The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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Page 5
... theatre studies differentiated what they did from the work of drama educators. As we will read, a most peculiar distinction of drama from theatre was made, where those who did drama claimed they were involved in process-oriented modes ...
... theatre studies differentiated what they did from the work of drama educators. As we will read, a most peculiar distinction of drama from theatre was made, where those who did drama claimed they were involved in process-oriented modes ...
Page 6
... drama this past century. It would be unfair to describe her simply as one ... process transform it into something more equitable and worth while. Praxis ... Drama praxis in the curriculum Often educators can forget that THE DRAMA CLASSROOM.
... drama this past century. It would be unfair to describe her simply as one ... process transform it into something more equitable and worth while. Praxis ... Drama praxis in the curriculum Often educators can forget that THE DRAMA CLASSROOM.
Page 7
... drama praxis is characterised by an active and improvisational encounter ... drama teacher knows that curriculum is a lived experience; it is negotiated with ... process. Attainment targets or outcomes statements point to the end rather ...
... drama praxis is characterised by an active and improvisational encounter ... drama teacher knows that curriculum is a lived experience; it is negotiated with ... process. Attainment targets or outcomes statements point to the end rather ...
Page 8
... 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) raises many different puzzlements for a variety of age ...
... 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) raises many different puzzlements for a variety of age ...
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