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Temporary Stages: Departing from Tradition in High School Theatre Education [Paperback / softback]

  • Format: Paperback / softback, 159 pages
  • Pub. Date: 01-Jan-2006
  • Publisher: Heinemann Educational Books,U.S.
  • ISBN-10: 0325008205
  • ISBN-13: 9780325008202
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  • Paperback / softback
  • Price: 24,78 €*
  • * This title is out of print. Used copies may be available, but delivery only inside Baltic States
  • This title is out of print. Used copies may be available, but delivery only inside Baltic States.
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  • Format: Paperback / softback, 159 pages
  • Pub. Date: 01-Jan-2006
  • Publisher: Heinemann Educational Books,U.S.
  • ISBN-10: 0325008205
  • ISBN-13: 9780325008202
Other books in subject:

High school is a time for powerful learning, and theatre instruction can provide powerful lessons - for the stage and for life. With teens on the cusp of adulthood and capable of grappling with complex themes and issues, theatre is an ideal medium for critical inquiry into their values, beliefs, and feelings. In Temporary Stages, Jo Beth Gonzalez illustrates one approach to critical learning through theatre that harnesses its full educational potential.

Jo Beth Gonzalez calls her approach the Critically Conscious Production-Oriented Classroom (CCPOC). The CCPOC offers a context for students to build, extend, and deepen their notions of critical thinking and expands the boundaries of your teaching. Temporary Stages includes three case studies of how Gonzalez makes the CCPOC work in diverse aspects of her theatre program, including:

  • practicing democracy in theatre design
  • spotlighting oppression in play production
  • addressing controversial topics in writing and performance.
With these thematic backdrops, Gonzalez gives you not only clear guidelines about how to teach students in the CCPOC way, but also how to model critical awareness by questioning traditional assumptions about casting, play selection, design, staging, and directing. She also offers insight into how reflective writing increases the potency of the learning in the CCPOC.

Make your classroom more than a place to create theatre. Take your students beyond the edge of the stage and into a space where they question the world. Read Temporary Stages and discover an approach to teaching that fosters critical awareness as teacher, student, and script intersect.

Preface ix
Acknowledgments xiii
1 What Is a Critically Conscious Production-Oriented Classroom? 1(30)
Promoting Critical Consciousness Through Drama/Theatre Education
1(14)
Structure of this Book
15(12)
The Adventure of Teaching Theatre for Self-Agency and Critical Consciousness
27(2)
Notes
29(2)
2 On Reflection as Evaluation 31(8)
Reflection Evaluations: Gateway to a Critically Conscious Classroom
31(2)
Purposes and Definition of Reflection
33(3)
Reflection as Evaluation: What about Grades?
36(1)
Notes
37(2)
3 Practicing Democracy 39(29)
Prelude: Perpetuating Dominance Despite Principles
39(1)
Evolution of a Design
40(2)
Resisting Authority and Authorizing Resistance: Students and Teachers Negotiate Control
42(1)
Whose Vision Is This? On Artistry and Compromise
43(4)
Artistic Compromise and Compromising Artistry
47(6)
Binaries Blend When Students Exercise Power
53(2)
Conflict, Paradox, and Social Change Emerge When Students Exercise Power
55(7)
The CCPOC Fosters Positive Life Skills
62(2)
Guidelines for Leading a Theatre Design CCPOC
64(3)
Notes
67(1)
4 Spotlighting Oppression 68(29)
Prelude: "In the Center Ring...! Gender and Ethnicity on the High Wire!"
68(1)
Evolution of a Play
69(1)
Ways Students Exercise Power
70(6)
Ways Teachers Temper Authority When "Process" Turns to "Product"
76(4)
Ways Students and Teacher Unveil Whiteness in a "Safe Space with Consequences"
80(7)
Ways Student Artistry Promotes Change
87(5)
The Cominghome Pep Assembly and Play Production: Competing Tensions Coexist in the High School
92(3)
Notes
95(2)
5 Addressing Controversial Topics 97(30)
Prelude: Desire for Transformation
97(1)
Evolution of a Workshop
98(26)
Integrating Radical Pedagogy and Conventional Frameworks
124(3)
Coda 127(1)
Notes 128(3)
Epilogue 131(2)
References 133(8)
Index 141