The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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... become effective reflective practitioners in drama education. Pitched for all levels, primary, secondary and tertiary, The Drama Classroom is a necessary and relevant resource for those committed to the power of drama in education ...
... become effective reflective practitioners in drama education. Pitched for all levels, primary, secondary and tertiary, The Drama Classroom is a necessary and relevant resource for those committed to the power of drama in education ...
Page 3
... become. We can all think of other examples of where the heart of the drama is located in the situations that prevent truths being revealed. Often in drama, it is when the conflict between or within the characters is expressed, that the ...
... become. We can all think of other examples of where the heart of the drama is located in the situations that prevent truths being revealed. Often in drama, it is when the conflict between or within the characters is expressed, that the ...
Page 7
... become quite adept at reading classroom context; students react differently on given days and the material they are presented with can raise passionate or lethargic responses which could never have been predicted. Research reveals that ...
... become quite adept at reading classroom context; students react differently on given days and the material they are presented with can raise passionate or lethargic responses which could never have been predicted. Research reveals that ...
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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