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
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Page 1
People Drama is a collaborative group artform where people transform, act, and reflect upon the human condition. In drama, people are the instruments of inquiry. Stanislavski, the great Russian theatre director, made this very clear.
People Drama is a collaborative group artform where people transform, act, and reflect upon the human condition. In drama, people are the instruments of inquiry. Stanislavski, the great Russian theatre director, made this very clear.
Page 2
He likens theatre to a passionate combat of two human beings on a platform. Theatre denotes conflict, contradiction, confrontation and defiance', he argues, quoting the work of the Spanish dramatist Lope de Vega (p. 16).
He likens theatre to a passionate combat of two human beings on a platform. Theatre denotes conflict, contradiction, confrontation and defiance', he argues, quoting the work of the Spanish dramatist Lope de Vega (p. 16).
Page 3
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 they are and those they ...
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 they are and those they ...
Page 9
The dead porkers, the wolf maintains in defence, are as tempting a food for him as cheese hamburgers are for humans. Readers might find an adapted version of the Scieszka tale helpful: So you think you know the real story of the three ...
The dead porkers, the wolf maintains in defence, are as tempting a food for him as cheese hamburgers are for humans. Readers might find an adapted version of the Scieszka tale helpful: So you think you know the real story of the three ...
Page 16
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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