Child Drama and Its Value in Education PDF Download

Author: Peter Slade
Publisher:
ISBN: 9780950129563
Category : Drama in education
Languages : en
Pages : 18

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Author: Educational Drama Association (Great Britain)
Publisher:
ISBN:
Category : Drama
Languages : en
Pages : 22

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Author: Debbie Chalmers
Publisher:
ISBN: 9780415421690
Category : Drama
Languages : en
Pages : 0

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As Drama becomes a very popular way of encouraging creative learning in the early years, this highly practical book shows early years practitioners how to teach drama and stagework to children from 3 - 5 years. Full of suggestions, actitivies and sample session plans that are set alongside intended 'learning objectives' of the Foundation Stage, the book prepares practitioners to lead and develop dramatic work with confidence and enthusiasm, whilst ensuring they understand the theory and the value behind each activity. Based on the extensive tried and tested experience of the author, Debbie Chalmers outlines any potential pitfalls so that practitioners may be fully aware and in control of the safety and behaviour of any group of children. Any early years practitioner who wants to make drama a fun and enjoyable activity with their pupils will find all the help and guidance in this book necessary to increase their confidence and to share their enthusiasm with other staff.

Author: Joe Winston
Publisher: Routledge
ISBN: 1135709963
Category : Education
Languages : en
Pages : 204

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The author explores how to approach moral education for children. He provides case studies to illustrate a classroom approach that uses both drama and narrative stories to explore moral issues.

Author: Peter Slade
Publisher: Jessica Kingsley Publishers
ISBN: 9781853022463
Category : Psychology
Languages : en
Pages : 362

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This comprehensive book explores theories and practice of play. It suggests that media influences have a profound effect on behaviour, and by stressing the importance of understanding play as a chart of development, and drawing links between home, school, clinics and therapy, he offers the prospect of an understanding of delinquency and difficulty.

Author: David Farmer
Publisher: David Farmer
ISBN: 1447877322
Category : Education
Languages : en
Pages : 175

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'Learning Through Drama' contains drama strategies and lesson plans for use with primary school children across the curriculum. The book provides guidance to teachers who have never taught drama before but are considering using it in a subject area such as science or history and offers new approaches to those familiar with common drama techniques (such as hot-seating and teacher in role). The book includes 36 drama strategies and over 250 cross-curricular activities, including practical ideas for inspiring speaking, listening and writing. 'This book is a beautifully laid-out, easy to use resource, full of imaginative and practical ideas to help learning become much more memorable and inspirational.' - Hilary Lewis (Drama Consultant). 'Even the well-practiced and creative drama teacher will find something in this book that serves as a refresher, reminder or quite simply a new idea... a must-have publication for those serious about the teaching of drama in primary school settings.' - Teaching Drama magazine.

Author: Peter Slade
Publisher:
ISBN:
Category : Children's plays
Languages : en
Pages : 30

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Author: Constance D'arcy Mackay
Publisher: CreateSpace
ISBN: 9781517295431
Category :
Languages : en
Pages : 158

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From the Introductory. To anyone not familiar with the astonishingly rapid growth of the child-drama movement in this country the slogan of "Every Public School a Community Theater" will come as a distinct surprise: yet it is not long since President Emeritus Charles Eliot of Harvard, in speaking of the dramatic instinct, prophetically said: "Here is this tremendous power over children... that ought to be utilized for their good. It is true that the dramatic instinct is very general.... So I say that this power... is one that ought to be in at least every school in this country, and, moreover, I believe that it is going to be." On every side it is evident that this prophecy is being fulfilled. The demand for children's plays was never so great as it is to-day, and coincident with the demand is a wish for a fuller knowledge of how to direct them, since there are few guide-posts on the way. Therefore, the object of this book is to tell in the simplest possible manner what to do, and what not to do in the producing of plays for children. The word children is used to indicate the happy occupants of the years between six and fourteen, and by producing, the general stage-directing, costuming, and setting of a children's play, so that it will have distinct educational and artistic value. It is for the school-child, not the stage-child, that this book is intended: for the teacher and drama enthusiast rather than the professional producer. It will consider both child-audience and child-player, and the results on both of a logical development of the dramatic instinct. It will discuss plays to fill the special needs of the public school, the social settlement, and the camp. It will also briefly consider the stage-play (i.e., professional play) for child-audiences. And as the whole movement of child-drama is significant from an educational and sociological, as well as a dramatic point of view, a brief history of its vicissitudes will be included in the present chapter - from the days when little Greeks participated in the festivals to Athena, through the time when the Countess de Genlis established in France, in 1776, the first Theater of Education for Children that the world had ever known. From that time to our own is less than a hundred and fifty years, yet what a change has taken place! Instead of a single example of a children's theater as was that of Mme. de Genlis, we now have child-plays and child-players throughout the country in public schools, social centers, and social settlements, fostered by educational and dramatic leagues, recognized as a power potent for good, and if rightly directed, a means of teaching patriotism, ethics, and art. Strange as it may seem, a children's play written for the special delight of child-audiences was undreamed of till the eighteenth century preached the rights of the child as well as the rights of man. Like many another modern movement, child-drama seems new, when in reality it is not. It has come gropingly up through the ages. The need of it was dimly felt centuries before it appeared, just as the need for children's literature and music was felt: but in the filling of these needs child-drama came last. Its development has been tidal, rising here, falling there, seeming to retreat utterly, only to come on in greater strength and fullness.

Author: Ása Helga Ragnarsdóttir
Publisher: Routledge
ISBN: 0429877080
Category : Education
Languages : en
Pages : 177

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As schools have become more aware of their role in addressing personal and social issues, the importance of ‘values and attitudes’ have begun shaping education and curricula worldwide. Drama in Education explores the six fundamental pillars of the national curriculum guide of Iceland in relation to these changing values and attitudes. Focusing on the importance of human relations, this book explores literacy, sustainability, health and welfare, democracy and human rights, equality and creativity. It demonstrates the capability of drama as a teaching strategy for effectively working towards these fundamental pillars and reflects on how drama in education can be used to empower children to become healthy, creative individuals and active members in a democratic society. Offering research-based examples of using drama successfully in different educational contexts and considering practical challenges within the classroom, Drama in Education: Exploring Key Research Concepts and Effective Strategies is an essential guide for any modern drama teacher.

Author: John O'Toole
Publisher: Springer Science & Business Media
ISBN: 1402093705
Category : Education
Languages : en
Pages : 222

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‘Here’s a knocking indeed!’ says the Porter in Shakespeare’s Scottish play (Act II, Scene 3) and immediately puts himself into role in order to deal with the demands of such an early call after a late night of drinking and carousal: ‘If a man were porter of hell-gate...’. But what roles does the porter of curriculum-gate take on in order to deal with drama’s persistent demands for entry? Ah, that depends upon the temperature of the times. We, who have been knocking for what seems to be a very long time, know well that when evaluation and measurement criteriaare demanded as evidence of drama’s ef cacy, an examiner stands as gatekeeper. When the educational landscape is in danger of overcrowding, we meet a territorial governor. And how often has the courtesan turned out to be only a tease because the arts are, for a brief moment, in the spotlight for their abilities to foster out-of-the-box thinkers? In this text, we meet these ‘commissionaires’ and many more. The gatekeeping roles and what they represent are so familiar that they have become cliches ́ to us. We know them by their arguments, ripostes, dismissals, their brief encouragement and lack of follow-up. And we know that behind each one (however rmly they think they keep the keys) is a nancial and political master whose power controls the curriculum building and everything in it.