The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
From inside the book
Results 1-5 of 46
Page
... 6 Building and assessing effective partnerships: action, reflection, transformation Resources and further reading Index VIII. l. 23. 44 74 95 II2 I32 I42 Acknowledgements My thanks to Drama Australia and the Queensland Association. vii.
... 6 Building and assessing effective partnerships: action, reflection, transformation Resources and further reading Index VIII. l. 23. 44 74 95 II2 I32 I42 Acknowledgements My thanks to Drama Australia and the Queensland Association. vii.
Page 7
... reading classroom context; students react differently on given days and the material they are presented with can raise passionate or lethargic responses which could never have been predicted. Research reveals that students have a strong ...
... reading classroom context; students react differently on given days and the material they are presented with can raise passionate or lethargic responses which could never have been predicted. Research reveals that students have a strong ...
Page 8
... reading, the curriculum principles will be located within the lesson's episodic sequence. Reinventing the three little pigs: a drama about prejudice and stereotype Good story books can be a powerful entry point into drama activity ...
... reading, the curriculum principles will be located within the lesson's episodic sequence. Reinventing the three little pigs: a drama about prejudice and stereotype Good story books can be a powerful entry point into drama activity ...
Page 9
... Readers might find an adapted version of the Scieszka tale helpful: So you think you know the real story of the three little pigs. I'll let you in on a secret. Nobody knows the real story because I haven't told my side of the story. I'm ...
... Readers might find an adapted version of the Scieszka tale helpful: So you think you know the real story of the three little pigs. I'll let you in on a secret. Nobody knows the real story because I haven't told my side of the story. I'm ...
Page 10
... the participants into one perspective. The teacher's telling or reading of the story has to create the evocative pictures within the students' imagination. While the teacher knows that the humour of the story I0 THE DRAMA CLASSROOM.
... the participants into one perspective. The teacher's telling or reading of the story has to create the evocative pictures within the students' imagination. While the teacher knows that the humour of the story I0 THE DRAMA CLASSROOM.
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