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WRAP THESIS Hida 2013.Pdf University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/58270 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. RECONSIDERING HYOGEN EDUCATION IN JAPAN: DRAMA FOR THE WHOLE PERSON IN THE TWENTY-FIRST CENTURY by NORIFUMI HIDA A thesis submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy UNIVERSITY OF WARWICK INSTITUTE OF EDUCATION MARCH 2013 TABLE OF CONTENTS 1. INTRODUCTION p. 12 1.1. The Aim of This Study p. 12 1.1.1. Hyogen Education p. 14 1.1.2. Drama-in-Education p. 17 1.2. Is a Concept of Drama for the Whole Person Still Acceptable? p. 18 1.2.1. Do Educators Today Still Advocate a Whole Person? p. 19 1.2.2. Do Governments Today Still Advocate a Whole Person? p. 21 2. PETER SLADE AND BRIAN WAY p. 23 2.1. Introduction p. 23 2.2. Progressive Education p. 23 2.3. Stages of Development p. 26 2.4. Experimental Theory of Art p. 26 2.5. Naturalist Theatre p. 28 2.6. Criticisms p. 29 2.6.1. Personal Learning p. 29 2.6.2. Theatre versus Drama p. 30 2.6.3. Universalism p. 31 2.7. Conclusion p. 32 3. MAIN METHODOLOGIES p. 34 3.1. Introduction p. 34 3.2. Main Methodologies p. 34 3.2.1. Bricolage p. 34 3.2.2. Cross-Cultural Comparison p. 38 4. THE FIELD OF DRAMA IN SCHOOLS 1 p. 43 4.1. Introduction p. 43 4.2. Theoretical Frameworks p. 43 4.2.1. Field Theory p. 43 4.2.2. Dominant, Residual and Emergent Cultures p. 55 4.2.3. Educational Codes p. 57 4.3. Relations between the Field of Drama and Wider Fields p. 64 2 4.3.1. A Brief History of Education in Japan p. 71 5. THE FIELD OF DRAMA IN SCHOOLS 2 p. 78 5.1. Introduction p. 78 5.2. The Japanese Field of Drama in Schools p. 78 5.2.1. The Place of Drama in the National Curriculum p. 78 5.2.2. Relations between Different Positions of Drama p. 81 5.2.3. Positions of Drama p. 83 5.2.3.1. Drama as a Method of Learning p. 83 5.2.3.2. Drama as part of Japanese Language p. 87 5.2.3.3. Drama as Creative and Cultural Education p. 91 5.3. The English Field of Drama in Schools p. 93 5.4. Basic Tensions p. 99 5.5. Conclusion p.101 6. JAPANESE DRAMA TEACHERS TODAY 1 p.105 6.1. Introduction p.105 6.2. Methodology p.105 6.2.1. Survey p.106 6.2.2. Descriptive Survey p.107 6.3. Data Collection Methods p.108 6.3.1. Interviews p.108 6.3.2. Face-to-Face Interview p.109 6.3.3. Email Interview p.110 6.3.4. One-on-One Interview p.110 6.3.5. Semi-Structured Interview p.111 6.3.6. Unstructured Interview: Life History p.113 6.3.7. Sample Strategy p.115 6.3.8. Purposive Sampling p.115 6.3.9. Who Are Leading Drama Teachers? p.117 6.3.10. Interview Schedule – Main and Sub-Questions p.120 6.3.11. Recording Tools and Methods p.121 6.3.12. Some Ethical Considerations p.121 6.4. Data Analysis Methods p.123 6.4.1. Transcription p.123 3 6.4.2. Translation p.124 6.4.3. Content Analysis and Coding p.126 6.4.4. The Process of Content Analysis and Coding p.127 6.4.5. Coding System p.130 6.5. Reliability and Validity p.131 7. JAPANESE DRAMA TEACHERS TODAY 2 p.134 7.1. Outcomes p.134 7.2. Question 1: How Did You Become a Drama Teacher? p.134 7.2.1. How Did You Know about Drama Education? p.134 7.2.2. What Drives You to Use Drama in Your Lesson? p.142 7.2.3. Where Did You Receive Your Initial Training? p.146 7.3. Question 2: How Do You Work Today? p.155 7.3.1. What is the Aim(s) of Your drama? p.155 7.3.2. Do We Need to Teach Drama as a Subject? p.160 7.3.3. How Do You Realise Your Aim(s)? p.166 7.3.3.1. Experimental and Constructive Learning p.166 7.3.3.1.1. Jun Watanabe p.166 7.3.3.1.2. Takahiro Watanabe p.167 7.3.3.2. Language p.169 7.3.3.2.1. Oriza Hirata p.169 7.3.3.3. Mindset p.171 7.3.3.3.1. Yuriko Kobayashi p.171 7.3.3.4. Learning Environment p.173 7.3.3.4.1. Noboru Takayama p.173 7.3.3.5. Expression and Communication p.175 7.3.3.5.1. Mitsuo Fukuda p.175 7.3.3.5.2. Yoshiaki Tadashi p.176 7.3.3.5.3. Hisao Dazai p.178 7.3.3.5.4. Naoki Yamamoto p.180 7.3.3.6. Personal Interests p.183 7.3.3.6.1. Yasuhiro Kumagai p.183 7.3.3.7. Induction into Theatre p.185 7.3.3.7.1. Takashi Takao p.185 7.4. Conclusion p.188 4 8. THE PHILOSOPHY OF EDUCATION 1 p.190 8.1. Introduction p.190 8.2 Five Key Educational Philosophies p.191 8.3. Educational Philosophy p.195 8.3.1. School Approach p.198 8.3.1.1. Metaphysics p.199 8.3.1.2. Epistemology p.200 8.3.1.3. Aims of Education p.200 8.3.1.4. Curriculum p.201 8.3.1.5. Methods p.202 8.4. Paradigm p.202 8.4.1. Crises in Educational Philosophy p.206 8.5. Relationships between the Four Educational Philosophies p.210 8.6. A Structure of Feeling and Dramatic Conventions p.212 9. THE PHILOSOPHY OF EDUCATION 2 p.216 9.1. Introduction p.216 9.2. Naturalism p.216 9.2.1. Metaphysics p.217 9.2.2. Epistemology p.218 9.2.3. Aims of Education p.218 9.2.4. Curriculum p.220 9.2.5. Methods p.220 9.3. Pragmatism p.222 9.3.1. Metaphysics p.224 9.3.2. Epistemology p.225 9.3.3. Aims of Education p.226 9.3.4. Curriculum p.227 9.3.5. Methods p.228 9.4. Postmodernism p.230 9.4.1. Metaphysics p.231 9.4.2. Epistemology p.231 9.4.3. Aims of Education p.234 9.4.5. Methods p.236 5 9.5. Holism p.237 9.5.1. Metaphysics p.239 9.5.2. Epistemology p.240 9.5.3. Aims of Education p.241 9.5.4. Curriculum p.244 9.5.5. Methods p.245 9.6. Conclusion p.250 10. THE PHILOSOPHY OF EDUCATION 3 p.252 10.1. Introduction p.252 10.2. Naturalist Drama p.253 10.2.1. Japan p.253 10.2.1.1. Shoyo Tsubouchi p.254 10.2.1.2. Hiroyuki Tomita p.255 10.2.1.3. Toshiharu Takeuchi p.257 10.2.1.4. Tamiko Koike p.259 10.2.1.5. Akira Okada p.260 10.2.2. England p.262 10.2.2.1. Peter Slade p.263 10.2.2.2. Brian Way p.265 10.3. Pragmatist Drama p.267 10.3.1. Japan p.268 10.3.1.1. Shige Hikabe p.269 10.3.1.2. Jun Watanabe p.271 10.3.2. England p.271 10.3.2.1. Dorothy Heathcote p.272 10.3.2.2. Gavin Bolton and Cecily O’Neill p.275 10.4. Postmodernist Drama p.277 10.4.1. Japan p.277 10.4.1.1. Ichitaro Kokubun p.278 10.4.1.2. Yasuhiro Kumagai p.280 10.4.1.3. Tadakatsu Higashi p.280 10.4.1.4. Setsu Hanasaki p.282 10.4.2. England p.282 10.4.2.1. Jonothan Neelands p.283 6 10.4.2.2. Helen Nicholson p.284 10.4.2.3. Jennifer Simons p.286 10.4.2.4. Kathleen Gallagher p.287 10.4.2.5. Maggie Hulson p.290 10.5. Holist Drama p.291 10.5.1. Japan p.293 10.5.1.1. Junji Kinoshita p.294 10.5.2. England p.295 10.5.2.1. Drama with Linear Thinking, Non-Liner Thinking and Intuition p.296 10.5.2.2. Drama for the Sound Connection between the Body and Mind p.298 10.5.2.3. Drama and Holistic Curriculum p.299 10.5.2.4. Drama for Fostering Connections between Student and Community p.300 10.5.2.4.1. Baz Kershaw p.300 10.5.2.4.2. Joe Winston p.302 10.5.2.4.3. Jonothan Neelands p.303 10.5.2.5. Drama for Environmental Education p.304 10.5.2.6. Drama for Spirituality p.306 10.6. Conclusion p.308 11. RECONSIDERING HYOGEN EDUCATION p.310 11.1. Introduction p.310 11.2. Answers to the Three Main Questions p.311 11.2.1.
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