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The Field of TYA on the Soccer Field: Using Drama Strategies to Enhance Youth Soccer Coaching Practices

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The Field of TYA on the Soccer Field: Using Drama Strategies to Enhance Youth Soccer Coaching Practices University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2020 The Field of TYA on the Soccer Field: Using Drama Strategies to Enhance Youth Soccer Coaching Practices Brittany Caine University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Caine, Brittany, "The Field of TYA on the Soccer Field: Using Drama Strategies to Enhance Youth Soccer Coaching Practices" (2020). Electronic Theses and Dissertations, 2020-. 23. https://stars.library.ucf.edu/etd2020/23 THE FIELD OF TYA ON THE SOCCER FIELD: USING DRAMA STRATEGIES TO ENHANCE YOUTH SOCCER COACHING PRACTICES by BRITTANY HEATHER CAINE B.A. Smith College, 2014 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2020 © 2020 Brittany Heather Caine ii ABSTRACT This thesis explores best practices for applying drama strategies to coaching youth soccer. How does drama pedagogy translate to sports? Do drama techniques improve youth soccer? How can using drama- based strategies when coaching youth soccer enhance my own coaching abilities and thus improve the quality of youth soccer instruction and experience? This study applies various drama techniques to pre- written coaching curriculum. This manifested in heavily detailed games, supported by pantomime, storytelling, and narrative exploration, all of which further engaged the children in their soccer exercises. This thesis is supplemented by research on best practices regarding youth soccer, as well as the history of creative drama, developed and theorized by Winifred Ward, and drama methods developed by Dorothy Heathcote and Viola Spolin, contextualizing how they have each been utilized from their onset until the current time. This study incorporates journal entries written after each coaching session, reflecting on personal practice and how the curriculum was amplified or diminished based on the dramatic techniques applied. Additional observations of other coaches are included, detailing how their methodologies differ from my own, as well as the results of these differing methods. Using this practice as research, varying conclusions are drawn on the impacts, effects, and successfulness of incorporating drama into coaching. iii Eron Block, who made teaching a reality instead of a dream Alison Brown, whose belief in her students I can only ever hope to partially replicate Heidi Ellis, who fought for what was right Natalie Sowell, who valued the voice of young people wholeheartedly Smith College and everyone there who I lived with, loved, and learned from Elizabeth Horn, who showed me that believing in people’s best is the best choice My brother, Philip, because you are the best And my parents, who drove a million miles a week and never complained; who always answer their phones, no matter how I often I call; who faithfully continue to come to my shows, long after I’ve stopped being in them This thesis is dedicated to each and every one of you, because without you, I would never even have made it to page one. You have been power givers and never power takers. It is my honor to have learned from you, and to now pass that power along to future generations. iv ACKNOWLEDGMENTS This thesis is so much more than it seems: it is a love letter to each person I have ever been on the journey to who I am now, and to write that letter honestly, I want to acknowledge everyone who played an instrumental part on that journey. Thank you all. Thank you to the teachers I have had, both in and out of school, who pushed, celebrated, and challenged me. Thank you to coaches and teammates past and present. You make soccer so much more than a game. Thank you to 4424 for being both a house and a home. Thank you to my cohort, Bianca Alamo, Kate Kilpatrick, Ralph Krumins, and Scott Savage, for being consummate and courageous from hurricanes to pandemics. Thank you to Maria Katsadouros, Emily Freeman, Jennifer Adams and the Orlando Repertory Theatre for invaluable chats, opportunities, and wisdom. Thank you to Theatre UCF. Thank you to those, from the very young to the college-age, who have been willing and open to being my students. Thank you to the light of my life, Will, for battling time zones to make this work. Thank you for loving my questions, my chatter, and me as I am. I love you. v TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION ............................................................................................. 1 A Personal Journey ..................................................................................................................... 1 Starting to Teach ......................................................................................................................... 5 Realizing this Project .................................................................................................................. 6 Methodology ............................................................................................................................... 8 Three Inspirational Practitioners ................................................................................................. 9 Purpose of the Study ................................................................................................................. 10 Limitations of the Study............................................................................................................ 11 CHAPTER TWO: ANALYZING TEACHING AND COACHING STRATEGIES ................. 13 Drama Strategies ....................................................................................................................... 13 Creative Drama ..................................................................................................................... 13 Mantle of the Expert ............................................................................................................. 16 Teacher in Role ..................................................................................................................... 17 Side-Coaching ....................................................................................................................... 20 Improvisation + The Game ................................................................................................... 22 Soccer Strategies ....................................................................................................................... 23 Develop A Foundation .......................................................................................................... 24 Keep It Fun ........................................................................................................................... 25 Similarities and Differences in Drama Education and Soccer Coaching Strategies ................. 27 vi CHAPTER THREE: DEFINING THE ROLE OF THE TEACHING ARTIST AND COACH 29 The Role of the Teaching Artist................................................................................................ 29 The Role of the Coach .............................................................................................................. 33 Differences and Similarities Between the Roles ....................................................................... 37 Coaching-Artist ......................................................................................................................... 40 CHAPTER FOUR: BEING A COACHING-ARTIST ................................................................. 42 Actor’s Toolbox ........................................................................................................................ 42 Creative Drama ......................................................................................................................... 43 Teacher in Role + Mantle of the Expert.................................................................................... 45 Side-Coaching ........................................................................................................................... 48 Improv ....................................................................................................................................... 50 Problem-Based Storytelling ...................................................................................................... 52 Coaching-Artistry Compared to Traditional Coaching............................................................. 56 CHAPTER FIVE: THE FUTURE OF COACHING-ARTISTRY ............................................... 58 Results of the Study .................................................................................................................. 58 Implementing Drama-Enhanced Coaching Strategies .......................................................... 59 Looking Forward ...................................................................................................................... 62 Coaching Older Players .......................................................................................................
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