Entrepreneurship and drama education each offer unique opportunities for an experiential view of learning. This is especially of relevance to entrepreneurship education in the areas of communication and performance. Such performance includes areas of skill development (encompassing presentations, stakeholder management, and summary writings). The authors of this article were curious about the interdisciplinary possibilities of play through performativity and script writing as they related to entrepreneurship education and employed process drama so that students could creatively explore entrepreneurship strategies, perform live case analyses, and conduct learning connected to the real world. Results of this classroom intervention demonstrated how developing the art of the pitch through play and performativity allows for fostering creativity, innovation, and risk-taking in an entrepreneurship education setting with an emerging term – performing entrepreneurialism.
AnfaraV. A.BrownK. M.MangioneT. L. (2002). Qualitative analysis on stage: Making the research process more public. Educational Researcher, 31(7), 28–38. https://doi.org/10.3102/0013189x031007028
2.
BakerT.MinerA. S.EesleyD. T. (2003). Improvising firms: Bricolage, account giving and improvisational competencies in the founding process. Research Policy, 32(2), 255–276. https://doi.org/10.1016/s0048-7333(02)00099-9
3.
BalachandraL. (2019). The improvisational entrepreneur: Improvisation training in entrepreneurship education. Journal of Small Business Management, 57(4), 60–77. https://doi.org/10.1111/jsbm.12486
BurkJ.ArmstrongC. (2021). The art of the pitch: More promise for entrepreneurship research and practice than meets the eye. Academy of Management Annual Meeting Proceedings, 2021(1), Article 12256. https://doi.org/10.5465/AMBPP.2021.12256abstract
6.
CampbellH. M. (2021). Finding what’s real by making believe: Performing student literacy experiences. English Journal, 110(3), 61–67. https://doi.org/10.58680/ej202131069
7.
CarbonaraD. (2013). Situated cognition. In RicheyR. C. (Ed.), Encyclopedia of terminology of educational communications and technology. Springer. https://doi.org/10.1007/978-1-4614-6573-7
ClarkeJ. S.CornelissenJ. P.HealeyM. P. (2019). Actions speak louder than words: How figurative language and gesturing in entrepreneurial pitches influences investment judgments. Academy of Management Journal, 62(2), 335–360. https://doi.org/10.5465/amj.2016.1008
10.
CoughterP. (2012). The art of the pitch: Persuasion and presentation skills that win business. Palgrave Macmillan.
11.
CowanK.AlbersP. (2006). Semiotic representations: Building complex literacy practices through the arts. The Reading Teacher, 60(2), 124–137. https://doi.org/10.1598/rt.60.2.3
12.
DanielsH.DownesE. (2015). Identity and creativity: The transformative potential of drama. In DavisS.FerholtB.Grainger ClemsonH.JanssonS.Marjanovic-ShaneA. (Eds.), Dramatic Interactions in Education Vygotskian and Sociocultural Approaches to Drama, Education and Research. Bloomsbury Publishing. https://doi.org/10.5040/9781472593429
13.
DavisJ. H. (2007). Why our schools need the arts. Teachers College Press.
14.
Den HeyerK. (2008). ‘Yes, but if we have students think all day when will we get anything done?’: Two conceptual resources to engage students in democratically dangerous teaching. Teachers and Teaching, 14(3), 253–263. https://doi.org/10.1080/13540600802006152
15.
DobsonS.WalmsleyB. (2020). Fail fast, fail often…but don’t fail this course! Business and enterprise education through the lens of theatre and the creative arts. Industry and Higher Education, 35(4), 336–346. https://doi.org/10.1177/0950422220955071
EngelbertsM. (2004). ‘Alive and present’: Theatresports and contemporary live performance. Theater Research International, 29(2), 155–173. https://doi.org/10.1017/S0307883304000306
19.
ErikssonS. A. (2011). Distancing at close range: Making strange devices in Dorothy Heathcote's process drama teaching political awareness through drama. Research in Drama Education, 16(1), 101–123. https://doi.org/10.1080/13569783.2011.541613
20.
EstesC. A. (2004). Promoting student-centered learning in experiential education. Journal of Experiential Education,27(2), 141–160. https://doi.org/10.1177/105382590402700203
21.
FayolleA.VerzatC.WapshottR. (2016). In quest of legitimacy: The theoretical and methodological foundations of entrepreneurship education research. International Small Business Journal, 34(7), 895–904. https://doi.org/10.1177/0266242616649250
22.
GaddeforsJ.AndersonA. R. (2017). Entrepreneursheep and context: When entrepreneurship is greater than entrepreneurs. International Journal of Entrepreneurial Behavior & Research, 23(2), 267–278. https://doi.org/10.1108/IJEBR-01-2016-0040
GundersonL. (2021). Dramatic science: STEM onstage and centering girls in TYA. In The children, youth, and performance conference 2021 (pp. 25–27). York University & Young People’s Theatre.
25.
HansenJ. (2009). Multiple literacies in the content classroom: High school students' connections to U.S. history. Journal of Adolescent & Adult Literacy, 52(7), 597–606. https://doi.org/10.1598/jaal.52.7.5
26.
HeljakkaK. (2023). Building playful resilience in higher education: Learning by doing and doing by playing. Frontiers in Education, 8(1), Article 1071552. https://doi.org/10.3389/feduc.2023.1071552
27.
HmieleskiK. M.CorbettA. C. (2008). The contrasting interaction of improvisational behavior with entrepreneurial self-efficacy on new venture performance and entrepreneur work satisfaction. Journal of Business Venturing, 23(4), 482–496. https://doi.org/10.1016/j.jbusvent.2007.04.002
28.
hooksb. (1995). Art on my mind: Visual politics. The New Press.
IrwinR.DeCossonA.PinarW. F. (2004). A/R/tography: rendering self through arts-based living inquiry. Pacific Educational Press.
32.
JonesC. (2019). A signature pedagogy for entrepreneurship education. Journal of Small Business and Enterprise Development, 26(2), 243–254. https://doi.org/10.1108/JSBED-03-2018-0080
33.
KasseanH.VanevenhovenJ.LiguoriE.WinkelD. E. (2015). Entrepreneurship education: A need for reflection, real-world experience and action. International Journal of Entrepreneurial Behavior & Research, 21(5), 690–708. https://doi.org/10.1108/IJEBR-07-2014-0123
34.
KlapperR. G.NeergaardH. (2017). Teaching entrepreneurship as lived experience through ‘wonderment exercises’. In JonesP.MaasG.PittawayL. (Eds.), Contemporary issues in entrepreneurship research - Entrepreneurship education: New perspectives on entrepreneurship education (7, pp. 145–170). Emerald Publishing Limited. https://doi.org/10.1108/S2040-724620170000007011
35.
KolbA. Y.KolbD. A. (2017). Experiential learning theory as a guide for experiential education in higher education. Experiential Learning & Teaching in Higher Education, 1(1), 7–44. https://doi.org/10.46787/elthe.v1i1.3362
36.
KolbD. A. (1984). Experiential learning: Experience as the source of learning and development. Prentice-Hall.
37.
KostogrizA.DoeckeB. (2013). The ethical practice of teaching literacy: Accountability or responsibility?Australian Journal of Language and Literacy, 36(2), 90–98. https://doi.org/10.1007/bf03651914
38.
KuhG. (2008). High-impact practices: What they are, who has access to them, and why they matter. Association of American Colleges and Universities.
39.
KuratoD. F. (2014). Entrepreneurship: Theory, process, practice (9th ed.). Cengage Publishing.
LeanderK. M.EhretC. (Eds.), (2019). Affect in literacy learning and teaching: Pedagogies, politics and coming to know. Routledge.
42.
LeatherM.HarperN.ObeeP. (2021). A pedagogy of play: Reasons to be playful in postsecondary education. Journal of Experiential Education, 44(3), 208–226. https://doi.org/10.1177/1053825920959684
43.
MacroK. (2015). Drama as literacy: Perceptions of an interactive pedagogy. Research in Drama Education: The Journal of Applied Theater and Performance, 20(3), 337–339. https://doi.org/10.1080/13569783.2015.1059270
44.
ManleyA.O’NeillC. (1997). Dreamseekers: Creative approaches to the African American heritage. Heinemann.
45.
McNattD. B. (2019). Enhancing public speaking confidence, skills, and performance: An experiment of service-learning. International Journal of Management in Education, 17(2), 276–285. https://doi.org/10.1016/j.ijme.2019.04.002
46.
MedinaC.LilianaP.MiaL.BridgetK.DelimanA. (2021). Reading with drama: Relations between texts, readers, and experiences. Literacy, 3(2), 131–144. https://doi.org/10.1111/lit.12246
47.
MerriamS. B. (2009). Qualitative research: A guide to design and implementation (2nd ed.). Jossey-Bass.
48.
MorrisM. H.KuratkoD. F. (2014). Building university 21st century entrepreneurship programs that empower and transform (pp. 1-24). In KuratkoD. F.HoskinsonS. (Eds.), Innovative pathways for university entrepreneurship in the 21st century. Emerald Publishing.
49.
MoutonJ. (2001). How to succeed in your master’s and doctoral studies: A South African guide and resource book. Van Schaick Publishers.
50.
NabiG.LinanF.FayolleA.KruegerN.WalmsleyA. (2017). The impact of entrepreneurship education in higher education: A systematic review and research agenda. The Academy of Management Learning and Education, 16(2), 277–299. https://doi.org/10.5465/amle.2015.0026
51.
NeckH. M.CorbettA. C. (2018). The scholarship of teaching and learning entrepreneurship. Entrepreneurship Education and Pedagogy, 1(1), 8–41. https://doi.org/10.1177/2515127417737286
52.
O’NeillC. (1995). Drama worlds: A framework for process drama. Heinemann.
53.
PascoeR. (2002). Stretching the envelope for arts literacy: Arguing for multiple literacies through drama and the other arts. Melbourne Studies in Education, 43(2), 64–76. https://doi.org/10.1080/17508480209556403
54.
PerryM.WesselsA.WagerA. (2013). From playbuilding to devising in literacy education: Aesthetic and pedagogical approaches. Journal of Adolescent & Adult Literacy, 56(8), 649–658. https://doi.org/10.1002/jaal.195
SabaT.BlanchetteS.KronfliC. (2021). Supporting entrepreneurship and SMEs: A post-pandemic skills and training agenda. Report. Skills for the Post-Pandemic World.
57.
SamarawickremaG.ClearyK.MaleS.McCluskey. (2022). HERDSA guide: Designing learning for intensive modes of study. Higher Education Research and Development Society of Australasia Inc.
58.
ShabtayA. (2021). Ethical considerations in drama-based research with children and young people. In SpencerG. (Ed.), Ethics and Integrity in Research with Children and Young People (Advances in Research Ethics and Integrity) (7, pp. 199–212). Emerald Publishing Limited. https://doi.org/10.1108/S2398-601820210000007018
SpringgayS.IrwinR.KindS. W. (2005). A/r/tography as living inquiry through art and text. Qualitative Inquiry, 11(6), 897–912. https://doi.org/10.1177/1077800405280696
62.
StakeR. E. (1995). The art of case study research. Sage.
63.
SteelJ. (2006). Perfect pitch: The art of selling ideas and winning new business (1st ed.). John Wiley & Sons.
64.
TaylorWarnerC. D. (2006). Structure and spontaneity: The process drama of Cecily O'Neill. Trentham Books.
65.
ThomassenM. L.MiddletonK. W.RamsgaardM. B.NeergaardH.WarrenL. (2020). Conceptualizing context in entrepreneurship education: A literature review. International Journal of Entrepreneurial Behavior & Research, 26(5), 863–886. https://doi.org/10.1108/IJEBR-04-2018-0258
66.
TomkinsL.UlusE. (2016). Oh, was that “experiential learning”?!’ Spaces, synergies, and surprises with Kolb’s learning cycle. Management Learning, 47(2), 158–178. https://doi.org/10.1177/1350507615587451
67.
VicarsM.McKennaT. (2015). In the thick of things: Drama as a qualitative methodology. Qualitative Research Journal, 15(4), 416–429. https://doi.org/10.1108/QRJ-06-2015-0034
68.
WellsT.SandrettoS. (2016). “I'm on a journey I never thought Iid be on”: Using process drama pedagogy for the literacy programme. Pedagogies: An International Journal, 12(2), 180–195. https://doi.org/10.1080/1554480X.2016.1245147
69.
WhitelawJ. (2017). Arts-based literacy learning like “new school”: (re)framing the arts in and of students' lives as story. English in Education, 50(1), 42–71. https://doi.org/10.58680/ee201729319
70.
YastrowS. (2018). Ditch the pitch: The art of improvised persuasion. SelectBooks.
71.
YorkJ.deHaanJ.HourdequinP. (2019). It’s your turn: EFL teaching and learning with tabletop games. In ReindersH.RyanS.NakamuraS. (Eds.), Innovation in language teaching and learning. New language learning and teaching environments. Palgrave. https://doi.org/10.1007/978-3-030-12567-7_7
Please find the following supplemental material available below.
For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.
For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.
