Relevant bibliographies by topics / Drama and theater in teaching

Academic literature on the topic 'Drama and theater in teaching'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Drama and theater in teaching"

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Pushkar, Larysa, Olga Lobova, Nataliia Pavlushchenko, Svitlana Parfilova, Olha Vasko, and Vita Butenko. "Theatrical Activity as a Way of Developing Musical-Choreographic Competence in Future Preschool and Primary School Teachers." Revista Romaneasca pentru Educatie Multidimensionala 14, no. 3 (September 2, 2022): 18–31. http://dx.doi.org/10.18662/rrem/14.3/595.

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The article highlights the possibilities of applying elements of theatre arts in the process of preschool and primary school teachers professional training. In particular, it reveals the issue of forming musical and choreographic competence in students by means of various forms, types and methods of drama. The main forms of musical and choreographic competence formation in preschool and primary school teachers are practical and laboratory classes (disciplines “Pedagogy”, “Fundamentals of pedagogical creativity”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theater activity in preschool education institutions”, “Methods of music education”, “Musical art with methods of teaching”, etc.) and extracurricular forms of students’ theater activity (drama societies, drama studios, etc.). Important types of drama activities in the process of training future preschool and primary school teachers are staging and dramatization, within which it is advisable to use different methods of forming students’ musical and choreographic competence: music-motor and drama games, staging of fairytales and songs, improvisation on a given theme-image, sketches, etc. Their use contributes to the development of a holistic set of musical and choreographic abilities, formation of singing skills, stage and dance movements, upbringing of future teachers’ performance culture and so on.
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Jannarone, Kimberly. "Jarry's Caesar Antichrist and the Theatre of the Book." New Theatre Quarterly 25, no. 2 (May 2009): 121–36. http://dx.doi.org/10.1017/s0266464x09000220.

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The familiarity bred by the notoriety in its own times of Alfred Jarry's Ubu Roi has been accompanied by neglect for his other work, especially that which seems of peripheral interest to the theatre practitioner. In this article, Kimberly Jannarone argues that his earlier Caesar Antichrist falls into the unusual category of ‘a piece of theatre not intended for the stage’ – apparently unstageable, yet not a closet drama since, in Jarry's scrupulous care for its published form, he created his own ‘theatre of the book’, anticipating the later modernist use of collage while also demonstrating in words and pictures his ‘pataphysical’ interest in the dialectics of opposites. Kimberly Jannarone received her MFA and DFA from the Yale School of Drama, and is currently teaching in the Department of Theater Arts at the University of California, Santa Cruz. She wrote on ‘Puppetry and Pataphysics: Populism and the Ubu Cycle’, in NTQ67 (2001).
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Matthias, Bettina. "“Show, don’t tell!”." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 52–65. http://dx.doi.org/10.33178/scenario.1.1.3.

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While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom. While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom.
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Suyadi, Suyadi. "LAKON BANGSAWAN SUMATRA UTARA, TINJAUAN SINTAKTIKA." MEDAN MAKNA: Jurnal Ilmu Kebahasaan dan Kesastraan 17, no. 2 (December 3, 2019): 180. http://dx.doi.org/10.26499/mm.v17i2.2140.

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The performance of drama bangsawan not only carries social, economic, and political missions. The role of drama bangsawan is increasingly important and strategic in organizing the life of the nation, state, and society. In addition to playing a role to explore the cultural and artistic values that we have, royal drama can also play a role in encouraging the realization of complete human development, which also means not only teaching material/physical, but also very useful to order the mental and spiritual of every human being. This paper presents the syntactic aspects of the drama bangsawan in North Sumatra. The syntactic aspect which is part of Charles Morris's semiotic theory explores the nature and pattern of stories of aristocratic plays. This review succeeded in discovering the existence of the aristocratic theater in North Sumatra and its shape patterns. This folk theater originally took place among the aristocrats in the Serdang Sultanate and eventually became the property of most people. The aristocratic form or concept of the show was maintained even though it was no longer played at the Palace, as the palaces in the former North Sumatra Residency after the Social Revolution collapsed. This theater should be inherited as a non-fine cultural form belonging to North Sumatra.
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Chuo, Mei-Hsiu. "Innovation Drama Teaching of “New Pinocchio” in Chinese Language Learning: Action Research." PAROLE: Journal of Linguistics and Education 9, no. 1 (April 30, 2019): 24. http://dx.doi.org/10.14710/parole.v9i1.24-30.

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The prevalence of learning Chinese in the United States is very popular with the learning Chinese language throughout the world. This atmosphere is very encouraging for children in Chinese schools and improves their learning motivation. This research is action research and the purpose of this study is (1) to explore the current situation of teaching Chinese in the United States and to answer the research questions based on the reaction and self-reflection of young children, (2) to revise teaching materials and teaching methods during the research, (3) to utilize the innovation story theater model into the Chinese curriculum of the bilingual school in USA, and (4) to find out the suggestions and feasible solutions to the various problems. The research found that if learning activities are intrinsically attractive there is no need to arrange any games to motivate children's learning. Moreover, the findings show that the innovative story theater is very practical and can effectively enhance children's interest in learning Chinese
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Wulandari, Dwi, and Bagus Shandy Narmaditya. "Readers Theater as a Tool to Understand Difficult Concept in Economics." International Education Studies 10, no. 5 (April 29, 2017): 144. http://dx.doi.org/10.5539/ies.v10n5p144.

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Readers Theater is one of the innovative learning in an effort to increase the understanding and value students’ learning processes that involve the activity of reading, writing, listening and speaking. In this type of learning, students read a manuscript of a certain literature and other students grasp the meaning of what was read and is shown by the reader. Readers Theaters are different from playing drama. In the drama needed costumes, setting room etc., but in this learning not required. Is the key to effective learning is clearly read the script readers, and listeners can clearly visualize from what is shown. This paper used readers theater to teach a topic of macroeconomics which is unemployment that often considered as a hard topic. We found that students are very happy with this method. Their reading, writing, listening and speaking activities are improving and the most important thing is their understanding of unemployment topic is so much better compared to teaching them with the only direct instruction method. One of the parts that should not be forgotten by teachers is debriefing to check the understanding of the students and many students want this method to be continued especially for another difficult topic so it will be easy to understand.
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Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.

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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign language teaching and learning by offering examples where drama is used with other taught languages, such as French, German, Spanish, Italian, Portuguese, but also Romanian, Russian and Japanese. The book stems from the recent fertile pedagogical research carried out by Appiah, De Lauretis, Pavis, Pireddu and De Marinis – just to mention a few – which considers theatre both as a cultural product and as a constituent of a teaching philosophy on intercultural learning. For the editors, “Theatre is the literary genre which most actively engages the cultural learner and maximises his/her ability to appropriate what is other” (2). The contributors to this volume are educators who have been working ...
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Shen, Liang. "Drama Etudes." TDR: The Drama Review 65, no. 2 (June 2021): 131–49. http://dx.doi.org/10.1017/s1054204321000125.

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Teaching theatre and drama in primary and secondary schools is a very difficult task worldwide. In China, there is a huge demand for drama teachers who also know practical theatre. Taking on this mission, the Shanghai Theatre Academy started a program of “drama etudes.” This pedagogical experiment stimulated debate about opposing concepts in theatre education: imitation vs. improvisation.
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Chemyakina, Nina V. "Possibilities of using drama-hermeneutics in the context of intensification of foreign language teaching. I. Pedagogical component." Yaroslavl Pedagogical Bulletin 3, no. 120 (2021): 62–71. http://dx.doi.org/10.20323/1813-145x-2021-3-120-62-71.

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he method of activating the capabilities of the individual and the team, the method of suggestopedia using technical means, the emotional-semantic method, the immersion method, the course of speech behavior, the method of rhythmopedia and hypnopedia. The possibilities of their application in teaching a foreign language in a non-linguistic university are considered, the main methodological principles of intensive training are revealed. The article analyzes the possibilities of using drama-hermeneutics in the context of the intensification of foreign language teaching in a nonlinguistic university, where the dramatic and hermeneutical concepts have already collected the necessary principles of intensification, united by the pedagogical process into a single whole. The concept of «drama-hermeneutics» is presented as a combination of three principles: pedagogy, hermeneutics and theater skills, where each component provides new opportunities for the implementation of the intensification of the educational process. The intersubject and meta-subject orientation of drama-hermeneutics is noted, which makes it possible to adapt theater tasks and the hermeneutical chain to the conditions of teaching a foreign language in a non-linguistic university. The article highlights the main aspects of the pedagogical component, which are a resource for solving the problem of intensifying the learning process. The importance of using the drama-hermeneutical approach is emphasized, thanks to which students ' cognitive interests are activated, communication skills, emotional sphere, thinking and speech as well as the ability to perform creative and research work in a foreign language in a group are developed. The article describes the positive nature of the use of the drama-hermeneutical approach in foreign language classes at a non-linguistic university, whichis expressed in the integrity of the students ' formed idea of the work to which the lesson is dedicated, thanks to which its image is created and permanently imprinted in the minds of students.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.

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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Dissertations / Theses on the topic "Drama and theater in teaching"

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Anderson, Colin. "Teaching Social Studies Through Drama." DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.

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Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices, cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely & Savage, 2011; Lement & Dunakin, 2005}.
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Aronson, Shari Gay 1966. "La carpa: A descriptive model for teaching history through drama in education." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278492.

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This model proposes an approach for teaching history through drama in education. The program uses the framework of la carpa, a Mexican American theatrical tradition. Participants develop historical knowledge and skills of expression while they learn to use their own lives as a key to understanding the lives of others. In the past two decades in the U.S., drama teachers and youth project leaders have been employing social drama to encourage adolescents to express their fears, frustrations and experiences. As with the tradition of la carpa, the scripts reveal sentiments that may not be able to be spoken safely elsewhere. In contrast to the production of classic, scripted plays, social drama provides participants with the opportunity to create their own material using their own lives as primary resources. In addition to challenging participants aesthetically, the teaching model of la carpa fosters interpersonal development.
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Murray, Beth. "Nowhere to hide but together : a narrative case study of three classroom teachers, a drama specialist, and their supporters negotiating toward an artistic vision of teaching through drama in an urban elementary school /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907957577.

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Wen, I.-chun. "THE EFFECTIVENESS OF LEARNING THROUGH DRAMA IN TEACHING CHINESE AS A SECOND LANGUAGE." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1435882138.

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Van, Zyl Yolande. "Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2290.

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Thesis (MDram (Drama))--Stellenbosch University, 2008.
The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.
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Bryson, Lucy Lynn. "Drama + math = dramath." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.

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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.
ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
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Lovesy, Sarah Caroline, University of Western Sydney, of Arts Education and Social Sciences College, and School of Education. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning." THESIS_CAESS_EDU_Lovesy_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/787.

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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education
Doctor of Philosophy (PhD)
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Lovesy, Sarah Caroline. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051129.144927/index.html.

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Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.

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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.
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Reznek, Jennie. "Moving ideas about moving bodies : teaching physical theatre as a response to violence and the violated body." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11377.

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Includes bibliographical references.
Includes abstract.
In this thesis I explore my obsession with teaching the physical theatre body over the past twenty-five years.Two sets of questions are proposed: How does the teaching of physical theatre respond to violence and the violated body; and how does pedagogy change when it moves from one context to another? Firstly, I argue that the pedagogy developed by Jacques Lecoq in Paris responded like a pendulum to the extreme violence perpetrated on bodies during the Second World War. I argue that my own practice, influenced by my two years of study at École Jacques Lecoq (1984-1986), continued this tradition by responding to what, I propose, existed as a ‘culture of violence’ in South Africa from the period of colonialism through the apartheid era and into the present. I analyse the impact of violence on the body by focusing on three consequences - stillness, erasure and rupture - and come to an understanding of how the teaching of physical theatre, as per Lecoq and myself, counters all three with a focus on the moving, articulate, individuated body capable of transformation. Secondly, I propose that pedagogy responds to geographic, philosophical and historical contexts and is subject to modification when context changes. The methodology has included conventional research, a comparative analysis of the two contexts, and an analysis of my own experiences - from notebooks that I have kept - as a student and teacher.
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Books on the topic "Drama and theater in teaching"

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1961-, Radulescu Domnica, and Fox Maria Stadter 1967-, eds. The theater of teaching and the lessons of theater. Lanham, MD: Lexington Books, 2005.

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Charles, Verrall, ed. 200+ ideas for drama. Portsmouth, NH: Heinemann, 1992.

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Lee, Charlotte I. Theater: Preparation and performance. Glenview, Ill: Scott, Foresman, 1987.

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Studying modern drama. 2nd ed. Basingstoke, U.K: Palgrave Macmillan, 2003.

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Martin, Lewis. Teaching classroom drama and theatre: Practical projects for secondary schools. London : New York, NY: RoutledgeFalmer, 2005.

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Simon, Cooper, ed. Drama and theatre studies: For use with all drama & theatre studies A & AS specifications. Cheltenham: Stanley Thornes, 2000.

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Acting alone: A drama teacher's monologue survival kit. Winnipeg, MB: J.G. Shillingford Pub., 2006.

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1956-, Rainer John, ed. Teaching classroom drama and theatre: Practical projects for secondary schools. London : New York: Routledge, 2012.

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Woolland, Brian. The teaching of drama in the primary school. London: Longman, 1993.

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David, Hornbrook, ed. On the subject of drama. London: Routledge, 1998.

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Book chapters on the topic "Drama and theater in teaching"

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D’Cruz, Glenn. "From Drama to Theatre to Performance Studies." In Teaching Postdramatic Theatre, 49–72. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_3.

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Riley, Jo. "With gender – theatre history." In Teaching Drama With, Without and About Gender, 98–136. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003080800-5.

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Riley, Jo. "With gender – world theatre." In Teaching Drama With, Without and About Gender, 137–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003080800-6.

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Goldberg, Moses. "The Theatre Product in Relation to Teaching Dramatic Process." In Key Concepts in Theatre/Drama Education, 271–74. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_44.

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Pietropaolo, Domenico. "The Professional Theatre and the Teaching of Drama in Ontario Universities." In How Theatre Educates, edited by Kathleen Gallagher and David Booth, 56–66. Toronto: University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442627574-006.

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Phyllisa, Smith Deroze. "Creatively Censoring African American Drama While Teaching in the Arab Gulf Region." In The Routledge Companion to African American Theatre and Performance, 295–98. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-58.

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Sallis, Richard Johnson, and Jane Bird. "Australian Women in Science: A Model for a Research-Based Theatre Project in Secondary School Classrooms." In Science and Drama: Contemporary and Creative Approaches to Teaching and Learning, 243–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84401-1_15.

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Drewes, Miriam. "Theater jenseits des Dramas: Postdramatisches Theater." In Handbuch Drama, 72–84. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00512-0_6.

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Kittstein, Ulrich. "Episches Theater." In Handbuch Drama, 296–304. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00512-0_31.

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Odegaard, Marianne. "Science Theater/Drama." In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_336-3.

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Conference papers on the topic "Drama and theater in teaching"

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Yaroslavova, Elena, and Elena Shraiber. "DRAMA AND THEATRE IN FOREIGN LANGUAGE TEACHING AT THE UNIVERSITY LEVEL." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.1300.

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Birch, Peter, and Thomas Lennerfors. "Teaching Engineering Ethics With Drama." In 2020 IEEE Frontiers in Education Conference (FIE). IEEE, 2020. http://dx.doi.org/10.1109/fie44824.2020.9274160.

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Tsybaneva, Valentina, Anna Seredintseva, and Oksana Maletina. "Using Drama in Teaching Intonation." In Proceedings of the 1st International Scientific Practical Conference "The Individual and Society in the Modern Geopolitical Environment" (ISMGE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ismge-19.2019.128.

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Koroliova, Elfrida. "The book on theater – an element of cultural heritage." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.07.

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The article “The book on theater – an element of cultural heritage” includes publications on Moldovan Drama Theater, from the late 60s of the XX century to the 20s of the XXI century. Books signed by D. Prilepov, L. Cemortan, E. Coroliova, N. Bătrânu, V. Tăzlăuanu, N. Rojkovskaia, B. Zavatin, P. Proca, P. Pelin, A. Manoil, A. Ghilaș, A. Roșca, I. Nechit, L. Ungureanu, V. Fedorenco, T. Kotovici and others analyze the evolution processes of the Moldovan theater during the decades, of personalities – directors, actors, who worked in the theaters of the republic “Mihai Eminescu” National Theater, “Luceafărul” Theater, “B. P. Hasdeu” Musical-Dramatic Theater in Cahul, “Vasile Alecsandri” National Theater from Bălți, etc.
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Kuzmenkova, Yulia. "DRAMA ACTIVITIES IN ENGLISH LANGUAGE TEACHING." In SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b13/s3.032.

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Felemban, Fatima Hussain. "Incorporating Pragmatic Principles In Teaching Drama." In 2nd Annual International Conference on Language, Literature and Linguistics (L3 2013). Global Science and Technology Forum Pte Ltd, 2013. http://dx.doi.org/10.5176/2251-3566_l313.18.

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Zeglin, Garth, Aaron Walsman, Laura Herlant, Zhaodong Zheng, Yuyang Guo, Michael C. Koval, Kevin Lenzo, et al. "HERB's Sure Thing: A rapid drama system for rehearsing and performing live robot theater." In 2014 IEEE Workshop on Advanced Robotics and its Social Impacts (ARSO). IEEE, 2014. http://dx.doi.org/10.1109/arso.2014.7020993.

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Supriyatna, Agus, Tati Narawati, Juju Masunah, and Imas Diana. "The Constructive Approach in Teaching Theater Arts." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.13.

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Madej, E. D. "DRAMA AS A METHOD OF TEACHING SPEAKING." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-56.

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Sanchez, Sergio. "Early Career Teachers' Conceptions of Drama/Theater Arts: Opportunities and Promising Practices in Diverse Classrooms." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1892252.

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Reports on the topic "Drama and theater in teaching"

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Korol, A. Non-traditional Methods of Teaching Based on Emotional and Evocative Dramatic Art in the Creative Development of the Personality. Lardy Publishing House, 2018. http://dx.doi.org/10.31812/123456789/3287.

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Non-traditional methods of teaching are ways of improvement to the activity of the individual in the process of learning and creative work. It is the result from the destruction of usual stereotypes in knowledge and skills that starts off mechanisms of spontaneous activities, an integration of logical and evocative components. Current study examines the method of emotional and evocative drama art as a way of improvement to effectiveness in the learning and creative activities of the personality.
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