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
... plays when signing 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 ...
... plays when signing 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 ...
Page 3
... play, Hamlet is prevented from expressing his view that Claudius killed his father as he feels he needs more evidence and solicits the players' help in this endeavour. George and Martha in Who's Afraid of Virginia Woo// (Albee, [1962] ...
... play, Hamlet is prevented from expressing his view that Claudius killed his father as he feels he needs more evidence and solicits the players' help in this endeavour. George and Martha in Who's Afraid of Virginia Woo// (Albee, [1962] ...
Page 4
... insights to be made, the revelations to be had. The play's the thing / Wherein I'll catch the conscience of the king (II. ii)', states Hamlet, fully aware of the power of the dramatic artform to raise levels THE DRAMA CLASSROOM.
... insights to be made, the revelations to be had. The play's the thing / Wherein I'll catch the conscience of the king (II. ii)', states Hamlet, fully aware of the power of the dramatic artform to raise levels THE DRAMA CLASSROOM.
Page 7
... played. In drama praxis we are concerned with the process of playing, and while we usually have goals and directions it is the immediate classroom context that shapes them. Curriculum documents rarely include this vital contextual ...
... played. In drama praxis we are concerned with the process of playing, and while we usually have goals and directions it is the immediate classroom context that shapes them. Curriculum documents rarely include this vital contextual ...
Page 12
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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 |
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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