This Classic Edition provides a multitude of practical ideas for teachers of drama and for those who are interested in using drama to teach other subjects. It takes the form of a detailed discussion of twenty-five drama techniques, each accompanied by practical examples of lessons and illustrated by at least one extract from a play.
This Classic Edition provides a multitude of practical ideas for teachers of drama and for those who are interested in using drama to teach other subjects. It takes the form of a detailed discussion of twenty-five drama techniques, each accompanied by practical examples of lessons and illustrated by at least one extract from a play.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Mike Fleming is Emeritus Professor in the School of Education at the University of Durham, UK. He is the author of a number of bestselling books on drama and the arts, including Starting Drama Teaching, The Arts in Education, English Teaching in the Secondary School, and The Routledge International Handbook of the Arts and Education.
Inhaltsangabe
Introduction to the Classic Edition Acknowledgements Introduction 1. Alternative Perspective (Priestley An Inspector Calls) 2. Analogy (Brecht Galileo) 3. Beginnings (Chekhov Three Sisters) 4. Counterpoint (O'Casey The Plough and The Stars) 5. Endings (Wertenbaker Our Country's Good) 6. Exposition (Ibsen Hedda Gabler) 7. Externalising Inner Conflict (Marlowe Dr Faustus) 8. False Identity (Rattigan Separate Tables; Shakespeare Othello) 9. Framing Action (Miller The Crucible) 10. Incongruity (Churchill Top Girls) 11. Irony (Shakespeare Macbeth) 12. Mime (Shaffer The Royal Hunt of the Sun) 13. Minimal Context (Beckett Waiting for Godot ) 14. Minor Characters (Stoppard Rosencrantz and Guildenstern are Dead) 15. Monologue (Bennett A Chip in the Sugar) 16. Narration (Bolt A Man for all Seasons) 17. Object Focus (Galsworthy The Silver Box; Wilde Lady Windermere's Fan; Shakespeare Othello) 18. Off-Stage Action (Ayckbourn Absurd Person Singular) 19. Pause (Pinter Betrayal) 20. Play Within A Play (Shakespeare A Midsummer Night's Dream) 21. Reported Action (Sophocles Oedipus) 22. Ritual (Yeats On Baile's Strand) 23. Time Shift (Miller Death of a Salesman) 24. Unspoken Thoughts (Friel Philadelphia Here I Come) 25. Voices (Shaffer Amadeus; Thomas Under Milk Wood; Shakespeare King Richard III; Eliot Murder in the Cathedral)
Introduction to the Classic Edition Acknowledgements Introduction 1. Alternative Perspective (Priestley An Inspector Calls) 2. Analogy (Brecht Galileo) 3. Beginnings (Chekhov Three Sisters) 4. Counterpoint (O'Casey The Plough and The Stars) 5. Endings (Wertenbaker Our Country's Good) 6. Exposition (Ibsen Hedda Gabler) 7. Externalising Inner Conflict (Marlowe Dr Faustus) 8. False Identity (Rattigan Separate Tables; Shakespeare Othello) 9. Framing Action (Miller The Crucible) 10. Incongruity (Churchill Top Girls) 11. Irony (Shakespeare Macbeth) 12. Mime (Shaffer The Royal Hunt of the Sun) 13. Minimal Context (Beckett Waiting for Godot ) 14. Minor Characters (Stoppard Rosencrantz and Guildenstern are Dead) 15. Monologue (Bennett A Chip in the Sugar) 16. Narration (Bolt A Man for all Seasons) 17. Object Focus (Galsworthy The Silver Box; Wilde Lady Windermere's Fan; Shakespeare Othello) 18. Off-Stage Action (Ayckbourn Absurd Person Singular) 19. Pause (Pinter Betrayal) 20. Play Within A Play (Shakespeare A Midsummer Night's Dream) 21. Reported Action (Sophocles Oedipus) 22. Ritual (Yeats On Baile's Strand) 23. Time Shift (Miller Death of a Salesman) 24. Unspoken Thoughts (Friel Philadelphia Here I Come) 25. Voices (Shaffer Amadeus; Thomas Under Milk Wood; Shakespeare King Richard III; Eliot Murder in the Cathedral)
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