The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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Page 1
... leaders to help participants act, reflect and transform. At the core of drama praxis is the artful interplay between three elements - people, passion and platform - as leaders and participants strive towards aesthetic understanding ...
... leaders to help participants act, reflect and transform. At the core of drama praxis is the artful interplay between three elements - people, passion and platform - as leaders and participants strive towards aesthetic understanding ...
Page 3
... leaders to claim how clumsy the term 'conflict' can be when describing classroom drama. For Bolton, drama expresses the constraints upon the expression of a conflict. If we look at the features of theatreform, we note how often ...
... leaders to claim how clumsy the term 'conflict' can be when describing classroom drama. For Bolton, drama expresses the constraints upon the expression of a conflict. If we look at the features of theatreform, we note how often ...
Page 6
... leaders has a commitment to teacher education, a respect for its scholarship, and a shared interest in how to structure and investigate theatre in the curriculum. They cannot be simply labelled as practitioners or theoreticians, but ...
... leaders has a commitment to teacher education, a respect for its scholarship, and a shared interest in how to structure and investigate theatre in the curriculum. They cannot be simply labelled as practitioners or theoreticians, but ...
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 |
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