Grade level: 7, 8, 9, 10, 11, 12, e, i, s, t.

A comprehensive guide to drama education, ensuring a solid foundation for supporting effective learning and teaching.

This classic edition of Mike Fleming’s The Art of Drama Teaching provides a multitude of practical ideas for teachers of drama and for those who are interested in using drama to teach other subjects. It takes the form of detailed discussion of twenty-five drama techniques including but not limited to: beginnings and endings monologue and narration off-stage action and reported action mime irony time shifts minor characters Each technique, topic or convention is illustrated by a carefully chosen extract from a play and accompanied by a commentary and practical examples of lesson tasks. This book not only demonstrates drama as an art form and provides ready-to-use material for drama teachers, but highlights how dramatic techniques can be used to inform classroom teaching and develop teacher practice. Featuring a brand new preface by the author to contextualise the book within the field today, this Routledge Classic Edition is an indispensable resource for drama teachers in both primary and secondary schools.

How Drama Activates Learning: Contemporary Research and Practice draws together leaders in drama education and applied theatre from across the globe, including authors from Europe, North America and Australasia. It explores how learning can be activated when drama pedagogies and philosophies are applied across diverse contexts and for varied purposes. The areas explored include: · history · literacy, oracy and listening · health and human relationships education · science · democracy, social justice and global citizenship education · bullying and conflict management · criticality · digital technologies · additional language learning Drawing on a range of theoretical perspectives, the contributors present case studies of drama and applied theatre work in school and community settings, providing rich descriptions of practice accompanied by detailed analysis underpinned by the theoretical perspectives of key thinkers from both within and beyond the field of drama.

This guide explores the roles, skills and knowledge needed to become an effective drama teacher. It combines practical advice on planning, teaching and assessing with the best teaching practices. It also offers lesson plans for years 7-9 students to use intheir teaching.

How can teachers incorporate drama into the curriculum? What drama activities are especially successful? How do teachers know when students are learning in, through and about drama? Teachers who are new to drama, or those wishing to refresh their knowledge and ideas, should find practical answers and guidance in this text. The book introduces the work of Cecily O'Neill to demonstrate the entry points to drama lessons, the pre-texts, and how educators need to introduce lessons with challenging material. He then uses the work of David Booth to highlight one aspect of drama - storydrama - and how it can be used as an effective learning medium across the curriculum.

This is a book that looks at how drama has its basis in good early years practice. Most early years practitioners are doing some drama and are edging towards more structured work - this text will help them go further by building their own skills. Using tried and tested example dramas based on traditional stories, the authors show how clearly dramas are constructed. They move from the simple use if TiR (Teacher in Role) to more complex, full dramas, using traditional stories including Little Bo Peep, Cinderella, Sleeping Beauty, Humpty Dumpty, The Pied Piper, The Billy Goats Gruff and Hansel and Gretel. Drama in the early years covers a number of key areas where drama is of particular importance for this age group including: * drama in the National Curriculum * how drama can help your teaching of the Literacy Hour * personal and social education and citizenship * drama and special needs * assessment * recording and progression * developing a school policy for drama.

This book constitutes the refereed proceedings of the 5th International Conference on Interactive Digital Storytelling, ICIDS 2012, San Sebastián, Spain, November 2012. The 14 revised full papers presented together with 6 short papers were carefully reviewed and selected from 48 submissions. The papers are organized in topical sections on theory and aesthetics; authoring tools and applications; evaluation and user experience reports; virtual characters and agents; new storytelling modes; workshops.

Geese Theatre 1st was formed in 1987 and is renowned across the criminal justice field. This book explains the thinking behind the company's approach to applied drama with offenders and people at risk of offending, including young people. It also contains over 100 exercises with explanations, instructions and suggestions to help practitioners.

Our future depends on the state of our imaginations. Drama becomes more important as the world changes. Plays young people write, act in and watch are the blueprints of the world they will have to live in. Edward Bond has chosen in recent years to focus much of his work on plays for young people, arguing that drama helps children "to know themselves and their world and their relation to it". This book discusses some of his important plays for young people and offers case studies of various productions of them. Contributors examine how the plays have been used by teachers and theatre companies with young people and they explore the demands of acting and staging Bond. Contributors include Tony Coult, Chris Cooper, Katie Katafiasz, John Doona, Tony Grady and Bill Roper. One chapter is taken from the notes of Geoff Gillham, and one is written by Edward Bond. The book will be of interest to those who work in drama with young people, whether in theatre, community work or in schools.