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 88
Page
... teach drama activities in educational, vocational and community settings. Informed by the pioneering work of the ... teacher research and reflective practice in drama education and a regular presenter at conferences worldwide. His ...
... teach drama activities in educational, vocational and community settings. Informed by the pioneering work of the ... teacher research and reflective practice in drama education and a regular presenter at conferences worldwide. His ...
Page 5
... involved in theatre arts and drama education, the argument went, are not team players and don't get on (see O'Brien and Dopierala, 1994). We who have a commitment to teacher education and curriculum DRAMA PRAXIS: ELEMENTS AND PRINCIPLES.
... involved in theatre arts and drama education, the argument went, are not team players and don't get on (see O'Brien and Dopierala, 1994). We who have a commitment to teacher education and curriculum DRAMA PRAXIS: ELEMENTS AND PRINCIPLES.
Page 6
... teacher himself, able to demonstrate ideas in action.2 And there are many others.3 Each of the field's leaders has a commitment to teacher education, a respect for its scholarship, and a shared interest in how to structure and ...
... teacher himself, able to demonstrate ideas in action.2 And there are many others.3 Each of the field's leaders has a commitment to teacher education, a respect for its scholarship, and a shared interest in how to structure and ...
Page 7
... teacher, in this case myself, I know that each group of participants will respond differently to the work. Although teachers may safely assume that there are conventional readings of the material, they also are aware that people's ...
... teacher, in this case myself, I know that each group of participants will respond differently to the work. Although teachers may safely assume that there are conventional readings of the material, they also are aware that people's ...
Page 9
... teacher is familiar enough with the Sciezska version that he can almost tell it verbatim without referring to the text. There are strong advantages in this ploy: eye contact is an important factor within the opening moments of ...
... teacher is familiar enough with the Sciezska version that he can almost tell it verbatim without referring to the text. There are strong advantages in this ploy: eye contact is an important factor within the opening moments of ...
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 |
Other editions - View all
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