The Drama Classroom: Action, Reflection, TransformationHow can teachers incorporate drama into the curriculum? What drama activities are especially successful? How do teachers know when students are learning in, through and about drama? Teachers who are new to drama, or those wishing to refresh their knowledge and ideas, should find practical answers and guidance in this text. The book introduces the work of Cecily O'Neill to demonstrate the entry points to drama lessons, the pre-texts, and how educators need to introduce lessons with challenging material. He then uses the work of David Booth to highlight one aspect of drama - storydrama - and how it can be used as an effective learning medium across the curriculum. |
From inside the book
Results 1-5 of 16
Page 1
The physical self is at the centre of a dramatic 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 ...
The physical self is at the centre of a dramatic 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 ...
Page 5
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 be, ...
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 be, ...
Page 7
Often educators can forget that drama praxis is characterised by an active and improvisational encounter controlled by a particular educational context. A problem with many curriculum guides is that they present objectives and content ...
Often educators can forget that drama praxis is characterised by an active and improvisational encounter controlled by a particular educational context. A problem with many curriculum guides is that they present objectives and content ...
Page 8
These principles reinforce the lived experience of the 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 ...
These principles reinforce the lived experience of the 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 ...
Page 9
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-text, through which blinkered perceptions of events ...
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-text, through which blinkered perceptions of events ...
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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
Bibliographic information
| Title | The Drama Classroom: Action, Reflection, Transformation |
| Author | Philip Taylor |
| Publisher | Routledge, 2004 |
| ISBN | 1135710449, 9781135710446 |
| Length | 152 pages |
| Export Citation | BiBTeX EndNote RefMan |