Key concepts in Theatre Drama Education

Cover......Page 1
Key Concepts in Theatre/Drama Education......Page 4
ISBN: 9789460913310 (hardback)......Page 5
TABLE OF CONTENTS......Page 6
ACKNOWLEDGMENT AS A NOTE OF PREFACE......Page 12
OPENING......Page 14
1. AN IDENTITY CARD IN THE MAKING: Key Concepts in Theatre/Drama Education......Page 16
Closing Remarks......Page 21
REFERENCES......Page 22
Section I: Learning, Teaching, Curricula and Teacher Education......Page 24
Emma’s Problem......Page 26
2. Where can they get it?......Page 27
3. Questions and more questions......Page 28
REFERENCES......Page 30
3. LEARNING TO TEACH BY TREADING THE BOARDS......Page 32
REFERENCES......Page 35
THE IMPORTANCE OF EXPERIENCES IN THE LEARNING PROCESS......Page 36
THE INDIVIDUAL AND COLLECTIVE LEARNING PROCESS......Page 37
REFERENCES......Page 39
5. CHILD-STRUCTURED SOCIO-DRAMATIC PLAY AND THE DRAMA EDUCATOR: What’s Our Role?......Page 42
REFERENCES......Page 46
6. DEVELOPING PUPILS’ LEARNING THROUGH THE USE OF MANTLE OF THE EXPERT......Page 48
REFERENCES......Page 51
7. WHAT MAKES A GREAT HIGH SCHOOL DRAMA TEACHER?......Page 52
FACTORS MOTIVATING SENIOR STUDENTS TO STUDY DRAMA THROUGHOUT HIGH SCHOOL......Page 53
WHAT MAKES A GREAT HIGH SCHOOL DRAMA TEACHER?......Page 54
REFERENCES......Page 56
Section II: Aesthetics and Ethics......Page 58
A [TO Z] IS FOR AESTHETIC......Page 60
AN ILLUSTRATIVE EXAMPLE......Page 61
LEARNING ABOUT AND THROUGH THE AESTHETIC......Page 62
FRAMES WITHIN CURRENT LITERATURE OF DRAMA EDUCATION......Page 63
REFERENCES......Page 64
9. NEGOTIATING AESTHETICS AND CULTURE......Page 66
REFERENCES......Page 70
10. TRANSFORMATION......Page 72
Conclusion......Page 75
REFERENCES......Page 76
Three Significant Meaning Connotations of Distancing in Drama Education......Page 78
Estrangement......Page 79
Shklovsky......Page 80
Brecht......Page 81
In Conclusion......Page 82
REFERENCES......Page 83
12. ETHICS IN THEATRE/DRAMA EDUCATION......Page 86
ETHICS – HARMONIOUS PROPORTIONS......Page 87
THE WORK OF ART......Page 88
CONCLUSION......Page 89
REFERENCES......Page 90
Section III: Identity, Culture and Community......Page 7
13. POWER AND COMMUNITY IN DRAMA......Page 94
DRAMA AND POWER......Page 95
DRAMA, COMMUNITY, AND POWER......Page 97
REFERENCES......Page 98
INTIMATE AND PUBLIC DIALOGUE......Page 100
COLONIZATION: THE MUTILATION OF INTIMATE DIALOGUE......Page 101
DECOLONIZATION: THE REBUILDING OF INTIMATE DIALOGUE......Page 102
REFERENCES......Page 104
15. THEATRE IS HOPE, THEATRE IS FREEDOM......Page 106
Theatre of the Oppressed and Forum Theatre:......Page 107
REFERENCES......Page 110
The Aim......Page 112
The Research Design......Page 113
Results and Implications......Page 114
Related Research to DRACON......Page 115
REFERENCES......Page 116
17. DRAMA EDUCATION AND MEMORY......Page 118
REFERENCES......Page 121
18. AGENCY, INTERSUBJECTIVITY AND DRAMA EDUCATION: The Power to Be and Do More......Page 124
REFERENCES......Page 127
1. The Practical Perspective - Theatre as Competence, Skill, and Craft......Page 132
2. The Educational Theory Perspective: Theatre as Subjective Experience......Page 133
3. The Cultural Studies Perspective: Theatre as Cultural Practice......Page 134
REFERENCES......Page 136
Relationships in Educational Drama: The Model......Page 138
The Learners’ Relationships with the Learning Context......Page 139
The Participants’ Relationships with the Fictional Context......Page 140
Relationships between the Learners......Page 141
REFERENCES......Page 142
21. DEVISING AS PEDAGOGY......Page 144
REFERENCES......Page 147
22. UNTANGLING THE CULTURALLY UNSCRIPTED SELF THROUGH EMBODIED PRACTICES......Page 148
REFERENCES......Page 152
23. DRAMA IN EDUCATION AS A THEATRE REPERTOIRE......Page 154
REFERENCES......Page 158
24. STORY DRAMA STRUCTURES: ‘Recipes’ for Success......Page 160
Why Did We Choose this Story?......Page 161
Key Understandings and Questions:......Page 162
REFERENCES......Page 164
STORY TELLING REVIVAL......Page 166
ECOLOGICAL ACTIVISM, GLOBAL CITIZENSHIP AND EDUCATION FOR SUSTAINABLE FUTURE......Page 167
PHILOSOPHICAL BASIS OF ECOSOPHICAL STORYTELLING......Page 168
TELLING SEAL PEOPLE STORIES IN THE SCOTTISH SEABIRD CENTRE......Page 169
REFERENCES......Page 170
26. THE AFRICAN NARRATIVE TALE AS A TOOL OF EDUCATION......Page 172
REFERENCES......Page 175
27. DRAMA AND THE EDUCATION OF YOUNG PEOPLE WITH SPECIAL NEEDS......Page 178
1. Sensation......Page 179
4. Synthesis......Page 180
REFERENCES......Page 181
28. WHAT DRAMATIC LITERATURE TEACHES ABOUT DISABILITY......Page 184
REFERENCES......Page 187
PLAYS CITED IN CHRONOLOGICAL ORDER OF PRODUCTION......Page 188
29. DRAMA EDUCATION FOR INDIVIDUALS ON THE AUTISM SPECTRUM......Page 190
REFERENCES......Page 193
30. DRAMA AND ENGLISH LANGUAGE LEARNERS......Page 196
REFERENCES......Page 200
31. LOOKING FOR SHAKESPEARE: Transformation through Double Framing in the Adolescent Journey......Page 204
REFERENCES......Page 208
32. BRECHT’S LEHRSTÜCKE AND DRAMA EDUCATION......Page 210
REFERENCES......Page 213
33. CLASSICS AND YOUNGSTERS......Page 216
Section VII: Creativity and Technology......Page 220
34. CREATIVITY AND DRAMA EDUCATION......Page 222
REFERENCES......Page 225
WHAT IS CREATIVITY?......Page 228
Nurture the Social Context......Page 229
Using Play to Generate a Safe and Receptive Space for Creativity......Page 230
REFERENCES......Page 232
36. CREATIVE PLAY: The Importance of Incorporating Play, Liminality and\rRitual in Teaching K-12......Page 234
Intersections of Play and Creativity......Page 235
Liminality and Ritual......Page 236
Conclusion......Page 237
REFERENCES......Page 238
THEATRE AND DIGITAL TECHNOLOGIES......Page 240
NEW MEDIA AND NEW LITERACIES IN THE EDUCATIONAL THEATRE SPACE......Page 241
DIGITAL TECHNOLOGIES AND DRAMATIC PLAY......Page 243
REFERENCES......Page 244
Section VIII: Modes of Theatre, Expressions and Performance......Page 9
38. PARTICIPATORY FORMS OF EDUCATIONAL THEATRE......Page 248
4. Integral participation......Page 249
Why Participation?......Page 250
Participation – Problems and Pitfalls......Page 251
REFERENCES......Page 252
39. APPLIED DRAMA/THEATRE/PERFORMANCE......Page 254
NOTES......Page 257
REFERENCES......Page 258
INGREDIENTS......Page 260
PROCEDURE......Page 262
REMARKS......Page 263
REFERENCES......Page 264
41. FORMAL EXPRESSION IN DRAMA/ THEATRE EDUCATION......Page 266
REFERENCES......Page 270
42. FRAME AND FRAMING......Page 272
NOTES......Page 276
REFERENCES......Page 277
43. DRAMA AND SOCIAL HISTORY......Page 278
REFERENCES......Page 282
44. THE THEATRE PRODUCT IN RELATION TO TEACHING DRAMATIC PROCESS......Page 284
REFERENCES......Page 287
45. FRAMING CHILDREN’S THEATRE: Historiography, Material Context, and Cultural Perception......Page 290
REFERENCES......Page 293
The TYA “Performative”......Page 296
Toward Agency......Page 299
REFERENCES......Page 300
47. CRITICISM AND APPRECIATION IN THEATRE FOR YOUNG AUDIENCES......Page 302
REFERENCES......Page 306
48. THEATRE FOR BABIES: A New Kind of Theatre?......Page 308
REFERENCES......Page 312
49. QUEER REPRESENTATIONS IN TYA......Page 314
NOTES......Page 317
REFERENCES......Page 318
50. LATINO TYA: Portraying Practices of Loss and/in Assimilation......Page 320
REFERENCES......Page 323
51. THEATRE FOR CHILDREN IN HOSPITALS......Page 326
Motivations and Aims......Page 327
Benefits......Page 328
Artistic Challenge and Limitations......Page 329
NOTES......Page 330
REFERENCES......Page 331
Section X: Ways of Research and Methodology......Page 10
52. ARTS-BASED RESEARCH AND DRAMA EDUCATION......Page 334
DRAMA-BASED, EMBODIED RESEARCH AND PERFORMANCES......Page 335
CONTRIBUTIONS OF DRAMA EDUCATORS TO DBR......Page 336
CHALLENGES: MEANINGS, AND CRITERIA......Page 337
REFERENCES......Page 338
53. THEATRE AS METHODOLOGY OR, WHAT EXPERIMENTATION AFFORDS US......Page 340
REFERENCES......Page 344
DEFINING THE TERM......Page 346
ART AND DATA......Page 347
EVALUATION......Page 348
REFERENCES......Page 350
55. A DEAD MAN’S SWEATER: Performative Inquiry Embodied and Recognized......Page 352
REFERENCES......Page 356
56. SELF-STUDY INQUIRY PRACTICES: Introduction to Self-study Inquiry Practices and Scholarly Activity......Page 358
Exemplar-based Validation......Page 361
REFERENCES......Page 362
57. FROM A DISTANCE......Page 366
NOTES......Page 370
INDEX......Page 372