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Believing that transformation is possible and that it must come from within, Clar Doyle illustrates the vital connection between drama and critical pedagogy. Presuming that a practice informed by the theory of critical pedagogy is essential to achieve an emancipatory education, Doyle shows how well drama and aesthetic education can encourage a pedagogy that is critical. He explores the real as well as the perceived values and understandings given to the aesthetic in school settings, how tastes and awareness are produced and how students' backgrounds inform the way in which art and drama are experienced. Furthermore, Doyle shows the ways in which the dominant cultural agencies rob both teachers and students of creativity through their reproductive policies. The book explores such critical questions as: the nature of culture; the historical place of drama within education; and the debate between drama and theatre as it applies to schooling. With a critical perspective, he reviews the current status of drama education and suggests ways in which educators can redefine their mission and refine their practice. By examining the influence of the culture industry and the issues surrounding style choices, Doyle highlights the challenge that teachers must meet in order to use performance skills to tease out attitudes and understandings. He concludes by showing how drama can help students, not only to bring about change in their own lives, but to effect change in the world around them.
Drama, drama, drama. Our world is steeped in it. It affects everyone, and it's not slowing down. The chaos of drama is everywhere: in politics, social media, the workplace, finances, education, healthcare, home life . . . even our beautiful planet is consumed by chaos. Drama is a part of the human condition, but the explosive growth we're seeing is not. The world is getting smaller, but the chaos is growing bigger. Humanity is evolving, but which direction are we going? In spite of it being a universal experience, few people know how to really deal with drama. That's because we've had a limited understanding and narrow view of what drama really is. But that's about to change. The Drama-Free Way uncovers the hidden sources of drama that influence us, how they shape our thoughts and beliefs and set us up for a lifetime of separation from our Authentic Selves. It reveals how drama functions, not only as an addiction, but also as a social survival phenomenon, due to the tribal wounds we've all experienced. Left unattended, these will be recycled generation after generation, adversely affecting our world for years to come. It's time to pivot. We are at a critical threshold in our evolution where the "survival of the fittest" are those who can best manage their inner worlds of thoughts and emotions. The Drama-Free Way offers an elevated approach to the human journey and provides the antidote to chaos: Inner Alignment for cultivating an authentically thriving life. Consider this your roadmap to rise.
The Oxford Handbook to Tudor Drama is the authoritative secondary text on Tudor drama. It both integrates recent important research across different disciplines and periods and sets a new agenda for the future study of Tudor drama, questioning a number of the central assumptions of previous studies. Balancing the interests and concerns of scholars in theatre history, drama, and literary studies, its scope reflects the broad reach of Tudor drama as a subject, inviting readers to see the Tudor century as a whole, rather than made up of artificial and misleading divisions between 'medieval' and 'renaissance', religious and secular, pre- and post-Shakespeare. The contributors, both the established leaders in their fields and the brightest young scholars, attend to the contexts, intellectual, theatrical and historical within which drama was written, produced and staged in this period, and ask us to consider afresh this most vital and complex of periods in theatre history. The book is divided into four sections: Religious Drama; Interludes and Comedies, Entertainments, Masques, and Royal Entries; and Histories and political dramas.
This is the introduction to the second part of the trilogy which is von Balthasar's major work. The Glory of the Lord approaches revelation from the standpoint of the beautiful. The final part of the trilogy, the Theo-Logic, will treat Christian revelation from the standpoint of the true. In this first volume von Balthasar shows how many of the trends of modern theology (e.g. "event", "history", "orthopraxy", "dialogue", "political theology") point to an understanding of human and cosmic reality as a divine drama. He will then consider objections to such a theological dramatic theory and also the relationship between the Church and the theatre. This volume assembles the materials and the themes that will make it possible in subsequent volumes to develop this theological dramatic theory. "...meeting Balthasar was for me the beginning of a lifelong friendship I can only be thankful for. Never again have I found anyone with such a comprehensive theological and humanistic education as Balthasar and de Lubac, and I cannot even begin to say how much I owe to my encounter with them." - Joseph Ratzinger (Pope Benedict XVI)