The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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... practitioners in drama education. Pitched for all levels, primary, secondary and tertiary, The Drama Classroom is a necessary and relevant resource for those committed to the power of drama in education. Philip Taylor is Director of the ...
... practitioners in drama education. Pitched for all levels, primary, secondary and tertiary, The Drama Classroom is a necessary and relevant resource for those committed to the power of drama in education. Philip Taylor is Director of the ...
Page 5
... practitioners weren't thinkers, or so the argument went. The word 'praxis', though, brings these two aspects of theory and practice together, seeing both as a part of a complex dynamic encounter. We will see in Chapter 5 how damaging ...
... practitioners weren't thinkers, or so the argument went. The word 'praxis', though, brings these two aspects of theory and practice together, seeing both as a part of a complex dynamic encounter. We will see in Chapter 5 how damaging ...
Page 6
... practitioners are equally the great theorists. I am thinking of the brilliant educator Dorothy Heathcote (see Resources section, p. 134), perhaps the most talented practitioner of educational drama this past century. It would be unfair ...
... practitioners are equally the great theorists. I am thinking of the brilliant educator Dorothy Heathcote (see Resources section, p. 134), perhaps the most talented practitioner of educational drama this past century. It would be unfair ...
Page 21
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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