The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
From inside the book
Results 1-5 of 48
Page 1
... 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. People Drama is a ...
... 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. People Drama is a ...
Page 2
... participants in drama are split into two parts. Actors 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 ...
... participants in drama are split into two parts. Actors 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 ...
Page 4
... participants themselves as they work towards aesthetic understanding. Aesthetic understanding Aesthetic, a word which has confounded and perplexed commentators for some time, refers to how satisfying we find the dramatic work, how well ...
... participants themselves as they work towards aesthetic understanding. Aesthetic understanding Aesthetic, a word which has confounded and perplexed commentators for some time, refers to how satisfying we find the dramatic work, how well ...
Page 7
... participants will respond differently to the work. Although teachers may safely assume that there are conventional readings of the material, they also are aware that people's relationship to content is dependent on their own DRAMA ...
... participants will respond differently to the work. Although teachers may safely assume that there are conventional readings of the material, they also are aware that people's relationship to content is dependent on their own DRAMA ...
Page 8
... participants' perceptions through the experience of the dramatic artform. The True Story of The Three Little Pigs by Jon Scieszka (1989) raises many different puzzlements for a variety of age groups - puzzlements focusing on stereotype ...
... participants' perceptions through the experience of the dramatic artform. The True Story of The Three Little Pigs by Jon Scieszka (1989) raises many different puzzlements for a variety of age groups - puzzlements focusing on stereotype ...
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 |
Other editions - View all
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