Within Drama ideas, concepts and hypothesis are always at the heart of the creative process in lessons and performance, they are a way to develop from whatever source in order to create something with meaning. Despite many cognitive behavior theorists discussing theories in the way in which children learn, many of them are somewhat contradictory or come across half formed in regards to the subject of Drama. This will allow the discussion of two major theorists, Piaget and Vygotsky, and their thoughts on cognitive development within a drama setting to discover if there is any truth to them. Of all developmental theorist Piagiet is probably the most well renowned, however there are many flaws in his hypothesis in relation to the teaching of this subject. For instance Piagiet suggests that by the age in which children are reaching their secondary education in the UK (age 11-12) their “dependency on concrete objects diminished in this stage and children are able to solve hypothetical problems…[through]…Hypothetical deductive reasoning” (Oakley, L. 2004, P22) and that this is e something that is innately buried in their understanding and schooling by the time they reach secondary education. This trait, largely useful …show more content…
His Zone of Proximal Development fits more neatly with the idea of performance. Allowing the ‘teacher’ to help students to progress my adding knowledge to their bank, rather than simply regarding development as completely biological. It also allows for more accurate assessment within creative subjects as you can grade based on development rather than relying completely on the output in which there isn’t always a clearly outlines answer. The Arts are too subjective for many cognitive theories, however in a subject where two plus two doesn’t always equal four Vygotsky has conjured a much better way to develop