The Drama Classroom: Action, Reflection, TransformationRoutledge, 2004 M01 14 - 152 pages How can teachers incorporate drama into the curriculum? |
From inside the book
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Page 3
... classroom drama. For Bolton, drama expresses the constraints upon the expression of a conflict. If we look at the features of theatreform, we note how often characters find themselves in situations where they are prevented from ...
... classroom drama. For Bolton, drama expresses the constraints upon the expression of a conflict. If we look at the features of theatreform, we note how often characters find themselves in situations where they are prevented from ...
Page 4
... classroom though, the audience can be the participants themselves as they work towards aesthetic understanding. Aesthetic understanding Aesthetic, a word which has confounded and perplexed commentators for some time, refers to how ...
... classroom though, the audience can be the participants themselves as they work towards aesthetic understanding. Aesthetic understanding Aesthetic, a word which has confounded and perplexed commentators for some time, refers to how ...
Page 6
... . And those involved in praxis can anticipate that such action, reflection and transformation should help people create a just and better world. Drama praxis in the curriculum Often educators can forget that THE DRAMA CLASSROOM.
... . And those involved in praxis can anticipate that such action, reflection and transformation should help people create a just and better world. Drama praxis in the curriculum Often educators can forget that 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 |
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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