Dramatization Pdf

[Browning Winters]

Adramatization is the creation of a dramatic performance of material depicting real or fictional events. Dramatization may occur in any media, and can play a role in education and the psychological development of children. The production of a dramatization presents potential legal issues, arising both from the use of elements of fictional works created by others, and with the depiction of real persons and events.

Dramatization is the acting out of a story, real-life situation, event, feeling, or idea. There are many forms of dramatization, such as plays, puppet theater, radio theater, pantomime, pageants, processionals, parades, clowning, dance, skits, role plays, simulations, interviews, dialogue sermons, monologues, etc. The purpose of a dramatization is to enable the participants to experience, understand, and communicate, in a new and exciting manner, what is being dramatized.[1]

In television, a dramatization is "the preparation of a television drama from a work which was not previously in dramatic form, for example a prose narrative".[2] The form is often used in television commercials depicting the benefits of using an advertised product, "because dramatization is a form particularly well suited to television".[3] Although dramatization and adaptation are sometimes used interchangeably, the BBC distinguishes a dramatization from an adaptation by the criteria that an adaptation is a preparation derived from a dramatic work. When the events being dramatized are historical, this may also be considered a form of historical reenactment, and occurs within the genre of docudrama. In some cases, in conveying the lives of historical figures "dramatization is a necessity due to lack of documentation".[4]

Dramatization has been described as "a primitive instinct and very early people expressed their thoughts and emotions through this medium, or at least through that of pantomime, which is so closely connected with it".[5] In particular, "[w]hen children identify with the various characters in the story, it is natural for them to want to imitate those characters".[6] To a degree, any attempt to describe an event other than in a clinical sense requires some dramatization:

Effective storytelling leads directly to story dramatization. Story dramatization is the re-creation of part or all of a story with the emphasis on spontaneity, cognition, action, identification, dialogue and sequence of events. Greater appreciation of the literature may then occur.[6]

Children, through play, unconsciously begin to act out the dramatization of events in their lives and events of which they learn.[5] Research has shown that "with a variety of students from different grades and socioeconomic backgrounds, through expression of feelings and thoughts in story dramatization and creative drama, self concept is improved".[6]

Legally, the creation of a dramatization may infringe on the intellectual property rights of the work from which it is derived. A dramatization of real events might infringe the personalty rights of the individuals involved. However, it is also understood that the dramatization itself maybe entitled to its own intellectual property protections:

In all countries which recognize an author's rights, the right to dramatize (a novel, short story, or whatever) is held by the author as part of his copyright. The majority of countries assume that there is a point, however, where a dramatization is so remote from the original novel (for example) as to take it outside the dramatization right held by the novelist. The dramatist may be inspired by a dominant idea or theme in a novel, and produce a work which enshrines that idea but has its own set of characters and incidents. [W]hether the work is a faithful dramatization of the novel or whether it is remote and everything but theme, the playwright will enjoy the copyright protection that is given to an 'original' play.[7]

Documentary. Non-fiction. Basically, a substantially accurate account of the event. A few details might have been inadvertently changed, such as the weather, clothing, or lighting, but almost all assertions correspond to actual facts.

"Based on a true story." Up to about 90% fact, but some details have been deliberately altered. Treated as fiction because it is claimed as such. Everybody connected with the story knows what the "real" facts are, but it is understood that there is not a one-to-one correspondence between story events and actual facts, even though the story line is "mostly" accurate. A dramatization might fall into this category. An example is the "Sound of Music," which e.g. conflated two events, the (1927) marriage of the Captain von Trapp and Maria, and the (1938) "Anschluss," by putting the second event right on the heels of the first in the movie.

"Inspired by a true story." About half-fact, half-fiction. Now we're getting into the realm of true fiction. The important thing to do is to stress the events are likely to be fictitious by NOT making any one part too "true to life." Once you've set such a high standard for part of the story, people will expect the rest of the story to conform to that standard, possibly putting the story into the category above. This kind of a story would not use the Captain's and Maria's real names.

"Suggested by a true story." There are some factual elements, but the story is mostly fiction. Again the trick is to make sure that the facts aren't too "convincing," to the point of leading readers to believe that the rest (fiction) is actually fact.

If the story contains celebrities or public figures it is can be non fiction. If the story is about private citizens: any good lawyer will tell you it's fiction c/w (The names have been changed to protect the innocent).

Here's the problem: if you write "After the birth of their first child Mrs Smith became frigid, her libido died and she had no interest in sex" and the truth is revealed as Mrs Smith spent every day boinking the pool cleaner and had no energy to service her husband when he arrived home - the divorce bill may end up in your lap.

Building language skills and developing a sense of community are two of the greatest areas of focus within early childhood. These foundational skills set the stage for all later schooling and for life in general. One of the best ways to accomplish this within a classroom is to act out, or dramatize, the stories that children tell.

As we know from research and from our own experience as teachers, children learn best through hands-on experiences. When children dramatize the stories that they create, they see, hear, touch, move and speak in a variety of ways making their story a concrete and physical experience. We have also learned that once they experience dramatizing their stories, they become better storytellers. They increase their use of action words, dialogue, and complete ideas within their stories.

Dramatizing stories also serves to make abstract ideas more concrete. This is especially beneficial for children who are reluctant storytellers, especially English language learners or children who have difficulty communicating. Imagine a story about a child going on vacation to California. A child may have difficulty understanding these words, but as a child gets up, spreads their arms out and begins to move around, children see visually the concept of an airplane and begin to connect this with the word vacation. Similarly, characters may have different emotions during the story. As children see these emotions visualized they not only learn to name these emotions, but they identify them in other people, thus building their empathy and understanding.

The stories that children tell come to life through dramatization and children come to life listening to and acting in these stories. Not only do we see the excitement build in our students, but their oral language, representation skills, social development, and critical thinking build as well. For all of these reasons, story dictation and dramatization maintain a prominent place in every one of the early childhood classrooms at St. James.

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Method: integrative literature review, using the method proposed by the Joanna Briggs Institute (JBI). A search was undertaken in the following databases: Latin American and Caribbean Health Sciences Literature, Web of Science, National Library of Medicine, Cumulative Index to Nursing and Allied Health Literature, The Cochrane Library, Scopus, Scientific Electronic Library Online.

Results: 53 studies were analyzed, which complied with the established inclusion criteria. Among the different gains obtained, satisfaction, self-confidence, knowledge, empathy, realism, reduced level of anxiety, comfort, communication, motivation, capacity for reflection and critical thinking and teamwork stand out.

Conclusion: the evidence demonstrates the great possibilities to use dramatization in the context of clinical simulation, with gains in the different health areas, as well as interprofessional gains.

Mtodo: reviso integrativa da literatura, com a metodologia proposta pelo Instituto Joanna Briggs (JBI), com busca nas bases de dados: Literatura Latino-Americana e do Caribe em Cincias da Sade, Web of Science, National Library of Medicine, Cumulative Index to Nursing and Allied Health Literature, The Cochrane Library, Scopus, Scientific Electronic Library Online.

Resultados: foram analisados 53 estudos, que atenderam os critrios de incluso estabelecidos. Entre os diversos ganhos obtidos, destaca-se a satisfao, autoconfiana, conhecimento, empatia, realismo, diminuio do nvel de ansiedade, conforto, comunicao, motivao, capacidade de reflexo e de pensamento crtico e trabalho em equipe.

Mtodo: revisin integradora de la literatura, aplicndose la metodologa propuesta por el Instituto Joanna Briggs (JBI), con bsqueda en las bases de datos: Literatura Latinoamericana y del Caribe en Ciencias de la Salud, Web of Science, National Library of Medicine, Cumulative Index to Nursing and Allied Health Literature, The Cochrane Library, Scopus, Scientific Electronic Library Online.

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