The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
From inside the book
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Page 1
... human condition. In drama, people are the instruments of inquiry. Stanislavski, the great Russian theatre director, made this very clear. 'People', he suggested, 'generally do not know how to make use of the physical apparatus with ...
... human condition. In drama, people are the instruments of inquiry. Stanislavski, the great Russian theatre director, made this very clear. 'People', he suggested, 'generally do not know how to make use of the physical apparatus with ...
Page 2
... 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). Theatre is a passion, a heightened state which elevates and ...
... 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). Theatre is a passion, a heightened state which elevates and ...
Page 3
... human beings they are and those they aspire to become. We can all think of other examples of where the heart of the drama is located in the situations that prevent truths being revealed. Often in drama, it is when the conflict between ...
... human beings they are and those they aspire to become. We can all think of other examples of where the heart of the drama is located in the situations that prevent truths being revealed. Often in drama, it is when the conflict between ...
Page 9
... humans. Readers might find an adapted version of the Scieszka tale helpful: So you think you know the real story of the three little pigs. I'll let you in on a secret. Nobody knows the real story because I haven't told my side of the ...
... humans. Readers might find an adapted version of the Scieszka tale helpful: So you think you know the real story of the three little pigs. I'll let you in on a secret. Nobody knows the real story because I haven't told my side of the ...
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 |
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