The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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Page 1
... aesthetic understanding. People Drama is a collaborative group artform where people transform, act, and reflect upon the human condition. In drama, people are the instruments of inquiry. Stanislavski, the great Russian theatre director ...
... aesthetic understanding. People Drama is a collaborative group artform where people transform, act, and reflect upon the human condition. In drama, people are the instruments of inquiry. Stanislavski, the great Russian theatre director ...
Page 3
... aesthetic space, where people creating passions live. Such platforms, aesthetic spaces, can be in classrooms, on streets, in hospitals, business organisations. Throughout time, these spaces have been marked in a variety of ways: around ...
... aesthetic space, where people creating passions live. Such platforms, aesthetic spaces, can be in classrooms, on streets, in hospitals, business organisations. Throughout time, these spaces have been marked in a variety of ways: around ...
Page 4
... aesthetic understanding. Aesthetic understanding Aesthetic, a word which has confounded and perplexed commentators for some time, refers to how satisfying we find the dramatic work, how well it massages our senses. My colleague Maxine ...
... aesthetic understanding. Aesthetic understanding Aesthetic, a word which has confounded and perplexed commentators for some time, refers to how satisfying we find the dramatic work, how well it massages our senses. My colleague Maxine ...
Page 7
... aesthetic responses are driven by their own reading, or misreading, of a specific moment. The cultural, social, sexual and physiological make-up of a classroom context inevitably impacts on attitudes students reveal in drama. Teachers ...
... aesthetic responses are driven by their own reading, or misreading, of a specific moment. The cultural, social, sexual and physiological make-up of a classroom context inevitably impacts on attitudes students reveal in drama. Teachers ...
Page 24
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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