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 48
Page 1
... role the human instrument plays when signing meaning. Hamlet's instructions to the players prior to the performance of The Murder of Gonzago' capture the skills the actors must bring to their parts: Speak the speech, I pray you, as I ...
... role the human instrument plays when signing meaning. Hamlet's instructions to the players prior to the performance of The Murder of Gonzago' capture the skills the actors must bring to their parts: Speak the speech, I pray you, as I ...
Page 2
... roles, characters and situations. Shakespeare referred to his theatre as 'a fiction ... a dream of passion' (Hamlet, II. ii). In the Christian liturgical year, the passion refers to the narrative of Christ's crucifixion. The passion ...
... roles, characters and situations. Shakespeare referred to his theatre as 'a fiction ... a dream of passion' (Hamlet, II. ii). In the Christian liturgical year, the passion refers to the narrative of Christ's crucifixion. The passion ...
Page 5
... 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 can be a powerful educative medium. Praxis not practice For many years now, the ...
... 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 can be a powerful educative medium. Praxis not practice For many years now, the ...
Page 11
... role of a reluctant defence attorney. 'I am afraid this case is going to be one of the most difficult we've faced', he suggests. 'I mean we have a confession here from Alexander, a confession that he devoured these porkers and, as we ...
... role of a reluctant defence attorney. 'I am afraid this case is going to be one of the most difficult we've faced', he suggests. 'I mean we have a confession here from Alexander, a confession that he devoured these porkers and, as we ...
Page 12
You have reached your viewing limit for this book.
You have reached your viewing limit for this book.
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