The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
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Page 2
... 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. Shakespeare referred to his ...
... 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. Shakespeare referred to his ...
Page 7
... 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, or misreading, of a specific ...
... 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, or misreading, of a specific ...
Page 8
... response. Drama praxis with children can explore the issues, events and relationships posed by stories. Rather than acting out plots, a phenomenon Americans liken to story dramatisation, storydrama is situated in its improvisational ...
... response. Drama praxis with children can explore the issues, events and relationships posed by stories. Rather than acting out plots, a phenomenon Americans liken to story dramatisation, storydrama is situated in its improvisational ...
Page 11
... responses. The praxis will explore notions of wolfness and it will challenge the students to commit to a conception of wolfness. The group will contemplate how stereotypes are formed and what function they serve. At the core of this ...
... responses. The praxis will explore notions of wolfness and it will challenge the students to commit to a conception of wolfness. The group will contemplate how stereotypes are formed and what function they serve. At the core of this ...
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