Contemporary Theatre in Education

封面
Intellect Books, 2007 - 160 頁
The Theater in Education (TIE) movement emerged in 1960s Britain as a unique hybrid of performance and child-centered learning. Roger Wooster’s Contemporary Theater in Education tells the story of the creation of this dramatic form and its adaptation in a rapidly changing political, economic, and educational environment.
In addition to interviews with prominent TIE directors and discussions of specific projects, this volume offers a snapshot of all the productions held in Wales during a single month during the summer of 2004. As the distinction between TIE and children’s theater becomes even more blurred, this book is an invaluable resource for anyone studying the use of theater in schools. “A most useful, provocative and well-researched theoretical document which I will most certainly have on my essential reading list for students studying theatre in education.”—Charmian Savill, University of Aberystwyth

 

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Theatre in Education emerged in the mid-sixties as a unique hybrid of performance and child-centred learning. "Contemporary Theatre in Education" charts the creation and adaptation of this 'hybrid ... 閱讀評論全文

內容

Introduction
1
The Origin of the Species The Genetic Legacy from Drama in Education
6
The Origin of the Species The Theatrical Legacy and the Theatre and Education Hybrid
21
The Fight for Survival
30
The Welsh Environment
35
Current TIE Provision in Wales The Survival of the Fittest?
46
Conclusion Evolution or Mutation?
63
The Companies the Projects and the Interviewees
73
The Questionnaire
76
The Interviews
80
Summary Tables
148
Bibliography
150
Abbreviations and Acronyms
160
Back Cover
161
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第 11 頁 - The time has come to show all teachers how they can use Drama at times to achieve something that cannot be attained as effectively in any other way. Heathcote reminds us that Drama is not something special, but rather a technique most ordinary people regularly employ as a way of coping with a new or unsettling experience...
第 10 頁 - ... goes through a second testing period. It is their second dawn of seriousness. They face great trials now, and must decide whether they will stick to the values which came to them as perceptions of right and wrong at the first dawn of seriousness (circa six years). The Drama is often used, therefore, for playing out situations in which the individual has to make decisions about morals. By making situations conscious, the Child is able to look at life as an observer and make slow inward decisions....
第 8 頁 - It is through creative arts, including the arts of language, that young people can be helped to come to terms with themselves, more surely than by any other route

關於作者 (2007)

Roger Wooster is senior lecturer in performing arts at the University of Wales, Newport, United Kingdom.

書目資訊