The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
From inside the book
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Page 3
... raised area where the 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 ...
... raised area where the 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 ...
Page 4
... 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.
... 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 5
... raise levels of consciousness. It is vital that educators remember that the arts' role through the generations has been to 'chronicle the time', to unfold the nature of our lives and the world in which we live. If operated well, theatre ...
... raise levels of consciousness. It is vital that educators remember that the arts' role through the generations has been to 'chronicle the time', to unfold the nature of our lives and the world in which we live. If operated well, theatre ...
Page 7
... raise 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 ...
... raise 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 ...
Page 8
... raise questions or suggest puzzlements. David Booth (1994), who coined the term 'storydrama' (see Chapter 3), has argued that puzzlements refer to fascinating, sometimes baffling, issues provoked by a text. This issue might be an ...
... raise questions or suggest puzzlements. David Booth (1994), who coined the term 'storydrama' (see Chapter 3), has argued that puzzlements refer to fascinating, sometimes baffling, issues provoked by a text. This issue might be an ...
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