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 2
... arouse strong and emotive responses. In drama, the passion refers to the fictitious world where the participants find themselves, a world which demands that people momentarily step into imagined roles, characters and situations.
... arouse strong and emotive responses. In drama, the passion refers to the fictitious world where the participants find themselves, a world which demands that people momentarily step into imagined roles, characters and situations.
Page 7
Research reveals that students have a strong investment in the development of curriculum; the students' aesthetic responses are driven by their own reading, or misreading, of a specific moment. The cultural, social, sexual and ...
Research reveals that students have a strong investment in the development of curriculum; the students' aesthetic responses are driven by their own reading, or misreading, of a specific moment. The cultural, social, sexual and ...
Page 8
This issue might be an unsolved problem, a dilemma encountered by a character, or a point of intrigue suggested by an action, a stance or a response. Drama praxis with children can explore the issues, events and relationships posed by ...
This issue might be an unsolved problem, a dilemma encountered by a character, or a point of intrigue suggested by an action, a stance or a response. Drama praxis with children can explore the issues, events and relationships posed by ...
Page 11
While the teacher knows that the humour of the story is a good release for the group and immediately arrests their interest, he also is aware that they will move significantly from their initially conventional responses.
While the teacher knows that the humour of the story is a good release for the group and immediately arrests their interest, he also is aware that they will move significantly from their initially conventional responses.
Page 16
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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