| Preface |
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viii | |
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PART 1 Influences and issues |
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1 | (90) |
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1 Early influences: Rousseau and Froebel |
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3 | (7) |
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2 Emancipation from situational constraints: Piaget and Vygotsky on play and drama |
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10 | (7) |
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3 To feel with her senses awake: the legacy of Finlay-Johnson, Caldwell Cook and Hourd |
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17 | (11) |
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4 A high art form in its own right: Peter Slade and child drama |
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28 | (10) |
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5 From noun to verb: growth through English or development through drama? |
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38 | (19) |
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6 Entering the secret garden: an end to romantic child centredness? |
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57 | (20) |
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7 Daring to speak its name: national curricula and the current state of drama |
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77 | (14) |
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PART 2 Applying theory to practice |
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91 | (75) |
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Introduction: working with the practical activities -- to the teacher |
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93 | (2) |
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8 Where do you stand? Exploring your own ideological position |
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95 | (5) |
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9 From private to public space: exploring the art form of drama |
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100 | (10) |
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Activity Sequence 1 creating and working individually with story |
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102 | (1) |
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Activity Sequence 2 bringing a story to a shared space |
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103 | (1) |
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Activity Sequence 3 working with the art form of drama |
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104 | (6) |
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10 From phoneme to word level |
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110 | (11) |
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Activity Sequence 1 start-ups |
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111 | (1) |
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Activity Sequence 2 working with phonemes |
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112 | (1) |
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Activity Sequence 3 working with rhythm |
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113 | (1) |
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Activity Sequence 4 working with phonemes and rhythm |
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113 | (1) |
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Activity Sequence 5 working with blends and digraphs |
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114 | (1) |
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Activity Sequence 6 working with morphemes, prefixes and suffixes |
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115 | (1) |
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Activity Sequence 7 working with onset and rime |
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116 | (1) |
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Activity Sequence 8 working with compound words |
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117 | (1) |
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Activity Sequence 9 broadening the context |
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118 | (3) |
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11 Working with text: poetry as an example |
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121 | (15) |
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Activity Sequence 1 first encounters |
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124 | (1) |
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Activity Sequence 2 performing the poem |
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125 | (2) |
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Activity Sequence 3 exploring imagery |
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127 | (2) |
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Activity Sequence 4 exploring point of view -- a performance-based approach |
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129 | (1) |
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Activity Sequence 5 exploring point of view -- a process approach |
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130 | (1) |
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Activity Sequence 6 working with ritual |
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131 | (1) |
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Activity Sequence 7 drafting (a stand-alone activity) |
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132 | (4) |
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12 Teacher in role: the department store |
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136 | (15) |
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Activity Sequence 1 establishing context, focus and setting |
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139 | (1) |
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Activity Sequence 2 negotiating the learning contract |
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140 | (1) |
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Activity Sequence 3 a role-play simulation |
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141 | (1) |
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Activity Sequence 4 revisiting the learning contract |
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142 | (1) |
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Activity Sequence 5 developing context, setting, tension and role |
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143 | (2) |
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Activity Sequence 6 a meeting convention (spontaneous improvisation) |
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145 | (1) |
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Activity Sequence 7 reflecting in and out of role |
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146 | (1) |
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Activity Sequence 8 exploring time and perspective (non-naturalistic playing) |
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146 | (1) |
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Activity Sequence 9 exploring tension, choice and consequences (spontaneous improvisation) |
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147 | (4) |
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13 Working with play texts: Shakespeare as an example |
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151 | (15) |
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Activity Sequence 1 working with cast lists |
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153 | (1) |
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Activity Sequence 2 exploring historical context |
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154 | (1) |
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Activity Sequence 3 working with stage directions |
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155 | (2) |
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Activity Sequence 4 working with script |
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157 | (2) |
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Activity Sequence 5 working with non-verbal signs |
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159 | (1) |
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Activity Sequence 6 exploring tension and irony |
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160 | (2) |
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Activity Sequence 7 thinking about overall design concepts |
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162 | (4) |
| References |
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166 | (8) |
| Index |
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174 | |
Lisainfo e-raamatute kohta