Education In Drama

Drama and Education provides a practical, comprehensive guide to drama as a tool for teaching and learning. It is among the first practical drama and performance textbooks that address brain-based, neuroscientific research, making the argument that creativity is necessary in our lives, that embodied learning is natural and essential, and that contextual learning helps us find our place in society in relationship to other peoples and cultures. As well as a historical and theoretical overview of the field, it provides rationale and techniques for several specific methodologies: linear drama, process-oriented drama, drama for social justice, and performance art. Each approach is supplemented with sample lesson plans, activities, ideas for differentiation, and extensive bibliographies. The topics are discussed from five key angles: • Historical and theoretical foundations • Curricular applications • Practical toolkits for a range of classrooms and learning environments • Different strategies for lesson plans • Extension options for longer workshops. Alongside these core methods, the integration of other innovative forms—from performance art to Theatre of the Oppressed—into drama-based learning is explored, as well as the pragmatic concerns such as assessment, planning, and advocacy for arts learning and arts education partnerships. Drama and Education is the comprehensive textbook for teachers and students on Applied Theatre and Theatre and Education courses.

Hornbrook, referring to current legislation, argues the case for an organized curricular framework for drama in the 1990s which develops in children the activities of designing, directing, acting, writing and evaluating - all within the range of the historic context of dramatic work. He asserts that recent drama teaching in Britain has been child-centred and psychological, and viewed as a learning medium rather than as an aesthetic study in itself. This, he believes, has had the effect of cutting children off from the variegated world of the theatre and, in the broader sense, from any collective aesthetic or historical dimension. This book is intended mainly for the use of primary and secondary school teachers.

‘Here’s a knocking indeed!’ says the Porter in Shakespeare’s Scottish play (Act II, Scene 3) and immediately puts himself into role in order to deal with the demands of such an early call after a late night of drinking and carousal: ‘If a man were porter of hell-gate...’. But what roles does the porter of curriculum-gate take on in order to deal with drama’s persistent demands for entry? Ah, that depends upon the temperature of the times. We, who have been knocking for what seems to be a very long time, know well that when evaluation and measurement criteriaare demanded as evidence of drama’s ef cacy, an examiner stands as gatekeeper. When the educational landscape is in danger of overcrowding, we meet a territorial governor. And how often has the courtesan turned out to be only a tease because the arts are, for a brief moment, in the spotlight for their abilities to foster out-of-the-box thinkers? In this text, we meet these ‘commissionaires’ and many more. The gatekeeping roles and what they represent are so familiar that they have become cliches ́ to us. We know them by their arguments, ripostes, dismissals, their brief encouragement and lack of follow-up. And we know that behind each one (however rmly they think they keep the keys) is a nancial and political master whose power controls the curriculum building and everything in it.

Drama and Education provides a practical, comprehensive guide to drama as a tool for teaching and learning. It is among the first practical drama and performance textbooks that address brain-based, neuroscientific research, making the argument that creativity is necessary in our lives, that embodied learning is natural and essential, and that contextual learning helps us find our place in society in relationship to other peoples and cultures. As well as a historical and theoretical overview of the field, it provides rationale and techniques for several specific methodologies: linear drama, process-oriented drama, drama for social justice, and performance art. Each approach is supplemented with sample lesson plans, activities, ideas for differentiation, and extensive bibliographies. The topics are discussed from five key angles: • Historical and theoretical foundations • Curricular applications • Practical toolkits for a range of classrooms and learning environments • Different strategies for lesson plans • Extension options for longer workshops. Alongside these core methods, the integration of other innovative forms—from performance art to Theatre of the Oppressed—into drama-based learning is explored, as well as the pragmatic concerns such as assessment, planning, and advocacy for arts learning and arts education partnerships. Drama and Education is the comprehensive textbook for teachers and students on Applied Theatre and Theatre and Education courses.

Students seeking information about nontraditional drama careers will find this an essential handbook. . . . Highly recommended for libraries at all levels. Choice

To this day, Education and Dramatic Art remains the only fully worked critique of drama education in schools. Provocative and iconoclastic, this new edition brings the argument up-to-date and locates the author's proposals for a curriculum based on the making, performing and appraisal of dramas securely in the evolving culture of schools. The first section of the book traces the origins and fortunes of drama in schools in the context of changing political times and argues that by neglecting the customs and practices of the theatre, drama-in-education has often kept from the students it professes to empower, the very knowledge and understanding necessary for them to take command of their subject. Part two examines the developmental and pedagogic claims of drama-in-education. Theories of knowledge and meaning and assumptions about schools drama's power to establish a moral and social agenda, are all called to account. Finally, Education and Dramatic Art proposes a multiculturally-based, theoretical structure for the teaching of drama which pulls the theatre and the classroom together and offers teachers the foundation for a broad and balanced drama curriculum with its own distinctive body of knowledge and skills.

Key Concepts in Theatre Drama Education provides the first comprehensive survey of contemporary research trends in theatre/drama education. It is an intriguing rainbow of thought, celebrating a journey across three fields of scholarship: theatre, education and modes of knowing. Hitherto no other collection of key concepts has been published in theatre /drama education. Fifty seven entries, written by sixty scholars from across the world aim to convey the zeitgeist of the field. The book’s key innovation lies in its method of writing, through collaborative networking, an open peer-review process, and meaning-making involving all contributors. Within the framework of key-concept entries, readers will find valuable judgments and the viewpoints of researchers from North and South America, Europe, Asia, Africa, New Zealand and Australia. The volume clearly shows that drama/theatre educators and researchers have created a language, with its own grammar and lucid syntax. The concepts outlined convey the current knowledge of scholars, highlighting what they consider significant. Entries cover interdependent topics on teaching and learning, aesthetics and ethics, curricula and history, culture and community, various populations and their needs, theatre for young people, digital technology, narrative and pedagogy, research methods, Shakespeare and Brecht, other various modes of theatre and the education of theatre teachers. It aims to serve as the standard reference book for theatre/drama education researchers, policymakers, practitioners and students around the world. A basic companion for researchers, students, and teachers, this sourcebook outlines the key concepts that make the field prominent in the sphere of Arts Education.