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This book explores the concept and vocabulary of postdramatic theatre from a pedagogical perspective. It identifies some of the major anxieties and paradoxes generated by teaching postdramatic theatre through practice, with reference to the aesthetic, cultural and institutional pressures that shape teaching practices. It also presents a series of case studies that identify the pedagogical fault lines that expose the power-relations inherent in teaching (with a focus on the higher education sector as opposed to actor training institutions). It uses auto-ethnography, performance analysis and critical theory to assist university teachers involved in directing theatre productions to deepen their understanding of the concept of postdramatic theatre.
This revised and updated edition of Teaching Classroom Drama and Theatre will be an essential text for anyone teaching drama in the modern classroom. It presents a model teachers can use to draw together different methodologies of drama and theatre studies, exemplified by a series of contemporary, exciting practical units. By re-appraising the different traditions and approaches to drama teaching in schools, it offers innovative, contemporary projects and lessons suitable for a wide range of teachers and learners. Divided into eight units with each one offering photocopiable resources and exploring a different theme, this book has been updated to reflect current trends in drama teaching and important themes in contemporary society such as: Myths and urban folklore Moral decisions Asylum seekers The transition from primary to secondary school Conflict resolution and propaganda Protest and resistance Medieval plays Transportation Crime and punishment. Each unit provides ideas and lesson plans which can be used as they are or adapted to suit your own particular needs. This book will be an invaluable resource for anyone who teaches – or is learning to teach - drama in secondary schools as well as those who work with young people in other drama settings.
Claribel Baird reviews the interpretation of classical texts for theatrical performance. Howard Bay interrupted his stage design career of more than 150 Broadway productions to help students. BernardBeckerman asks if there are approaches to the teaching of dramatic literature that particularly suit drama-as-theatre. Robert Benedetti offers suggestions on the teaching of acting. OscarBrockett treats the problems of the theatre teacher and the processes of learning. AgnesHaaga shows that the essential quality in heading up child drama programs is a sense of joyous delight. Wallace Smith discusses methods for teaching secondary schooltheatre. Jewel Walker offers a rare written statement about his work as a theatre teacher. Carl Weber conveys the principles and methodology of his mentor, Bertolt Brecht, to beginning directors.
Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance? The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance. Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others
This comprehensive, authoritative account of tragedy is the culmination of Hans-Thies Lehmann’s groundbreaking contributions to theatre and performance scholarship. It is a major milestone in our understanding of this core foundation of the dramatic arts. From the philosophical roots and theories of tragedy, through its inextricable relationship with drama, to its impact upon post-dramatic forms, this is the definitive work in its field. Lehmann plots a course through the history of dramatic thought, taking in Aristotle, Plato, Seneca, Nietzsche, Heidegger, Lacan, Shakespeare, Schiller, Holderlin, Wagner, Maeterlinck, Yeats, Brecht, Kantor, Heiner Müller and Sarah Kane.
Drama and Education provides a practical, comprehensive guide to drama as a tool for teaching and learning. It is among the first practical drama and performance textbooks that address brain-based, neuroscientific research, making the argument that creativity is necessary in our lives, that embodied learning is natural and essential, and that contextual learning helps us find our place in society in relationship to other peoples and cultures. As well as a historical and theoretical overview of the field, it provides rationale and techniques for several specific methodologies: linear drama, process-oriented drama, drama for social justice, and performance art. Each approach is supplemented with sample lesson plans, activities, ideas for differentiation, and extensive bibliographies. The topics are discussed from five key angles: • Historical and theoretical foundations • Curricular applications • Practical toolkits for a range of classrooms and learning environments • Different strategies for lesson plans • Extension options for longer workshops. Alongside these core methods, the integration of other innovative forms—from performance art to Theatre of the Oppressed—into drama-based learning is explored, as well as the pragmatic concerns such as assessment, planning, and advocacy for arts learning and arts education partnerships. Drama and Education is the comprehensive textbook for teachers and students on Applied Theatre and Theatre and Education courses.
If you’re a preservice teacher planning to teach the theatre arts, an in-service secondary teacher considering a foray into teaching theatre, or a theatre professional considering the classroom, there’s a lot to learn. But you don’t have to know everything to teach well from the start, you just need Theatre in the Secondary School Classroom. Theatre in the Secondary School Classroom is the trusty guide that every new theatre teacher will be grateful to have as a ready reference. It’s not an encyclopedia on secondary theatre, but a collection of musts that every beginning instructor needs to know. Theoretical, practical, and friendly, Theatre in the Secondary School Classroom introduces key instructional methods and successful strategies, and works through the problems of practice that face all instructors, regardless of their experience. With discussions of finding appropriate spaces (both personal and physical), assessing students’ learning, encouraging involvement, and more, you’ll find the crucial information you need to hit the ground running. Patterson, McKenna-Crook, and Ellington provide numerous illustrations, model letters to parents, work samples, rubrics, checklists, and example test questions to show you precisely how the nitty-gritty of theatre education plays out. In addition each chapter contains suggested extension activities for students, Internet links to valuable resources and research materials, and experience-won hints on topics of specific interest to the new theatre teacher.
This book reflects the changes in technology and educational trends (cross-disciplinary learning, entrepreneurship, first-year learning programs, critical writing requirements, course assessment, among others) that have pushed theatre educators to innovate, question, and experiment with new teaching strategies. The text focuses upon a firm practice-based approach that also reflects research in the field, offering innovative and proven methods that theatre educators may use to actively engage students and encourage student success. The sixteen essays in this volume are divided into five sections: Teaching with Digital Technology, Teaching in Response to Educational Trends, Teaching New Directions in Performance, Teaching Beyond the Traditional, and Teaching Collaboratively or Across Disciplines. Study of this book will provoke readers to question both teaching methods and curricula as they consider the ever-shifting arts landscape and the potential careers for theatre graduates.
This book examines representations of the teacher on stage - in both theatrical performances and dramatic text - in order to demonstrate how these representations have shaped society’s perceptions of educators in and out of the classroom. At the heart of this book is the interaction between theatre and teacher education. By considering how dramatic portrayals reimagine, reinforce and/or undermine our understanding of the teacher’s personal and professional roles, this volume bridges the gap between truth in dramatic literature and truth in the classroom. Chapters critically explore the personas embodied by fictional teachers in well-known works such as Educating Rita, School of Rock and The History Boys and illustrate how educators might use dramatic literature and performance to interrogate entrenched ideas about the student-teacher dynamic. By bringing together a diverse set of contributors from the fields of teacher education and theatre, this book takes a critical look at performance, text, society and culture to promote a new understanding of teaching and learning. This unique book will be of great interest to graduate and postgraduate students, academics and researchers in the fields of teacher education, drama and theatre education.
Rainer and Lewis present a series of new, exciting and challenging practical units for teaching drama in the modern classroom. The tried-and-tested units of work in this book are placed in the context of current ideas about classroom practice. The authors present a new model of how teachers can draw together the various methodologies of process drama and traditional theatre teaching. The flexible content makes the book suitable for specialist and non-specialist drama teachers. Newly trained teachers, student teachers and those new to drama will feel supported by the full, detailed layout. Experienced teachers will find the main benefit of the book as a springboard into their own drama teaching around the themes and topics given, and as a means of clarifying theoretical concepts.