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If it is a good thing to use drama for education, there must be something specific about drama that makes it good for the purpose. It has power of some kind: it makes things meaningful that would otherwise be meaningless, or things memorable that would otherwise be forgettable. Or perhaps it enables independent thought in an area that would otherwise become mere rote learning. Many practitioners believe that drama has the power to develop learner autonomy, or even to give learners power over their lives. In the last twenty years, a widespread view has developed that this 'something' that creates the benefit of drama is 'aesthetics'. There are many views of aesthetics, but what unites them is the special significance that art has for our lives. This book is about the relation between aesthetics and education in the use of drama. Within it, philosophy appears as the essential connecting discipline between the practice of arts-based education and our advancing knowledge of the interrelations of cognition, emotion, and embodiment. Matthew DeCoursey argues that the power of dramatic art is to be found in its bodily, emotional nature. Drawing on recent work in the aesthetics of theatre, he shows that much of the power of theatre can be attributed to a specific range of ideas and techniques, notably including double meaning-making, aesthetic focus and dramatic tension. Finally, the author relates different forms of drama education to different educational results, holding that the conventional improvised forms are neither superior nor inferior to scripted theatre, but merely serve different purposes. Among those educational results discussed are the emancipation sought both by Rancière and by many practitioners of applied theatre, but also curricular areas, including language education.
If it is a good thing to use drama for education, there must be something specific about drama that makes it good for the purpose. It has power of some kind: it makes things meaningful that would otherwise be meaningless, or things memorable that would otherwise be forgettable. Or perhaps it enables independent thought in an area that would otherwise become mere rote learning. Many practitioners believe that drama has the power to develop learner autonomy, or even to give learners power over their lives. In the last twenty years, a widespread view has developed that this 'something' that creates the benefit of drama is 'aesthetics'. There are many views of aesthetics, but what unites them is the special significance that art has for our lives. This book is about the relation between aesthetics and education in the use of drama. Within it, philosophy appears as the essential connecting discipline between the practice of arts-based education and our advancing knowledge of the interrelations of cognition, emotion, and embodiment. Matthew DeCoursey argues that the power of dramatic art is to be found in its bodily, emotional nature. Drawing on recent work in the aesthetics of theatre, he shows that much of the power of theatre can be attributed to a specific range of ideas and techniques, notably including double meaning-making, aesthetic focus and dramatic tension. Finally, the author relates different forms of drama education to different educational results, holding that the conventional improvised forms are neither superior nor inferior to scripted theatre, but merely serve different purposes. Among those educational results discussed are the emancipation sought both by Rancière and by many practitioners of applied theatre, but also curricular areas, including language education.
This book introduces the application of drama and arts-related activities to the teaching of English as a second or additional language in early education. Joe Winston draws on both his own scholarly expertise and experience as a practitioner to provide a theoretical rationale, practical examples, tips and easy-to-read teaching guides intended to help busy professionals apply drama related methods in an efficient and accessible way. Detailed examples of schemes of work are included for all year groups and developmental stages between the ages of 3 and 7 years of age. Each scheme centres on a popular and easily obtainable picturebook or children's story. Detailed guidance on how to plan and structure lessons with specific learning objectives is offered, as is extensive advice on issues of classroom management. The practical approaches have been used successfully in early years settings in China and primary and pre-primary settings in the UK, and are adaptable to a variety of national and cultural contexts.
As education becomes more globally accessible, the need increases for comprehensive education options with a special focus on bilingual and intercultural education. The normalization of diversity and the acclimation of the students to various cultures and types of people are essential for success in the current world. The Handbook of Research on Bilingual and Intercultural Education is an essential scholarly publication that provides comprehensive empirical research on bilingual and intercultural processes in an educational context. Featuring a range of topics such as education policy, language resources, and teacher education, this book is ideal for teachers, instructional designers, curriculum developers, language learning professionals, principals, administrators, academicians, policymakers, researchers, and students.
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.
Learning in the arts does not fit in with simple, conventional methodologies for teaching and assessing in the traditional sense, but it has an immense power to transform children’s understanding of the world around them, and their lives. Many jobs, currently and of the future, will demand the skills that learning in the arts will develop. This book brings Arts Education sharply into focus as a meaningful, learning experience for children of pre-school and primary age (3-11 years). It reinforces the potential for the wide range of physical, mental and emotional development, through learning opportunities that engagement in arts practice facilitates. Provides insight into how teachers can support children to consider contemporary challenges that face their generation. Includes expert voices from the world of education to demonstrate an expansive, and perhaps surprising, view of where and how the Arts can be found. Shows how we can bring the arts so easily into our curriculum, and into our classrooms.
MasterClass in Drama Education explores drama teaching, drawing directly on international research and practice, presenting effective and engaging approaches for drama learning and focusing on the skills, knowledge and understanding needed by researchers teachers and Master's-level students. Anderson also draws on the history of drama education to create a foundation for effective learning and teaching. Topics covered include: - The foundations of drama learning - Planning - Knowledge and skills - Assessment MasterClass in Drama Education will be essential reading for all studying the teaching and learning of drama on PGCE and Education MEd/MA courses.
The Routledge Companion to Drama in Education is a comprehensive reference guide to this unique performance discipline, focusing on its process-oriented theatrical techniques, engagement of a broad spectrum of learners, its historical roots as a field of inquiry and its transdisciplinary pedagogical practices. The book approaches drama in education (DE) from a wide range of perspectives, from leading scholars to teaching artists and school educators who specialise in DE teaching. It presents the central disciplinary conversations around key issues, including best practice in DE, aesthetics and artistry in teaching, the histories of DE, ideologies in drama and education, and concerns around access, inclusivity and justice. Including reflections, lesson plans, programme designs, case studies and provocations from scholars, educators and community arts workers, this is the most robust and comprehensive resource for those interested in DE’s past, present and future.
Drama-Based Pedagogy examines the mutually beneficial relationship between drama and education, championing the versatility of drama-based teaching and learning designed in conjunction with the classroom curriculum. Written by seasoned educators and based upon their own extensive experience in diverse learning contexts, this book bridges the gap between theories of drama in education and classroom practice.
Norms of embodied behaviour for males and females, as promoted in mainstream Western public arenas of popular culture and the everyday, continue to work, overtly and covertly, as definitive and restrictive barriers to the realm of possibilities of embodied gender expression and appreciation. They serve to disempower and marginalize those not inclined to embody according to such dichotomous models. This book explores the ramifications of the way our gendered, sexed and culturally constructed bodies are situated toward notions of difference and highlights the need to safeguard the social and emotional well-being of those who do not fit comfortably with dominant norms of masculine/feminine behaviour, as deemed appropriate to biological sex. The book interrogates gender inequitable machinations of education and performance arts disciplines by which educators and arts practitioners train, teach, choreograph, and direct those with whom they work, and theorizes ways of broadening personal and social notions of possible, aesthetic, and acceptable embodiment for all persons, regardless of biological sex or sexual orientation. The author’s own struggles as a performance artist, educator, and person in the everyday, as well as the findings of empirical fieldwork with educators, performance arts practitioners, and high school students, are employed to illustrate and advocate the need for self reflexive scrutiny of existing and hidden inequities regarding the embodiment of gender within one’s own habitual perspectives, taste, and practices.