering novel interaction between these age-old plays and modern audiences. This paper investigates the performance texts and stage mediations from the perspective of functional retranslation. It contextualises the two plays in their native setting, traces the retranslators' intent, and provides case studies to accentuate the significant role of theatre retranslators in their moves toward achieving stage realisation. [ABSTRACT FROM AUTHOR]

Children's play has shifted within the context of the COVID-19 pandemic, particularly with increased time within the family home. This study responds to the following research questions: How did COVID-19 restrictions influence children's play within and outside the home? How did parents describe their role in their children's play during the first year of the COVID-19 pandemic? Canadian Maritime families (n = 30) took part in three telephone interviews during the pandemic (July 2020, November 2020 and April 2021). Data were analyzed using qualitative description and thematic analysis to inductively identify codes and establish themes, including: (1) Facilitating play within the home; (2) Opportunities related to play outside the home; and (3) Shifting play in the outdoor environment. As families adhere to public health directives in response to COVID-19, children's play experiences were shaped by a movement toward an increased emphasis on the outdoor environment and fewer playmates. Ongoing research is needed to understand the potential impacts on children's development over time. [ABSTRACT FROM AUTHOR]

The aim of this study is to analyze the integration of innovative pedagogical technologies into early childhood education training programs, focusing on play-based learning, project-based learning, augmented reality and virtual reality, and AI-powered tools. The comparative analysis aims to unveil the unique strengths, challenges, and opportunities associated with each approach. The study utilizes a systematic approach, drawing from diverse scientific literature, including articles, conference papers, and books. Through content analysis, the paper identifies key themes, theoretical frameworks, and implementation strategies, followed by a critical analysis of strengths and limitations. The results reveal distinctive strengths: play-based learning excels in holistic development, project-based learning in real-world skills, AR/VR in immersive experiences, and AIpowered tools in personalized learning. Challenges include guidance dependency in play-based learning, varying engagement levels in project-based learning, resource intensiveness in AR/VR, and ethical considerations in AI-powered tools. Opportunities arise in fostering creativity through playbased learning, encouraging critical thinking in project-based learning, providing realistic simulations with AR/VR, and offering adaptive learning experiences with AI-powered tools. In conclusion, the study underscores the immense potential of integrating technologies into training programs. It advocates for the establishment of national standards, comprehensive teacher training, resource facilitation, and international collaboration. [ABSTRACT FROM AUTHOR]

The article explores the Juvenile Dramas published by Hodgson & Company in the early 19th century, focusing on the portrayal of masculinity and political agendas within toy theatre playbooks. Topics discussed include the promotion of martial masculinity in the characters, the political leanings of the plays aligning with Whig ideals, and the influence of contemporary public school culture on the depiction of masculinity.

Background: Mental health concerns prevent positive well-being and are key challenges for Australian children and young people. Arts organisations play a role in enhancing the positive mental health of children and young people. This paper describes the involvement of young people and their parents in the development of a resource for arts organisations' intentional support of social and emotional well-being. Methods: Six focus groups were conducted with 19 young people who participate in dance, drama, and circus programs, and 17 of their parents. Questions explored how the arts currently, and potentially, support their social and emotional well-being. Results: Three overarching themes: Connecting with Others; Being Myself; and Teaching Methods, plus 14 sub-themes were identified. Conclusion: A framework of well-being factors and pedagogies was developed to guide the creation of a resource to help support the social and emotional well-being of young people participating in arts programs. [ABSTRACT FROM AUTHOR]

Little is known about the methods and effects of parental involvement in art education. The aim of our systematic literature review is to explore the types of parental involvement in four branches of art (music, dance, visual arts, and theatre). We conducted our research with the help of the EBSCO database, using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) procedure. We found that the share of the different artistic fields is highly disproportionate in the literature on parental involvement. Compared to music, theatre, dance, and visual arts, coverage is negligible. During our study, we managed to classify types of parental involvement and found that it showed variety across different branches of art. [ABSTRACT FROM AUTHOR]

Postmodernism is characterised by a rejection of scientific explanations' reliance on universal truth, reason, and objectivity, as exemplified by unifying frameworks and grand narratives. From its literary-critical roots in the 1950s to its current level of global conceptualization, postmodernism has meant different things to different people at different times. Therefore, rather than evaluating it using a single, precise description, it would be more appropriate to describe it from different perspectives. Postmodern play developed in tandem with postmodern thought in the latter half of the twentieth century. Despite incorporating postmodernist tenets, its foundation is firmly rooted in the modern theatre movements of the first half of the twentieth century, providing rich historical artistic content. This study analyses postmodern elements in British playwright Tom Stoppard's The Real Inspector Hound (1968) and Turkish dramatist Ferhan Şensoy's Fişne Pahçesu (1999). Despite their distinct cultural backgrounds and languages, Stoppard's and Şensoy's plays have similarities including metadrama, satire, cultural references, wordplay, and absurdity. While Stoppard and Şensoy have been extensively studied in Turkish academia, this study will be the first to compare their works. Both playwrights were born in the postmodern period, and their works reflect this new theatrical style, including political critique, social concerns, human rights violations, and injustice. Moreover, Stoppard and Şensoy were inspired by prominent playwrights like Brecht, Chekhov and Beckett. Şensoy, like Stoppard, expertly uses postmodern approaches and his plays include political criticism. [ABSTRACT FROM AUTHOR]

Photovoice projects using Polaroid cameras in early childhood education are usually excluded from some early childhood curricula or small group activities. This may occur because Polaroid cameras are something of the past or teachers prioritize subjects such as literacy, math, and science. This paper argues for the value of Polaroid photography in young children’s play and small group activities in an early childhood classroom to develop art concepts. I describe the use of art-based methodologies in a city preschool setting in the Western region of the United States. The study explores (1) how children describe and evaluate their pictures, (2) what concepts they discuss while reviewing their instamatic images, and (3) children’s creative moves within the activity. [ABSTRACT FROM AUTHOR]

The article focuses on integrating digital play and project work to stimulate young children's inquiry and learning, particularly in the context of moviemaking projects. Topics include the use of technology in play-based learning, its equitable access and integration of technology, and the concept of digital play as a lens for understanding technology's role in children's play and learning.

The current research aims at the concept of the simplified Brand, its performance, and its activities in children's theater performances. Included: 1. The Brand attached to the Mask gives an added cognitive value through simplification. 2. Using the Brand in children's theater achieves an important goal that activates and strengthens the perceptions of the audience. 3. As for the third chapter, the research community consisted of plays that were presented according to the availability of simple Brand in the performances of children's plays, and the research sample was chosen (intended) because it contained (simple Brands) - the play (The World of Vitamins) directed by Hussein Ali Harf. [ABSTRACT FROM AUTHOR]

Two of the books Ted Hughes took with him when he worked as a Royal Air Force (RAF) fighter plotter during his two years of compulsory national service, were Robert Graves's The White Goddess and The Complete Works of William Shakespeare. Both, he read closely and often. He was already familiar, through his interest in the magical preoccupations of W. B. Yeats, with the philosophy of Hermetic Neoplatonism which had made its way to England during Shakespeare's time and influenced the work of poets like Sir Philip Sidney, Gabriel Harvey and Edmund Spencer. All of these poets believed in, and used, the alchemical power of poetry which, as Sidney wrote in his Defence of Poetry, could 'hold children from play, and old men from the chimney corner. And pretending no more, doth intend the winning of the mind from wickedness to virtue'. This, and his immersion in Shakespeare's work (which as Sylvia Plath told her mother, he 'knew by heart') led Hughes to discern a developing pattern, based on the transformative powers of the Goddess, through which he believed Shakespeare was performing a complex alchemical process. He expounded this theory in detail in Shakespeare and the Goddess of Complete Being, but almost twenty years earlier he had written the poem 'An Alchemy' for a limited edition anthology published in 1973 by the Globe Theatre Trust. 'An Alchemy' is a difficult and allusive poem in which nothing is spelled out. In this article, I look at just one section of the poem in which Hughes created his own alchemical matrix through which he sought to reveal the underlying alchemical theme that he saw as the 'Gold' in Shakespeare's work. [ABSTRACT FROM AUTHOR]