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State University of New York, New York.
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ut opia or ne cessity ?
Tezgiden-Cakcak, S. Y. (2015). Preparing teacher candidates as passive technicians, reflective practitioners or transformative
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[Critical papers on public education] (pp. 183-194). Ankara: Siyasal PublishingΑθήνα,
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sciences]. Ankara: Seçkin Publishing House.

Using Dorothy Heathcote’s Commission Model

Approach to Promote the Teacher Candidates’ School-
1
Real Life Relationship Skills

Zeki Özen, Ömer Adıgüzel

i
Το άρθρο αυτό είναι προσβάσιμο μέσω της ιστοσελίδας: www.TheatroEdu.gr
Εκδότης: Πανελλήνιο Δίκτυο για το Θέατρο στην Εκπαίδευση
Για παραγγελίες σε έντυπη μορφή όλων των βιβλίων: [email protected]

Δ Ι ΑΒ Α Σ Τ Ε ΤΟ ΑΡ Θ Ρ Ο Π ΑΡΑΚΑΤΩ
Το άρθρο μπορεί να χρησιμοποιηθεί για έρευνα, διδασκαλία και προσωπική μελέτη. Κάθε
αναφορά στο άρθρο ή σε μέρος του άρθρου μπορεί να γίνει με παραπομπή στην παρούσα έκδοση.
Theatre/Drama and Performing Arts in Education:
Utopia or Necessity? 315

Using Dorothy Heathcote’s Commission Model

Approach to Promote the Teacher Candidates’ School-
1
Real Life Relationship Skills

Zeki Özen, Ömer Adıgüzel

Abstract
The effort to create a natural environment in educational studies has been one of
the most controversial topics. The contact with the individual’s social environment
is seen as an important tool in many educational approaches or methods. One of
the ways that people care about their social environment and their learning in this
environment is drama.
This study was carried out in order to define Dorothy Heathcote’s Commission
Model approach, which is one of Dorothy Heathcote’s most recent drama approaches
and which is not well known in the field of drama. Based on this definition, the aim of
the present research is to develop an application example of the Commission Model
and to analyse the experiences of the students included in the application example, in
line with the purpose of the Commission Model. The research is structured according
to a pattern of action research. The research group was composed of teacher candidates
from different departments of the Ankara University Faculty of Educational Sciences
in the period 2015-2016. In the first phase of the research, the Commission Model,
which has very few examples, is described. In the second phase, the Commission
Model application was implemented using the initial stages of the Mantle of the
Expert approach. In the third phase, the research group members’ experiences in
the process were examined. During the implementation process, data were collected
by way of observation, interviews, visual presentations, reflective summaries, voice
recordings and video recordings. The data collected during the research process were
analysed by inductive analysis and content analysis techniques. The findings obtained
from this survey are based on the Commission Model approach; this is an approach
that solves problematic situations in real life, develops responsibility and presents a
collaborative learning environment through social interaction. Moving on from these
findings, it is proposed that the Commission Model applications should occupy more
space in the drama discipline and that school-real life relations should be structured
in light of this understanding.

Key words: Commission Model, Dorothy Heathcote, Mantle of the Expert,

responsibility, awareness

1. Introduction
The effort to create a natural environment in educational studies has been one of the most controversial
topics. In the traditions of educational sciences, philosophers such as Rousseau and Dewey emphasised
this concept and examined the relationship between education and naturalness together with the concept
of nature.
In order to obtain more quality in learning processes, it is necessary to equip the environment with spe-
cific objectives. The social environment, which is part of nature and the environment, can be considered as a
valuable part of this equipment. According to Dewey (1996), the social environment shapes the individual’s
emotional and intellectual attitudes and behaviours by channeling them to actions that will lead to certain
motives, goals and results.
Drama studies involve processes that are based on group interaction and nourished by the life expe-
riences of group members. The group members who participate in the drama studies demonstrate their
 Theatre/Drama and Performing Arts in Education:
316 Utopia or Necessity?

thoughts by acting aimed at certain dramatic situations. Participants involved in the process take on some
roles in order to maintain their social interactions in a healthy manner.
Prior to the role studies undertaken in drama practices, mental and physical preparatory work are
carried out. The fact that the individuals who have numerous different experiences can express their views
about the theme being treated and witness the degree of different levels of experience existing in other par-
ticipants through social interaction, supports the fact that the work is fictional.
Individuals, who share a great number of experiences in a fictional setting, have problems believing in
their enactments with a short preliminary preparation. Participants who do not believe in the process of
make-believe play do not fulfill the role requirements, such as linguistic, physical, spatial, spiritual, emo-
tional requirements, etc. For this reason, it can be said that participants are further away from believing in
the role.
Aesthetic anxieties, monitoring, cultural-intellectual distress of the role played, lack of revitalising ex-
perience, the inability of self-excitement, excitement, space, time, etc. could be the reasons for reduced
belief in the roles undertaken in enactments.
The concept of role belief is considered by many drama pioneers. The pioneers working in the field of
drama have experimented or used different techniques to increase the belief in the role assumed in their
original approach. In this respect, the pioneers are often focused on psychology studies. They have also
reviewed approaches in theatre studies and have tried to find links to support the role belief in both areas.
According to Bolton, one of the pioneers in the field of drama, Brian Way, was influenced by Stanislavs-
ky (Metinnam & Adıgüzel, 2016). In order to help the students develop, especially in terms of sensitivity,
concentration and intuition, he designed drama processes in which he unified three such processes together.
Beside this, Dorothy Heathcote, another pioneer in the drama field, referred to Bruner as an example of the
people who influenced her when designing the session planning. According to Heathcote, drama is a social
art - it involves goal-oriented interaction. A teacher needs to assist in various ways to achieve consensus in
classes (Heathcote, 2010). Bruner describes three steps for these assisting ways:
- Iconic (pictorial, images);
- Symbolic (speaking, describing, writing); and
- Enactive (to act in a real way by expressing the make-believe play behaviour of the statement).
Dorothy Heathcote, who cares about Bruner’s work in the planning of the drama class, doesn’t plan the
drama processes with Stanislavski’s understanding such as transferring one’s own feelings and resources to
the process of game creation, like Brian Way and Peter Slade do. Heathcote constructs the drama processes
with a Brechtian understanding that conveys the discovery of individuals and their subsequent manifesta-
tions to the learning process (Fiala, 1977; Hesten, 1993; Eriksson, 2009).

Figure 1. Heathcote/Fiala: Drama as Context

In many (traditional?) drama classrooms the main concern of the drama/theatre pedagogue is the cre-
ation of reality illusion, like a simulation of real-life situations. The pedagogical ideal in such a tradition is
that the player either takes a conscious psychological step “into” the soul of his character (left figure above)
– or attempts a “fusion” of his identity with that of his character (middle figure). In Heathcote’s approach
the ideal is not pretending or believing to be “another”, but to retain consciousness of self whilst taking on a
believable, characteristic attitude of “another” (right figure) (Eriksson, 2009).
Dorothy Heathcote treats the concepts of fiction and reality carefully in her original approach. Heath-
cote cares about the social interaction of participants with different life experiences; she starts her works
Theatre/Drama and Performing Arts in Education:
Utopia or Necessity? 317

with tasks that are considered easy to be performed by the participants. Heathcote tries to create self-confi-
dence by creating situations in which the participants will not feel unsuccessful.
Heathcote borrowed theatre metaphors from the Canadian sociologist Erving Goffman and said that
terms such as “role” and “performance” were transferred to many different social contexts.
Heathcote takes a decisive break in her ‘living-through-drama’, from Man-in-a-Mess to Mantle of the
Expert. Mantle of the Expert combines theoretical and scientific investigations with performance. This is a
type of role play where the entire class has a collective role, such as architects, archaeologists or monks. The
pupils are not characters in a psychological sense but create their roles collectively with common values and
the responsibility that goes with the role of the expert (Tor, 2008).
The social function of Heathcote’s methodology appeared to be the examination and modification of
attitudes and the enhancement of child self-expectation. At an early stage, the child was encouraged to
think symbolically. Consequently, the child’s creativity was channeled into symbolic group activity, in which
an awareness of whole group responsibility was fostered. The lesson was designed to develop an in-built
decision-making mechanism in the child to ensure responsibility taking within the context of the drama
(Hesten, 1993).
Commission Model practices, which is the last one of Heathcote’s original approaches, have moved
away from fictional environments to the real-life environments. This step, which can be deemed too brave
for the drama world, seeks to create opportunities for the participants to assume more realistic responsi-
bilities.
In the Mantle of the Expert approach, natural and realistic responsibilities are produced, but known as
fiction. When we look into the Commission Model practices, we see that they are trying to create an envi-
ronment that is all real without fiction.

2. Aim
The aim of this study is to develop an application that focuses on the Commission Model approach, which is
one of the approaches of the drama field pioneer Dorothy Heathcote, and to analyse the experiences of the
students included in the application example according to the Commission Model objectives.

3. Theoretical framework
3.1. Meeting areas of drama and education
The concepts of education and drama come into being as two concepts which have a unified coexistence in
many different cultures and systems. The fields of education and drama are often discussed together with
the field of fine arts education. In this context, the discipline of drama that tries to gain an independent place
in different countries and cultures, is referred together with the use of theatre in education.
In education, the field of drama exhibits ups and downs like a roller coaster (Bowell & Heap, 2001). In
addition to being a discipline in its own right, the drama field is used as a tool to create organic bonds with
other courses in educational systems.

3.2. Make-believe play, fiction and real life

The relationship between life and playing begins from an early age. Philosophy, psychology, education and
arts have examined the relationship between humans and playing in particular. The dramatic plays per-
formed in early childhood include the processes in which children imitate their interactions with their
social environment.
According to Adıgüzel (2016), dramatic plays began in the form of the expansion of all the dramatic
plays in our lives; in a sense, playing real-life roles powerfully enables players to express their needs and
visualise their experiences by use of their imagination. Thus, they find a new solution to a problem.
In general, children are asked to look at their drama situation as adults, and this is manifested as the
power of the “make-believe play” feature (Toye & Prendiville, 2000). Drama pioneers have placed make-
believe play, fiction and real-life situations in their own approaches, in different ways.
For instance, Dorothy Heathcote used the approach of the teacher-in-role. After using this approach,
it was revealed to her that there was also a twilight role, a grey area (that region between consciousness and
unconsciousness) where she was neither in role nor completely out of role (Hesten, 1993).
Heathcote, who wants the participants to touch the real life carefully, has benefited from the approaches
of theatre writers and sociologists such as Bertolt Brecht and Erving Goffman on the subject of belief, pro-
duction of responsibility and real life.
 Theatre/Drama and Performing Arts in Education:
318 Utopia or Necessity?

3.3. Social learning, Bruner and Dorothy Heathcote

Jerome Bruner (1966) mentions that for the internalisation and personalisation of knowledge, the learner
must be actively involved in the learning process and that the learner’s emotions, values and imagination
must be conveyed in accordance with the lessons.
Developments in the behaviour and attitudes of learners who are part of the society do not take place
directly with the transfer of emotions, knowledge and beliefs. In all these learning processes, the “environ-
ment” is a dominant tool.
Dorothy Heathcote, who studied the Commission Model approach on the basis of this research, ben-
efited from Bruner’s social learning theory. In describing social learning styles, Jerome Bruner benefited
from the life experience cone of Edgar Dale. The cone, which provides data about our life experiences in our
learning, classifies the areas of social interaction as follows:

Table 1. Edgar Dale’s life experience cone

3.4. Role, frame, frame distance

The performances performed by the participants in the drama works are affected by the roles in real life; and
these roles are performed in safe classroom environments.
While these active actions performed by the participants in a “fictional“ area try to create a sense of
reality, the fact that the actions are happening in the classroom environment can move the participants away
from this sense of reality.
Canadian sociologist Erving Goffman approaches the reality of life in a dramaturgical way. According
to Goffman, every time we go into social interaction, in every place and in every situation, we play a role
that is required by social relations and after a while this role play is accepted by us as our own reality. Eve-
ryone we encounter in our life is effective in determining our feelings and behaviours. We also interact with
people who interact with us to determine their emotions and behaviours. The ideas put forward in social
interaction are a reflection of our role playing and experiences in real life.
In our real-life roles, there are some roles we play to gain knowledge or to make sense of any situation.
Erving Goffman says that this is a framework. Dorothy Heathcote, based on this framework structure, has
created a chart entitled “general role functions”, which is associated with frame distance.
Heathcote’s learning framework in drama practices was developed from Erving Goffman’s frame analy-
sis and was adapted for use in drama classes. A frame or perspective is a window in which participants view
the action and identify their attitude to events (Sayers, 2011).

4. Methodology
This study is structured with an action research pattern taken from qualitative research designs. Action re-
search is a process of problem solving and continuity. This is similar to “reflective thinking” that is described
by Schön (1983). Similarly, the action research process consists of the stages of problem determination, data
collection, data analysis, action plan determination, action taking and decision to take alternative or new
action.
Theatre/Drama and Performing Arts in Education:
Utopia or Necessity? 319

4.1. Participation group of the research

The study group of the research consists of teacher candidates who studied at different departments of the
Ankara University Faculty of Educational Sciences in 2015-2016.
In order to create the study population, appropriate status sampling was preferred. Appropriate status
sampling is related to easy access of the experimental group (Ekiz, 2009).

Graph 1. Gender, Division and Drama Experience Distribution

4.2. Data collection resources, tools and methods

In the systematic data collection process carried out in action research, it is decided what kind of data, how
and how often to collect before starting the research (Kuzu, 2005). In addition to the main study group of
the research, the data was collected from the other stakeholders that the student group contacted. In this
respect, the research group students prepared reports reflecting the process that they experienced. At the
end of the process, the data was diversified by conducting a focus group interview with the research group.

4.3. Data collection

An effort was made to examine the working group’s experiences in the research process, the ownership of
a structure within real life, the points and reasons for this ownership, the subjective situations in which
the participants live in their groups, and the participants’ feelings, motivation and motivating factors in
the group. In addition to these topics, the student community was asked to define the Commission Model
approach based on their own experiences in the research process. After all the studies were completed, the
research group prepared a general report that addressed the real client - Ankara University Department of
Health, Culture and Sports.

4.4. Data analysis

For the analysis of the qualitative data obtained, the coding was done based on the texts. The coding process
involves collecting text or visual data into small categories of information, searching for evidence for the
code from different databases used in the study and then providing a label to the code (Creswell, 2013). The
reminder notes taken next to the codes given by the researcher helped to identify the categories. The catego-
ries were formed, intersecting common points were determined and themes were created and interpreted.

5. Findings and conclusions

This text is a part of a PhD thesis (Using The Commission Model From The Drama Approaches To Bring
The Teacher Candidates’ School-Real Life Relationship Skills) that was completed by Zeki Özen under the
supervision of Prof. Dr. Omer Adıguzel at Ankara University in April, 2018. You will find only a part of the
research steps in the Findings. These steps were chosen by the researcher as the participants’ views. Further
information can be found in the Turkish language in the Ankara University archive.
 Theatre/Drama and Performing Arts in Education:
320 Utopia or Necessity?

5.1. We are creating a “Cultural Art Centre” with the Mantle of the Expert approach
At this stage of the study, first of all, the opinions and experiences of the research group members on the
Mantle of the Expert applications were evaluated through their own statements. A map has been formed
which shows the relationship between the data obtained from the experiences expressed by the members
of the group.
It has been observed that the Mantle of the Expert studies performed before starting the Commission
Model field studies had a positive effect on the members of the research group.

Table 2. Application Steps of the Research

Table 3. Research Group Members’ Thoughts on the Application of Mantle of The Expert
Theatre/Drama and Performing Arts in Education:
Utopia or Necessity? 321

5.2. Opinions about the Commission Model implementation

In the basic understanding of the Commission Model applications, contact with real people and coping with
real dramatic situations made the group members think in detail. The details expressed by the experts, and
the expectations of the people contacted in the field have created new learning titles. Thus, the details that
the research group members did not think about previously were transferred to the next implementation
step through life experience and sharing. Some of the statements made by the group members regarding the
interactions taking place in the field are as follows:
P1: We were making our plan by determining our next step at each meeting. We divided the groups
and visited the cultural centres in Ankara. We presented videos and photos to our friends. We shared our
information. We talked about the positive-negative aspects.
P11: As the first step in the construction, we planned to develop our ideas in line with this information;
we collected information about the Culture Art Centres in Ankara.
These experience expressions of the research group members for different field studies show that their
existing thoughts are positively influenced by other experiences:
P1: We also learned something different from the places where we went. We learned how to name the
halls or how they set the time of the courses. I wasn’t very knowledgeable about cultural art centres. I’ve
learned a lot with these studies. My interest has increased. I gained awareness.
P14: We had an interview with the person in charge, which was very useful. When we returned to the
drama class, other friends also shared the information they gathered about different cultural art houses.
This sharing was very useful because we had an idea about many cultural centres.
It can be seen that these studies, which are realised by direct field studies, determine the quality of the
activities carried out at other stages of the research. For example, meeting with the head of a cultural arts
centre gave to the members of the group an understanding of the details that they had not thought of before.
P9: One of the best things about the field work was contacting people. Sometimes, even if we didn’t get
feedback, it was taking us to another point of view.
P11: I can say that we were at a somewhat beginner level on our way to the first field. We realised later
that our questions were limited and that we wanted to get approval. I think it’s worthwhile to go out and
collect data, because it allows us to see and improve our different experiences, ideas and perspectives.
It has been observed that the contact and experience sharing with real people, who are the focus of the
model approach, has a positive effect on the learning process of the group members. On the other hand,
some conflicts occurred in the group. In this context, the main ideas for group conflicts are as follows:
P13: Trying to find the middle way sometimes made me tired in such situations.
P6: The point where I experienced the most problems was the fact that I had to do something with the
group. It was struggling.
The members of the research group mentioned that the Commission Model practices are an approach
that develops the awareness of responsibility, creates environments providing cooperative learning, gives
self-confidence, makes participants feel valuable, develops speaking skills, teaches disciplined-planned
work and allows detailed thinking:
P1: Commission work required discipline, responsibility and time. We had to do everything on time, in
cooperation. I did as much as I could.
P12: The good aspects that it added to us: to make common decisions and apply them, to orient our-
selves towards the plan, to take responsibility…
P19: I think the work of the Commission Model has brought a lot to me in this process. I learned a lot
about teamwork. I realised it was important to be a responsible person and I made some corrections about
myself.
 Theatre/Drama and Performing Arts in Education:
322 Utopia or Necessity?

Table 4. Research Group Members’ Opinion on the Commission Model Implementation

6. Conclusions and suggestions

The Commission Model implementation is considered as a staging process; each group member was a
certain small performative player of a whole performance. In a natural environment, the members of the
group who direct their own choices, reactions and Commission Model implementation activities have ex-
perienced emotions and gains that can be considered as variable because of their social interactions. The
Commission Model involves an implementation process involving concepts of role and reality.
Erving Goffmann (2009), who says that the world is a stage with a dramaturgical approach, has the
following views about the interactive creations that he calls the “team” and the reactions of the individuals
in these creations:
It is clear that these individuals, who are members of the same team, will have an important rela-
tionship with each other, just because of teamwork. We can talk about two basic components of this
relationship. Firstly, it seems that while team performance continues on the one hand, any member
of the team has the power to unleash the foyer of the show or to reduce performance by inappropri-
ate behaviour. All teammates must rely on each other’s actions and behaviours.
It can be said that the Commission Model practices are also related to community development. The imple-
mentations, which are taken into the focus of the model, are tried to be finalised with common tasks, while
the ideas of the other stakeholders in the society are becoming more important for the implementation.
Based on the findings of the research, it is concluded that the Commission Model approach is an ap-
proach that produces responsibility, produces social action, realises certain roles in real life, does not create
teaching pressure, uses art forms and makes group work systematic.
Theatre/Drama and Performing Arts in Education:
Utopia or Necessity? 323

6.1. Suggestions for Drama field professionals and researchers

Based on the research findings it is suggested to:
‚‚ Conduct studies on introducing and discussing the Commission Model as an approach, because
the Commission Model practices are not sufficiently involved in the literature;
‚‚ Hold an in-depth discussion of the relationship between fiction and reality due to the acceptance
of the Commission Model approach in the field of drama. Also, organise activities that can bring
together sociologists, psychologists, artists and educators under this approach;
‚‚ Construct drama studies in a way that cares more about social interaction and social change;
‚‚ Increase the dimensions of the drama works in contact with real life.

Notes
1 This text is a part of a PhD thesis (Using The Commission Model From The Drama Approaches To Bring The
Teacher Candidates’ School Real-Life Relationship Skills) that was completed by Zeki Özen under the supervision of
Prof. Dr. Omer Adıguzel at Ankara University in Aprıl, 2018.

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