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 2
... live, weep, and laugh on the stage, continues Stanislavski, but as they do so, they observe and control themselves in the action: 'It is this double existence, this balance between life and acting that makes for art' (p. 167). Art in ...
... live, weep, and laugh on the stage, continues Stanislavski, but as they do so, they observe and control themselves in the action: 'It is this double existence, this balance between life and acting that makes for art' (p. 167). Art in ...
Page 3
... lives they have constructed for themselves. The male characters in The Weir (McPherson, 1999), simultaneously, are ... live. Such platforms, aesthetic spaces, can be in classrooms, on streets, in hospitals, business organisations ...
... lives they have constructed for themselves. The male characters in The Weir (McPherson, 1999), simultaneously, are ... live. Such platforms, aesthetic spaces, can be in classrooms, on streets, in hospitals, business organisations ...
Page 5
... lives and the world in which we live. If operated well, theatre can be a powerful educative medium. Praxis not practice For many years now, the word 'practice' has suggested something quite different from theory. Practice connoted the ...
... lives and the world in which we live. If operated well, theatre can be a powerful educative medium. Praxis not practice For many years now, the word 'practice' has suggested something quite different from theory. Practice connoted the ...
Page 18
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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