Process Drama in Action provides a clear and accessible analysis of the best practice when using process drama to support teachers. It gives a detailed analysis of the roles of actor, director, playwright that the teacher must adopt in order to deliver a complete process drama experience. It links theory with practice using detailed examples.
Process Drama in Action provides a clear and accessible analysis of the best practice when using process drama to support teachers. It gives a detailed analysis of the roles of actor, director, playwright that the teacher must adopt in order to deliver a complete process drama experience. It links theory with practice using detailed examples.
Pamela Bowell is an international drama in education consultant, workshop leader and speaker. Formerly Principal Lecturer at Kingston University, London, UK, and Visiting Reader at Bishop Grosseteste University, Lincoln, UK, she continues to teach regularly at BGU. Brian S. Heap is Senior Lecturer at the Philip Sherlock Centre for the Creative Arts, the University of the West Indies, Jamaica. He is also an international drama in education consultant, workshop leader and speaker.
Inhaltsangabe
Preface 1. Process Drama: Art Form and Pedagogy 2. The Improvised Nature of the Art Form 3. The Structural Framework and Making Shifts in the Drama 4. The Head of the Actor: Working within the Drama 5. The Head of the Director: The Centrality of Sign 6. The Head of the Playwright: Developing the Narrative, Shaping and Linking Dramatic Episodes 7. The Head of the Teacher: Maintaining the Learning 8. The Imperative of Task 9. Monitoring Emotional Range in Drama 10. The Spiral of Creative Exchange 11. Progression and the Importance of Reflection in Process Drama 12. Process Drama and the Complexities of Co-creativity
Preface 1. Process Drama: Art Form and Pedagogy 2. The Improvised Nature of the Art Form 3. The Structural Framework and Making Shifts in the Drama 4. The Head of the Actor: Working within the Drama 5. The Head of the Director: The Centrality of Sign 6. The Head of the Playwright: Developing the Narrative, Shaping and Linking Dramatic Episodes 7. The Head of the Teacher: Maintaining the Learning 8. The Imperative of Task 9. Monitoring Emotional Range in Drama 10. The Spiral of Creative Exchange 11. Progression and the Importance of Reflection in Process Drama 12. Process Drama and the Complexities of Co-creativity
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