The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? What drama activities are especially successful? How do teachers know when students are learning in, through and about drama? Teachers who are new to drama, or those wishing to refresh their knowledge and ideas, should find practical answers and guidance in this text. The book introduces the work of Cecily O'Neill to demonstrate the entry points to drama lessons, the pre-texts, and how educators need to introduce lessons with challenging material. He then uses the work of David Booth to highlight one aspect of drama - storydrama - and how it can be used as an effective learning medium across the curriculum. |
From inside the book
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Page 9
... Episode 1 : Telling the tale The teacher is familiar enough with the Sciezska version that he can almost tell it verbatim without referring to the text. There are strong advantages in this ploy: eye contact is an important factor within ...
... Episode 1 : Telling the tale The teacher is familiar enough with the Sciezska version that he can almost tell it verbatim without referring to the text. There are strong advantages in this ploy: eye contact is an important factor within ...
Page 10
... episode their own images of Alex and the pigs, and he reminds the group that only a few pictures from the book will be shown. It is important that the students begin the story in their own minds; he is concerned that the evocative ...
... episode their own images of Alex and the pigs, and he reminds the group that only a few pictures from the book will be shown. It is important that the students begin the story in their own minds; he is concerned that the evocative ...
Page 11
... Episode 2: Defending a wolf Once the story is completed the teacher immediately assumes the role of a reluctant defence attorney. 'I am afraid this case is going to be one of the most difficult we've faced', he suggests. 'I mean we have ...
... Episode 2: Defending a wolf Once the story is completed the teacher immediately assumes the role of a reluctant defence attorney. 'I am afraid this case is going to be one of the most difficult we've faced', he suggests. 'I mean we have ...
Page 12
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Contents
Getting started with good pretexts | 23 |
storydrama and storying across | 44 |
Designing drama curriculum | 74 |
Historical perspectives on drama praxis | 95 |
Resources and further reading | 133 |
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Common terms and phrases
action activity aesthetic approach argued artistic arts education asks assume Australia become begin Bolton Booth centre challenged Chapter classroom commit concerned construct context create creative critical curriculum David demonstrate described develop direct discussion drama praxis effective encounter Episode event example experience explore focus going happening Heathcote Heinemann human ideas important improvisation interest involved issues kind knowledge language lead leader learning lesson lives London look meaning O'Neill observation participants partnership passion patriots performance perspectives pigs play possibilities practice practitioners pre-text present Press principle process drama programme questions raised reading referred reflect relationship reminds Research responses role seemed shared skills social studies standards story storydrama strategies structure suggests Task teacher teaching tell temple theatre Theory thought transformed understanding University wolf York
Bibliographic information
| Title | The Drama Classroom: Action, Reflection, Transformation |
| Author | Philip Taylor |
| Publisher | Routledge, 2004 |
| ISBN | 1135710449, 9781135710446 |
| Length | 152 pages |
| Export Citation | BiBTeX EndNote RefMan |