The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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Page 7
... event dependent upon the abilities, moods and backgrounds of those who construct it. In my view, curriculum statements and profiles are tenuous documents when they focus on predetermined results and when they ignore that outcomes occur ...
... event dependent upon the abilities, moods and backgrounds of those who construct it. In my view, curriculum statements and profiles are tenuous documents when they focus on predetermined results and when they ignore that outcomes occur ...
Page 8
... events and relationships posed by stories. Rather than acting out plots, a phenomenon Americans liken to story dramatisation, storydrama is situated in its improvisational exploration and the understandings school groups generate with ...
... events and relationships posed by stories. Rather than acting out plots, a phenomenon Americans liken to story dramatisation, storydrama is situated in its improvisational exploration and the understandings school groups generate with ...
Page 9
... events, people and relationships can be exposed. The plan Episode 1 : Telling the tale The teacher is familiar enough with the Sciezska version that he can almost tell it verbatim without referring to the text. There are strong ...
... events, people and relationships can be exposed. The plan Episode 1 : Telling the tale The teacher is familiar enough with the Sciezska version that he can almost tell it verbatim without referring to the text. There are strong ...
Page 12
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Page 14
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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