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|Additional Physical Format:||Print version:
How drama activates learning.
New York : Bloomsbury Academic, 2013
|Material Type:||Document, Internet resource|
|Document Type:||Internet Resource, Computer File|
|All Authors / Contributors:||
Michael Anderson; Julie Dunn
|ISBN:||9781441116710 1441116710 1306726344 9781306726344|
|Description:||1 online resource|
|Contents:||Title Page; Copyright Page; Contents; Notes on Contributors; Preface; Foreword; Notes; Acknowledgements; Part 1 Introduction; Chapter 1 Drama and Learning: Landscapes of an Aspirational Pedagogy; Introduction; The social landscape; Drama in the educational landscape: Testing times; What does the research say?; Conclusion; References; Part 2 Activating Communities; Chapter 2 Drama, Community and Achievement: Together I'm Someone; Community, agency and AT/D; The project; Methods; The Hamlet workshop; Community and playmaking; Community and Hamlet; Community, power and achievement; Conclusion. DiscussionRecommendations for further research; References; Chapter 6 Drama and Global Citizenship Education: Planting Seeds of Social Conscience and Change; Educating for critical global citizenship; Drama and Global Citizenship Education; Crossover: Drama and GCE in practice; How did the drama work support these students?; But ... have we made a (big) difference?; Acknowledgement; References; Chapter 7 Drama, Listening, Risk and Difference: On the Pedagogical Importance of (not) Knowing the Other; Introduction; Summary of the research project: Context, methodology and purpose. The golden rule: Listen to each other (aka 'Respect the Pumpkin')A review of key literature: Listening in education; Key findings and discussion; Conclusion; Recommendations for further research; References; Part 3 Activating Learners; Chapter 8 Drama, Creating and Imagining: Rendering the World Newly Strange; Invariant representations; Conditional language; Metaphor; Articulation of practice; References; Chapter 9 Drama as Critical Pedagogy: Re-imagining Terrorism; Introduction; References; Chapter 10 Drama and Beauty: Promise, Pleasure and Pedagogy; The language of beauty. The poetics of the drama lesson: An example of how beauty might impact on researchNotes; References; Chapter 11 Drama and the Audience: Transformative Encounters in TheatreSpace; The nature of engagement; The TheatreSpace project; Theatre confidence, literacy and etiquette; Articulating engagement in the live theatre experience; Conclusion; Note; References; Chapter 12 Drama, Speaking and Listening: The Treasure of Oracy; Section 1: A quiet classroom is a good classroom ; Section 2: A case full of treasure; Section 3: Data, analysis and implications; How drama activates oracy; References.|
|Responsibility:||[edited by] Michael Anderson, Julie Dunn.|
How Drama Activates Learning is a timely addition to the drama and education literature, with much wider relevance beyond this community. Leading international drama education and applied theatre