Task C Reflective Theory -

A Critical Reflection on Reflective Practice.

I have been aware of reflective practice in my profession for many years. We were encouraged when I attending drama school to keep a journal which we were able to draw upon when writing a reflective submission for examination. Reviews, positive or negative are a useful way of reflecting what was desirable in a performance and what steps need to be implemented to aid improvement in the present or future. I enjoy watching a performance and then analysing from the performers and the audience point of view. Did we all see the same cohesive vision that the director had?

My reflective practice is held together by a strong framework, under pinned by theory. I think reflection portrays professionalism as it shows we are willing to learn from our mistakes and successes.

One of the tools I have began to use is "blogging." When there is a thread, the blog becomes "alive" when it is not commented upon is it a "dead" piece of writing with endless possibilities unexplored.

Gil-Garcia and Cintron claim journals encourage self-assessment, collaborative critique and goal setting. Smith's 1989 four phase model of "describe, inform, confront and re-construct" suggests using a double entry journal with information on one side and reflection on the other. This is a reflective practice tool that I utilise as when I do not know how to begin. It supplies me with a strong starting point that focuses my creativity.

Moon states that reflective journals can be a tool to support critical thinking. This includes "multi-dimensionality" courses of different tools and sources that helps us to "stand outside ourselves."

Other tools that can be used are portfolios and E portfolios. Dietz and Wolf write these are -
"A collection of structured professional "artefacts" gathered together of skills and knowledge."

Whilst researching I read "The Generic Centre Reflection in Higher Education, Jenifer Moon, University of Exeter.  She explains the purpose of her paper is to "provide a concept of reflection that takes account of the theory but what can be applied practically or usefully" Moon's definition of reflective practice is "a set of abilities and skills, to indicate the taking of a critical stance, an orientation to problem solving or state of mind."

She qualifies "reflection is a form of mental processing" and describes Dewey as a classical theorist who had a specialised form of thinking. When reflecting on Kolb's Learning Cycle she feels this method can be constantly "re-cycled" through new experience as Kolb uses this method to encourage exploration and experimentation.

She writes that Schon used reflective practice "as a mechanism for practical development" and that Dewey was exceptional because he took a holistic view or reflection as a process. Moon theorises that reflective practice "slows down" our practice and we can take ownership by thinking about our actions and intentions. This relates to my practice as every performance will be my own creation, albeit with collaboration, and as an adjudicator my decision is considered final. I have to take ownership and responsibility.

Moon writes "reflective practices is an active, dynamic, action-based set of skills, placed in real time and dealing with real, complex and difficult situations."

As Tamora in Shakespeare's Titus Andronicus my character was responsible for mutilation, rape and murder. I found I was reflecting almost instantly on my actions during rehearsal and certainly afterwards. I needed to empathise with the character and had to find the reasons why she made such extreme choices.

Kolb states that we are "feeling watchers, thinking doers and thinking watchers." Does this lead to us becoming "feeling doers?" I believe it does because our creative nature cannot be natured unless we fall into one or preferably all of the above categories at different stages of our professional process. We need the ability to synthesis our skill-set.

Kolb's Learning Cycle is useful as I can relate to it and have incorporated it in my practice without knowing it. I have worked with directors who have encouraged a form of this theory and by association am noticing it more now in my professional practice. We all know more than we think we do.

I realised my is method generally is reversing Kolb's Learning Cycle.
Feel (Concrete Experience)
Feel and Do (Accommodating)
Think and Watch (Assimilating)
Observe, Watch and Feel again (Reflective Observation)
Abstract Conceptualisation (Thinking) is continuous from start to finish and would include any research I undertake. Workshops and "hot seating" would be the Active Experiment area.

I conclude that this is because I begin with the concrete experience level when undertaking new work. My intention is apply practice and methods with a clear rational. I like to be free to experiment and explore and then stand back and observe and think. The end result will have an element of "truth" I "felt" at the beginning of the process.

Boydell, Burgoyne and Pedlar believed that Kolb's cycle is weighted from the perspective of educators. Their simplified version becomes -"Something happens, What happens, So What and Now What?" There are many variants of Kolb's Learning Cycle and I will cherry-pick the phrasing that works for me in a particular circumstance. With a contemporary or controversial play the Pedlar, Burgoyne and Boydell questions feel more urgent and immediate.

When I began to Blog I entered the cycle from the opposite side and went around in a clockwise motion form Diverging to Accommodating. I researched, read, wrote and reviewed.

Dewey's idea of "continuous  re-organization, reconstruction and transformation of experience" is a concept that I have used in my professional practice. We need to adapt and be open to change as we work and learn. If we do not our performance could be one-dimensional and uninspiring to watch. It is fruitful to evaluate and re-evaluate as we work.

Whilst working on a script I will draw on Dewey's ideas of reflective thought and experience. Acknowledging many professions can benefit from reflective theory and practice Dewey writes "interaction with the arts can led to a unique and valuable experience".

Dewey uses the term "reflective thought", considering after having an experience how it affected us. We need to first comprehend we are having an experience and then compare it to any other previous experiences so we can understand our own process. Our aim is to find meaning as if we do not understand this basic premise we may be blocked. Reflection and reflexivity are a "sophisticated human process requiring sophisticated educative support". Doubt and uncertainty is a state of mind that Dewey believes is essential to reflection. As he lived through two World Wars, it is not surprising he hoped reflection, used to help create fully-rounded responsible humans, could help democratic rule and solve wordy-issues.

I embrace Dewey's concept of "puzzling" through. It suggests we are not fully aware of what we need and are willing to admit we are still a work in progress. Of   Dewey;s book"How We Think"  Rorty writes this became the progressive educators "bible  Dewey's work influenced Boud et al (1985) but questions have been raised with reference to his model. Dewey uses five stages of thinking "suggestions, an intellectualisation of the difficulty, learning idea, the mental elaboration of the idea and testing the hypothesis".

Infed, a web journal, suggests that Dewey is "left hostage to fortune by using terms like "stage and phase" and because of this invites a sequence and therefore is still offering a set method.

Schon introduces us to the terminology "reflection-in-action and reflection-on-action." If we use one do we then automatically go on to use both? This would work well in a workshop environment. To present this idea and see how different individuals would approach and incorporate these theories.

Erault claimed reflection can be "too hot" to use-in action as problems may arise when time is limited and decisions made in haste. Erault claims Schon "technically rational paradim" does not analysis everyday practice and Kinsella suggests there is much confusion concerning reflective practice.

As an Adjudicator of one-act festivals I have to grade performances whilst in-action and on-action and usually only have fifteen minutes to add to my notes. Full length drama festivals have more time for consideration but the original notes are almost the most valuable reflection tool. Brookfield (1995) suggests we "connect to our practitioner selves. When we use our metacognitive skills it is important to be aware of conscious competence and to understand the limitations of our current skill-set.

My relationship with reflective practice has developed over time. Although I do not consciously call upon it I know it always there. A few years ago I was cast in a part I had previously played. Although my performance may have appeared comparable I knew I was bringing all my current experience and had reflected on how it could be improved.

When using critical thinking as part of reflective practice it is necessary to apply, synthesise and evaluate. We need to approach the task with a clear, rational and open mind using informed evidence obtained relating if possible to real events. To explore critical reflection we need to journey back and call on our experience, knowledge, skills and theory to help us form our every-changing opinions.

References

Gil Garcia, A & Cintron, Z.  Available on e-resources (2002)
Moon, J, "Reflection in Learning and Professional Development", Kogan Page, London, 1999
Moon, J, Learning Journals: A Handbook for Academics, Students and Professional Development" Kogan Page, London, (1999)
Moon, J, "Reflection in Higher Education" University of Exeter, e-resource
Kolb, D. A, & Fry, R. Towards an applied theory of experiential learning in C. Cooper (ed) "Theories of Group Process" John Wiley, London, 1975
Pedler, M, Burgoyne, J & Boydell, T. "The Learning Company. A strategy for sustainable development", McGraw, London, 1996
Dewey, .J. "How we Think": A restatement of  the relation of reflective thinking to the educative process." D.C. Heath & Company, Boston, 1933
Infed e-sourcs "Reflection, learning and education", M.K. Smith 1996, 1999
Schon, D.A, "The Reflective Practitioner: How professionals think in action",  Basic Books, New York, 1988
Erault, M, "Developing Professional Knowledge and Competence", Falmer Press, London, 1994
Rorty, R. "John Dewey, The Later Works 1925-1953" Volume 8, Southern Illlinois University Press, 1987