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 13
Page 1
... passion and platform - as leaders and participants strive towards aesthetic understanding. People Drama is a collaborative group artform where people transform, act, and reflect upon the human condition. In drama, people are the ...
... passion and platform - as leaders and participants strive towards aesthetic understanding. People Drama is a collaborative group artform where people transform, act, and reflect upon the human condition. In drama, people are the ...
Page 2
... passion. Passion I am using the term passion to refer to a heightened state which can arouse strong and emotive responses. In drama, the passion refers to the fictitious world where the participants find themselves, a world which ...
... passion. Passion I am using the term passion to refer to a heightened state which can arouse strong and emotive responses. In drama, the passion refers to the fictitious world where the participants find themselves, a world which ...
Page 3
... passion is performed, although drama occurs on elevated physical platforms. I am referring to that marked space, what Boal describes as the aesthetic space, where people creating passions live. Such platforms, aesthetic spaces, can be ...
... passion is performed, although drama occurs on elevated physical platforms. I am referring to that marked space, what Boal describes as the aesthetic space, where people creating passions live. Such platforms, aesthetic spaces, can be ...
Page 4
... passions can occur, perhaps the more conventional space, certainly from the time of Shakespeare. But the praxis contained ... passion and platforms), to understand how that manipulation works, so that audiences can appreciate and be ...
... passions can occur, perhaps the more conventional space, certainly from the time of Shakespeare. But the praxis contained ... passion and platforms), to understand how that manipulation works, so that audiences can appreciate and be ...
Page 7
... passionate or lethargic responses which could never have been predicted. Research reveals that students have a strong investment in the development of curriculum; the students' aesthetic responses are driven by their own reading, or ...
... passionate or lethargic responses which could never have been predicted. Research reveals that students have a strong investment in the development of curriculum; the students' aesthetic responses are driven by their own reading, or ...
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