fficulty facing scholars constitute the ability to distinguish between drama and theatre and establishment of the relationship between drama and theatre education as tools for creative learning. This research paper aims at establishing a clear distinction between theatre and drama in addition to establishing a relationship between drama/theatre and creative learning. The paper will achieve this by discussing the critical aspects of creative learning, relationship between drama and theatre education and creative learning, how creative drama enhance creativity in learning, and importance of drama in assessments, and theories of drama and theatre in creative learning.
Creative learning is enhanced through the level of creativity possessed by the learner. Winston (2010) defines creative learning as imaginative activities fashioned with the aim of producing outcomes characterized by originality and value. In creativity, the learner has to portray originality and value in the end result of the learning process. Fleming (2011) outlines the basic features of creativity; these are use of imagination, pursuing purposes, being original and judging value. In Jo Trowsdale’s session, for example, the class was introduced to a range of creative people who shared a variety of characteristics. These personalities included Aristotle, Vivien Westwood, and Martin Luther King; from them it was evident that creativity is not just about arts and not always related to a product, but it could be a change of mind/heart. Any creativity process lacking any of the aforementioned features is considered null since it lacks the main components of creativity.
Creativity involves playing with new ideas and trying out possibilities from such ideas. For example, the Myth of Icarius revealed three different period of painting. Flying too high using the wings would take Icarius too close to the sun and melt while flying too low would take him close to the sea and drown. This implies that Icarius