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
... constructed for themselves. The male characters in The Weir (McPherson, 1999), simultaneously, are not in conflict with one another in the play but rather are constrained by their life circumstances to express the kind of human beings ...
... constructed for themselves. The male characters in The Weir (McPherson, 1999), simultaneously, are not in conflict with one another in the play but rather are constrained by their life circumstances to express the kind of human beings ...
Page 7
... constructed in process and how they can co-construct curriculum content and its implementation. The following example of drama praxis is driven by group co- construction. While the plan is familiar to the teacher, in this case myself, I ...
... constructed in process and how they can co-construct curriculum content and its implementation. The following example of drama praxis is driven by group co- construction. While the plan is familiar to the teacher, in this case myself, I ...
Page 10
... construct in this 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 ...
... construct in this 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 ...
Page 11
... constructing a narrative through which the students can find their voice. Gradually options are suggested. 'We could make out that his allergies were a contributing factor', ponders one participant. 'Yeah,' replies another, 'he was ...
... constructing a narrative through which the students can find their voice. Gradually options are suggested. 'We could make out that his allergies were a contributing factor', ponders one participant. 'Yeah,' replies another, 'he was ...
Page 18
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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