The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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Page 3
... argument of the British educator Gavin Bolton, who was one of the first leaders to claim how clumsy the term 'conflict' can be when describing classroom drama. For Bolton, drama expresses the constraints upon the expression of a ...
... argument of the British educator Gavin Bolton, who was one of the first leaders to claim how clumsy the term 'conflict' can be when describing classroom drama. For Bolton, drama expresses the constraints upon the expression of a ...
Page 5
... argument went. The word 'praxis', though, brings these two aspects of theory and practice together, seeing both as a part of a complex dynamic encounter. We will see in Chapter 5 how damaging the separation of theory from practice can ...
... argument went. The word 'praxis', though, brings these two aspects of theory and practice together, seeing both as a part of a complex dynamic encounter. We will see in Chapter 5 how damaging the separation of theory from practice can ...
Page 8
... argued that puzzlements refer to fascinating, sometimes baffling, issues provoked by a text. This issue might be an unsolved problem, a dilemma encountered by a character, or a point of intrigue suggested by an action, a stance or a ...
... argued that puzzlements refer to fascinating, sometimes baffling, issues provoked by a text. This issue might be an unsolved problem, a dilemma encountered by a character, or a point of intrigue suggested by an action, a stance or a ...
Page 40
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Page 43
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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