Teaching And Learning Through Dramaturgy

The aim of this book is to contribute a dramaturgical perspective to education. The authors write from a dramaturgical perspective about the planning of teaching, leadership in the classroom, the teacher-body, the teacher’s oral skills and ethics, communication, and about the spaces in which teaching takes place. The book is written with the pre-understanding that the ways in which art creates knowledge need to be illuminated and articulated more clearly in educational thinking, thereby enhancing artful engagement in education. Dramaturgical perspectives are presented as such a way – a form of knowledge that the artform of drama/theatre can contribute to teaching and learning in general. Through examples and analyses of empirical material, as well as through theoretical perspectives, the authors show chapter by chapter how dramaturgy and a dramaturgically inspired language and concepts create more possibilities of choice for teachers in planning and carrying out their teaching. Teaching and Learning through Dramaturgy brings to the forefront what will be enabled in teaching and planning of teaching, by making use of a dramaturgically inspired language and action, what in principle is possible in every subject.

The aim of this book is to contribute a dramaturgical perspective to education. The authors write from a dramaturgical perspective about the planning of teaching, leadership in the classroom, the teacher-body, the teacher's oral skills and ethics, communication, and about the spaces in which teaching takes place. The book is written with the pre-understanding that the ways in which art creates knowledge need to be illuminated and articulated more clearly in educational thinking, thereby enhancing artful engagement in education. Dramaturgical perspectives are presented as such a way - a form of knowledge that the artform of drama/theatre can contribute to teaching and learning in general. Through examples and analyses of empirical material, as well as through theoretical perspectives the authors show chapter by chapter how dramaturgy and a dramaturgically inspired language and concepts create more possibilities of choice for teachers in planning and carrying out their teaching. Teaching and Learning through Dramaturgy brings to the forefront what will be enabled in teaching and planning of teaching, by making use of a dramaturgically inspired language and action, what in principle is possible in every subject.

As schools have become more aware of their role in addressing personal and social issues, the importance of ‘values and attitudes’ have begun shaping education and curricula worldwide. Drama in Education explores the six fundamental pillars of the national curriculum guide of Iceland in relation to these changing values and attitudes. Focusing on the importance of human relations, this book explores literacy, sustainability, health and welfare, democracy and human rights, equality and creativity. It demonstrates the capability of drama as a teaching strategy for effectively working towards these fundamental pillars and reflects on how drama in education can be used to empower children to become healthy, creative individuals and active members in a democratic society. Offering research-based examples of using drama successfully in different educational contexts and considering practical challenges within the classroom, Drama in Education: Exploring Key Research Concepts and Effective Strategies is an essential guide for any modern drama teacher.

Educators at the cutting edge of the experiential learning movement share their insights and experiences at colleges and universities nationwide This book provides college faculty and administrators with strategies for the successful design, construction, funding, and assessment of experiential education. Featuring edited contributions written by educators at the leading edge of the experiential education movement nationwide, it addresses the realities of experiential education while providing detailed descriptions of everything from the design of individual courses to entire programs. The authors weigh the various pros and cons of the experiential approach, and they offer pointers on how to engage colleagues and stakeholders to help them understand the manifold benefits of the approach.

Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics. In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist. This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes. The contributions survey the field through eight main lenses: world dramaturgy and global perspective dramaturgy as function, verb and skill dramaturgical leadership and season planning production dramaturgy in translation adaptation and new play development interdisciplinary dramaturgy play analysis in postdramatic and new media dramaturgy social media and audience outreach. Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).

In Performative Approaches in Arts Education, researchers, artists and practitioners from philosophy and the arts elaborate on what performative approaches can contribute to 21st century arts education. Introducing new perspectives on learning, the contributors provide a central international perspective, developing a paradigm in which the artist, teacher and researcher’s form of teaching is enmeshed with content, and human agency is entangled with non-human matter. The book explores issues connected to both teaching and learning in the arts, engaging in debates about the value of meaning making in the artistic process, the way social ethos can guide performative approaches and the changes in education that performative approaches can bring. Performative Approaches in Arts Education will be of great interest to academics, researchers and post-graduate students in the fields of arts education, philosophy of education and education research methods. It will also appeal to teachers and teacher educators, artists and teaching artists.

In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare. The collection is divided into four sections: studying the text as a script for performance; exploring Shakespeare by performing; implementing specific techniques for getting into the plays; and working in different classrooms and settings. The contributors offer a rich variety of topics, including: working with cues in Shakespeare, such as line and mid-line endings that lead to questions of interpretation seeing Shakespeare’s stage directions and the Elizabethan playhouse itself as contributing to a play’s meaning using the "gamified" learning model or cue-cards to get into the text thinking of the classroom as a rehearsal playing the Friar to a student’s Juliet in a production of Romeo and Juliet teaching Shakespeare to inner-city students or in a country torn by political and social upheavals. For fellow instructors of Shakespeare, the contributors address their own philosophies of teaching, the relation between scholarship and performance, and—perhaps most of all—why in this age the study of Shakespeare is so important.

The struggle to establish more democratic education pedagogies has a long history in the politics of mainstream education. This book argues for the significance of the creative arts in the establishment of social justice in education, using examples drawn from a selection of contemporary case studies including Japanese applied drama, Palestinian teacher education and Room 13 children’s contemporary art. Jeff Adams and Allan Owens use their research in practice to explore creativity conceptually, historically and metaphorically within a variety of UK and international contexts, which are analysed using political and social theories of democratic and relational education. Each chapter discusses the relationship between models of democratic creativity and the cultural conditions in which they are practised, with a focus on new critical pedagogies that have developed in response to neoliberalism and marketization in education. The book is structured throughout by the theories, practices and the ideals that were once considered to be foundational for education: democratic citizenship and a just society. Creativity and Democracy in Education will be of key interest to postgraduate students, researchers, and academics in the field of education, especially those interested in the arts and creativity, democratic learning, teacher education, cultural and organisational studies, and political theories of education.

This book explores applied theatre practice for children in environments of illness and cure and how it can powerfully normalise children’s hospitalisation experience. It is an essential tool for making meaning of children’s illness, putting it into a fictional context and developing better control of their clinical experiences. It can be central to raising the standards of care and quality of life during illness. Taken from the author’s research and participatory bedside theatre practice in hospitals before, during and after the COVID-19 pandemic, this book demonstrates new learning about aesthetics, ethics, emotions, stories, puppetry, digital arts and research methodologies about children’s health and wellbeing. It provides a selection of ten unique stories told by children inspired by applied theatre practice in paediatrics, cardiac, oncology, neurosurgery, burns units and complex and intensive care wards. Stories aid in understanding the language of children’s pain for a better assessment and management of pain by healthcare professionals through the arts. It analyses synergistic theatre performance in 'stitched lands' between challenging realities and safe fictionalities. This book enables artists to develop new ways of thinking and contributes to further improvements in the provision of education and reflective learning in the field. It also addresses the emotional labour of the artist in healthcare and makes recommendations for balanced training to prevent emotional exhaustion. Designed for artists, healthcare professionals, therapists, play specialists and teachers who work with children in healthcare, this text aims to help many people find creative ways of making a positive difference in sick children’s lives. It is a book for those who love and care for children.

Critical Themes in Drama is concerned with the relationship between drama and the current socio-political context. It builds on and contributes to ongoing scholarly conversations regarding the use, benefit, challenges and opportunities for drama and theatre as a social, cultural, educational and political act. The intention of this book is to canvas current theory and practice in drama, to provide an extended examination of how drama as a pro-social practice intersects with socio-cultural institutions, to link critical discourse and examine ways drama may contribute to a broader social justice agenda. Authors draw on a variety of theoretical tools from the fields of sociology, anthropology and cultural studies. This combines with an exploration of work from drama practitioners across a variety of countries and practices to provide a map of how the field is shaped and how we might understand drama praxis as a social, cultural and political force for change. This book offers drama scholars, practitioners, researchers and teachers a critical exploration which is both hopeful and critical; acknowledging the complexities and potential pitfalls, while celebrating the opportunities for drama as a practice for social action and positive change.

Outdoor and experiential learning has advanced in leaps and bounds over the last 20 years. Educators and developers in the Czech and Slovak Republics have been unexpected leaders in the field; the result of isolation of the country under communism and a unique mix of culture and geography. This book offers a guide to the theory and techniques, pioneered by the Czechs and Slovaks, including the concept of dramaturgy, a process involving elements of learning psychology, role play and theatre that concentrates on physical, social, creative and reflective/emotional learning states. It also includes a full set of guidelines for designing outdoor and experiential events, along with complete instructions for 30 games. The authors provide design opportunities to be more creative in the development of young people, as well as older learners and those involved in corporate management education.

Over the last two decades drama pedagogy has helped to lay the foundations for a new teaching and learning culture, one that accentuates physicality and centres on performative experience. Signs of this ‘performative turn’ in education are especially strong in the field of foreign/second language teaching. This volume introduces scholars, language teachers, student teachers and drama practitioners to the concept of a performative foreign language didactics. Approaching the subject from a wide variety of contexts, the contributors explore the extent to which performative approaches, emphasising the role of the body as a learning medium, can achieve deep intercultural learning. Drama activities such as improvisation, hot seating and tableaux are shown to create rich opportunities for intercultural encounters that transport students beyond the parameters of conventional language, literature and culture education.

This book constitutes the proceedings of the Third International Conference on Hybrid Learning, ICHL 2010, held in Beijing, China, in August 2010. The 50 contributions presented in this volume were carefully reviewed and selected from 225 submissions. In addition two keynote talks are included in this book. The topics covered are interactive hybrid learning systems, content management for hybrid learning, pedagogical and psychological issues, outcome-based teaching and learning, instructional design issues, experiences in hybrid learning, improved flexibility of learning processes, computer supported collaborative learning, assessment strategies for hybrid learning, and organisational frameworks and institutional policies.

This collection of insightful essays gives teachers’ perspectives on the role of space and presence in teaching performance. It explores how the demand for remote teaching can be met while at the same time successfully educating and working compassionately in this most ‘live’ of disciplines. Teaching Performance Practices in Remote and Hybrid Spaces reframes prevailing ideas about pedagogy in dance, theatre, and somatics and applies them to teaching in face-to-face, hybrid, and remote situations. Case studies from instructors and professors provide essential, practical suggestions for remotely teaching a vast range of studio courses, including tap dance, theatre design, movement, script analysis, and acting, rendering this book an invaluable resource. The challenges that teachers are facing in the early twenty-first century are addressed throughout, helping readers to navigate these unprecedented circumstances whilst delivering lessons, guiding workshops, rehearsing, or even staging performances. This book is invaluable for dance and theatre teachers or leaders who work in the performing arts and related disciplines. It is also ideal for any professionals who need research-based solutions for teaching performance online.

This book argues that the digital revolution has fundamentally altered the way musicals are produced, followed, admired, marketed, reviewed, researched, taught, and even cast. In the first hundred years of its existence, commercial musical theatre functioned on one basic model. However, with the advent of digital and network technologies, every musical theatre artist and professional has had to adjust to swift and unanticipated change. Due to the historically commercial nature of the musical theatre form, it offers a more potent test case to reveal the implications of this digital shift than other theatrical art forms. Rather than merely reflecting technological change, musical theatre scholarship and practice is at the forefront of the conversation about art in the digital age. This book is essential reading for musical theatre fans and scholars alike.

The first of its kind since the 1980s, this book provides authoritative definitions for more than 2,600 terms that apply to educational research, practice, and theory. The overall focus is on the most critical terms in education as used by current practitioners, yet references to significant historical events in education are also included. Terms were taken from such fields as: BL Early childhood education BL K-12 education BL Special education BL Higher education BL Adult education BL Career education BL Comparative education BL Curriculum BL Mathematics education BL Science education BL Language arts BL Reading BL Social studies education BL Educational philosophy BL Educational technology BL Educational research BL Language acquisition BL Measurement BL Teaching BL And other fields Each of the definitions is 25-250 words and has been written by a knowledgeable practitioner or researcher in the field. Included are acronyms and initialisms commonly used in the field, names and descriptions of relevant organizations, and important legal decisions relating to education. An extensive bibliography provides useful sources for further research. This reference work will be valuable for professionals in the K-12 setting, students of education, and educators and researchers in colleges of education. Librarians at academic, public, and school libraries will find the dictionary immensely useful in interpreting education terminology.

· 3,050 A–Z entries, including over 400 new and revised definitions · 128 contributors from a variety of specialized areas related to education · Three tables and graphs to illustrate specific aspects of mathematics and evaluation in education · An introduction on education terminology by editors John W. Collins and Nancy Patricia O'Brien, distinguished librarians in the study of education · Author attributions for each definition · An extensive, updated bibliography of sources that identify and explain terms used within education