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
... meaning. Hamlet's instructions to the players prior to the performance of The Murder of Gonzago' capture the skills the actors must bring to their parts: Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue ...
... meaning. Hamlet's instructions to the players prior to the performance of The Murder of Gonzago' capture the skills the actors must bring to their parts: Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue ...
Page 2
... meaning, the inner or psychological self needs equally to be understood, to be manipulated, if messages are to be successfully conveyed. If you like, participants in drama are split into two parts. Actors live, weep, and laugh on the ...
... meaning, the inner or psychological self needs equally to be understood, to be manipulated, if messages are to be successfully conveyed. If you like, participants in drama are split into two parts. Actors live, weep, and laugh on the ...
Page 4
... meaning. And the purposes of aesthetic understanding? Yes, there are the functional and communication skills which can be developed, and the social habits which can be refined, but these skills are not dependent on drama praxis, and ...
... meaning. And the purposes of aesthetic understanding? Yes, there are the functional and communication skills which can be developed, and the social habits which can be refined, but these skills are not dependent on drama praxis, and ...
Page 18
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Page 28
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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