The Drama Classroom: Action, Reflection, TransformationHow can teachers incorporate drama into the curriculum? What drama activities are especially successful? How do teachers know when students are learning in, through and about drama? Teachers who are new to drama, or those wishing to refresh their knowledge and ideas, should find practical answers and guidance in this text. The book introduces the work of Cecily O'Neill to demonstrate the entry points to drama lessons, the pre-texts, and how educators need to introduce lessons with challenging material. He then uses the work of David Booth to highlight one aspect of drama - storydrama - and how it can be used as an effective learning medium across the curriculum. |
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Page 5
If operated well, theatre can be a powerful educative medium. Praxis not practice For many years now, the word 'practice' has suggested something quite different from theory. Practice connoted the doing, the active, the process.
If operated well, theatre can be a powerful educative medium. Praxis not practice For many years now, the word 'practice' has suggested something quite different from theory. Practice connoted the doing, the active, the process.
Page 6
We who have a commitment to teacher education and curriculum reform, especially in the field of theatre education, ... and act upon their world, and through that process transform it into something more equitable and worth while.
We who have a commitment to teacher education and curriculum reform, especially in the field of theatre education, ... and act upon their world, and through that process transform it into something more equitable and worth while.
Page 7
Often educators can forget that drama praxis is characterised by an active and improvisational encounter ... In drama praxis we are concerned with the process of playing, and while we usually have goals and directions it is the ...
Often educators can forget that drama praxis is characterised by an active and improvisational encounter ... In drama praxis we are concerned with the process of playing, and while we usually have goals and directions it is the ...
Page 8
In this respect, storydrama shares much in common with process drama (see Chapter 2) as both shift participants' perceptions through the experience of the dramatic artform. The True Story of The Three Little Pigs by Jon Scieszka (1989) ...
In this respect, storydrama shares much in common with process drama (see Chapter 2) as both shift participants' perceptions through the experience of the dramatic artform. The True Story of The Three Little Pigs by Jon Scieszka (1989) ...
Page 20
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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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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