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Katipuneros RPG: Bisperas ng Himagsikan (Katipuneros RPG: The Eve of the Revolution) is an immersive and gamified theater that engages its “audiences” in the initiation rites of a secret revolutionary movement in the Philippines in 1896. This descriptive qualitative research evaluates such experiential approach to learning history by investigating the experiences and insights of a group of students from the University of the Philippines Los Baños (UPLB), who participated in Katipuneros RPG.

Textual data obtained from the participants' reflection papers and focus group discussion transcripts were analyzed using open and axial coding.

Three key themes summarized the participants' learning experiences as they went through the play, as follows: (1) Katipuneros RPG as an immersive, interactive and intrinsically motivating medium for learning history; (2) the knowledge, values and skills that served as facilitating factors for their learning and (3) the insights the participants gained about history and life in general.

The research argues that in Katipuneros RPG, learners take on a more active role in studying history as the “teacher” vanishes in lieu of a learning system the allows students to think critically, reflect and collaborate. The approach integrates elements of development theater, immersive play and gamified learning, as well as the principles of constructivist, play-based and multi-sensorial learning.

As an innovative learning tool, it is a viable medium to teach history in the current socio-political context of the Philippines.

The study hopes to contribute to literature on pedagogical approaches for teaching and learning history through immersive environments.

Theatre Engine is a three-phase project exploring the integration of mobile devices such as smart phones and tablet computers as user interaction mechanisms for live theatrical performances. This paper aims to describe the technical details for the first performance in the series: transitions, including system design, user interface details, and lessons learned.

The Theatre Engine project consists of a network of mobile Android-based devices that communicate with a server managing a live theatrical performance. Additional systems provide projected graphics within the performance space, dynamic instructions to live musicians, and control of theatrical equipment including robotic lighting. The system is under the live control of a stage managers and show runner. The first phase produced the performance transitions, where live and virtual dancers interacted with audience members.

The user activities are described in the context of manipulations and the effects of those manipulations and a classification of the roles of users as active participants in the performance is proposed. The concept of blurring the distinction between real and virtual is explored.

Technological advances make it possible for the audience to be an active participant in a performance, converting a passive theatrical experience to an active and immersive experience. Theatre Engine is a new approach to the integration of mobile devices into the theatre and a test-bed for new user interface ideas.

The purpose of this paper is to probe aid readers’ understanding of the areas in which drama-based trainings are being used and how drama as a tool acts as a means to achieve desired learning and behavioral changes in organizations.

The paper uses literature review to analyze the practice of drama-based training.

Drama-based training is one of the most effective tools to engage participants. It elicits the desired response in them when they ruminate over familiar circumstances or behaviors being depicted and leads to instant recall and associations that acts as a propeller to imbibing new learning. Coming up with an alternative response or behavior as a result of experiencing events through drama could help them learn or manage the situation through behavioral transformation.

Being conceptual in nature, this model must be tested empirically by relevant stakeholders in the area of learning and development to add further weightage to literature.

By detailing drama-based training used in varied areas of specialization and how its usage has tremendous potential to facilitate bringing about desired behavioral changes, the paper demonstrates the importance of creating a lasting impact through this method of training that will specially be relevant to HRD managers.

Multidisciplinary areas in which drama- or theatre-based trainings are being used have been studied through literature review and a conceptual model of training, abbreviated as DRAMA for easy recall, has been proposed with inclusion of salient features that make drama-based interventions for training so engaging and effective for disseminating learning. This model also finds some connection with the Kolb’s experimental learning theory.

The point that I wish to make is that we must be constantly aware of Shakespeare's “whining school-boy”, employ our pedagogy in the framework of its power, and be very humble while preaching our ideas, hoping to find the right way to bring a smile to the faces of our children. It is in this context that I wish to suggest a theatrical framework for teacher training, that is to say – theatrical representations of teaching as performance.

This paper aims to discuss how Interactive Theatre can be implemented and it also gives examples of it in action with feedback from clients. Unlocking employee creativity is one of the key challenges of implementing organisational change to improve performance and enhance working life.

Interactive Theatre is a dynamic event that helps to release employee inhibitions that prevent them from expressing their views while engaging them in critical reflection and creative thinking through facilitated dialogue and collaboration.

Using theatre to dramatise the issues and situations created by poor work organisation, inadequate skills and ineffective management practice encourages employers and employees alike to take action. Drama reveals all the tensions and problems that can exist in the business, while at the same time being fun and captivating. As a result, people are more likely to have an open mind about the need for change and to become actively involved in its design and implementation.

This paper discusses how Interactive Theatre can be implemented and gives examples of it in action with feedback from clients.

The purpose of this paper is to describe the development, implementation and impact evaluation of an interactive theater-based workshop by the ADVANCE program at the University of New Hampshire (UNH). The workshop is part of a larger institutional transformation program funded by the National Science Foundation.

This institutional transformation program relied upon a systems approach to diagnose potential causes for the underrepresentation of women faculty in certain disciplines. This revealed that increasing awareness of, and reducing, implicit gender bias among members of faculty search committees could, in time, contribute to increasing the representation of women faculty at UNH. A committee charged with developing a faculty workshop to achieve this change identified interactive theater as an effective faculty training approach. The committee oversaw the development of customized scripts, and the hiring of professional actors and a facilitator to implement the workshop.

The workshop’s effectiveness in fulfilling its goals was assessed using faculty hiring and composition data, program evaluations, participant interviews and questions in an annual faculty climate survey. Findings indicate that the representation of women faculty increased significantly at UNH since the implementation of the interactive theater workshop. Analysis of the multiple sources of data provides corroborating evidence that a significant portion of the increase is directly attributable to the workshop.

This paper demonstrates the effectiveness of interactive theater-based workshops in an academic environment and of the systems approach in diagnosing and solving organizational problems.

In this account of a study of a Theatre of the Oppressed (TO) intervention in a preservice teacher classroom, the authors explore an alternative way of learning to teach, as well as the dynamics of interdisciplinary collaboration between Theater and Education. Measures of racial and political attitudes did not demonstrate any change in the preservice teachers; however, several limitations made these findings inconclusive. Observations and journal entries suggested that interactive theater may be a promising way to make beliefs about teaching and learning visible, and therefore accessible for critical reflection.

This paper was written to help practitioners in the field of arts‐based learning understand the impact that training with its roots in theatre can have and has had on business executives – and the causes of that impact.

The paper was developed by examining the 17‐year experience of Performance Plus… in delivering theatre‐based training to a wide range of large US businesses. It examines the way that drama can affect people in the audience and then, more particularly, how theatre based training affected the behaviors and actions of key management participants. The article then connected those results to the work of philosopher E.F. Schumacher and social scientist Daniel Goleman.

The fundamental conclusion of the paper is that drama is an extremely effective tool for helping people learn skills and behaviors they can apply in the everyday routine of business.

Because so little has been written about theatre‐based training, the primary value of this paper is to open readers’ eyes to a new and powerful way to train business executive – and to outlines a few of the many ways that approach can be taken to ensure that management participants in training programs are actively involved and engaged in the programs being presented and as a result embrace the learning from the program in a lasting way.