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What makes young people care about themselves, others, their communities, and their futures? In Why Theatre Matters, Kathleen Gallagher uses the drama classroom as a window into the daily challenges of marginalized youth in Toronto, Boston, Taipei, and Lucknow. An ethnographic study which mixes quantitative and qualitative methodology in an international multi-site project, Why Theatre Matters ties together the issues of urban and arts education through the lens of student engagement. Gallagher’s research presents a framework for understanding student involvement at school in the context of students’ families and communities, as well as changing social, political, and economic realities around the world. Taking the reader into the classroom through the voices of the students themselves, Gallagher illustrates how creative expression through theatre can act as a rehearsal space for real, material struggles and for democratic participation. Why Theatre Matters is an invigorating challenge to the myths that surround urban youth and an impressive study of theatre’s transformative potential.
"Discover the cognitive, social, emotional, and other psychological benefits of learning how to act and perform. This book looks behind the curtain of theatre education to see how thinking on stage happens in real secondary classrooms. Reporting on the first large scale systematic qualitative analyses of acting classes for adolescents, the author introduces the discovery of the eight Acting Habits of Mind-thinking strategies to solve problems and creatively complete tasks. Each Habit is tied to current scientific research findings for related psychological constructs, including creativity, self-esteem, empathy, emotion regulation, and well-being. Connections are then made to individual student needs, future research, and the complexity of theatre education. Based in the science of development and actual theatre education as it happens in a variety of school types, with a diversity of students, this book provides an answer to the question "What, psychologically, is an acting class?" Every educator, administrator, and arts lover can use this book to better understand and advocate for their art form and demonstrate why theatre should be included in schools. Theatre educators, advocates, and performers have long theorized about the cognitive, social, emotional, and other psychological benefits of learning how to act and perform. However, a thorough, scientifically-based analyses of acting classes and the benefits of theatre has been missing- until now. This book looks behind the curtain of theatre education to see how thinking on stage happens - in real classroom. Reporting on the first large scale systematic qualitative analyses of actual acting classes for adolescents, this book introduces the discovery of the 8 "Acting Habits of Mind" - thinking strategies to solve problems and creatively complete tasks- that are used, integrated and fostered in acting classes. Each Acting Habit of Mind is tied to the current scientific research and findings for related psychological constructs, including creativity, self-esteem, empathy, and emotion regulation and health. Then, connections are made to individual student needs, future research, and the complexity of theatre education. Based in the science of development and actual theatre education as it happens in a variety of school types, with a diversity of students, this book provides an answer to the question "What, psychologically, is an acting class?" and can help every educator, administrator, and theatre lover advocate for their art form"--
One of the first titles in this vibrant and eye-catching new series of short, sharp, shots for theatre 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.
Black Acting Methods seeks to offer alternatives to the Euro-American performance styles that many actors find themselves working with. A wealth of contributions from directors, scholars and actor trainers address afrocentric processes and aesthetics, and interviews with key figures in Black American theatre illuminate their methods. This ground-breaking collection is an essential resource for teachers, students, actors and directors seeking to reclaim, reaffirm or even redefine the role and contributions of Black culture in theatre arts. Chapter 7 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Beatrice thinks she has no acting talent but that doesn't stop her from auditioning for the annual middle school play. She has two missions-winning the role of Pocahontas (which guarantees her popularity with the cool kids, at least in her mind) and grabbing the attention of her estranged father. Easy! Except Michiko, a new girl from Japan, shows up and ruins everything! So begins Beatrice's diabolical and hilarious plan to scare away Michiko. But Michiko has goals of her own with no plans to leave soon. Beatrice is sometimes sarcastic, sometimes very funny and always honest. A great book for those who love theater and every part of it--the good, the bad and the crazy.
Arts education is often said to be a means of developing critical and creative thinking. This report examines the state of empirical knowledge about the impact of arts education on these kinds of outcomes.
The works presented are moving and impressive; their authenticity and tone in harmony with the story teller's voice. The story itself may open new windows ... for those intent on enriching and humanizing what occurs in contemporary schools. - Maxine Greene A fabulous book for arts and theater education. -Merryl Goldberg Author of Integrating the Arts, Third Edition Are you a theatre teaching artist, or considering it? No matter what kind of educational setting you're in, the theatre skills you teach are intimately linked to your own artistry: you've got to know how to teach from your own practice while you learn to practice the art of teaching. The key is discovering how the educational setting, the students, and the stage link. A Teaching Artist at Work helps theatre teaching artists develop connections between their pedagogical and artistic selves. The book presents a framework for thinking about the work of teaching artists in general and theatre teaching artists in particular. Through descriptive examinations of practice, the book also provides theatre teaching artists and those who prepare and work beside them with concrete examples of three theatre-education projects in three different educational settings as well as the collaborative processes that helped them succeed. Replicable in other settings-such as community outreach programs, after school and summer programs hosted by professional theatres, and not-for-profit educational theatres-these projects provide a jumping-off point for others who work to create interesting theatre curriculum. In any educational setting, theatre teaching artists create spaces where teachers and students can envision a new, different, and exciting way of learning and doing that they can apply to theatre education and many other content areas. With emphasis on linking personal artistry with pedagogical artistry and examples drawn from McKean's own practice, A Teaching Artist At Work is an invaluable resource for teaching artists and the arts-education community.
People who don’t know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere “interpreters” of the dramatist’s vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading actors demanded plays be changed to fatten their roles. The late 19th and 20th centuries saw “the rise of the director,” in which director and playwright struggled for creative dominance. But no matter where the balance of power rested, good theatre artists of all kinds have created powerful experiences for their audience. The purpose of this volume is to bridge the interdisciplinary abyss between the study of creativity in theatre/drama and in other fields. Sharing theories, research findings, and pedagogical practices, the authors and I hope to stimulate discussion among creativity and theatre scholar/teachers, as well as multidisciplinary research. Theatre educators know from experience that performance classes enhance student creativity. This volume is the first to bring together perspectives from multiple disciplines on how drama pedagogy facilitates learning creativity. Drawing on current findings in cognitive science, as well as drama teachers’ lived experience, the contributors analyze how acting techniques train the imagination, allow students to explore alternate identities, and discover the confidence to take risks. The goal is to stimulate further multidisciplinary investigation of theatre education and creativity, with the intention of benefitting both fields.