The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
From inside the book
Results 1-5 of 16
Page 1
... encounter and students in drama should be educated in how best to manipulate their 'instrument' (Stanislavski, 1949, p. 35). Shakespeare's character, Hamlet, is well aware of the critical role the human instrument plays when signing ...
... encounter and students in drama should be educated in how best to manipulate their 'instrument' (Stanislavski, 1949, p. 35). Shakespeare's character, Hamlet, is well aware of the critical role the human instrument plays when signing ...
Page 5
... encounter. We will see in Chapter 5 how damaging the separation of theory from practice can be, especially when those involved in theatre studies differentiated what they did from the work of drama educators. As we will read, a most ...
... encounter. We will see in Chapter 5 how damaging the separation of theory from practice can be, especially when those involved in theatre studies differentiated what they did from the work of drama educators. As we will read, a most ...
Page 7
... encounter controlled by a particular educational context. A problem with many curriculum guides is that they present objectives and content in a static and lifeless manner seemingly ignoring the fact that people have to make curriculum ...
... encounter controlled by a particular educational context. A problem with many curriculum guides is that they present objectives and content in a static and lifeless manner seemingly ignoring the fact that people have to make curriculum ...
Page 8
... encounter in drama praxis. For ease of reading, the curriculum principles will be located within the lesson's episodic sequence. Reinventing the three little pigs: a drama about prejudice and stereotype Good story books can be a ...
... encounter in drama praxis. For ease of reading, the curriculum principles will be located within the lesson's episodic sequence. Reinventing the three little pigs: a drama about prejudice and stereotype Good story books can be a ...
Page 9
Action, Reflection, Transformation Philip Taylor. struggle which students encounter as they construe their own unique understanding of the world. Scieszka's tale provides the vehicle, or what Cecily O'Neill (1995) describes as the pre ...
Action, Reflection, Transformation Philip Taylor. struggle which students encounter as they construe their own unique understanding of the world. Scieszka's tale provides the vehicle, or what Cecily O'Neill (1995) describes as the pre ...
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 |
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