The functional theories of James Britton and M.A.K. Halliday are compatible in that they both (1) view language use as functional and situationally determined; (2) recognize a developmental process that involves learning the rules of use of the mature functions; (3) recognize a participatory role of language for doing and a spectatorial role for…

Role playing differs from the more static teaching technique of simulation in its incorporation of originality and theatricality. From preparation to presentation, it is important to retain the element of play, avoid techniques of or tendencies toward psychodrama, and hold the pedagogical or evaluative purposes in mind. (MSE)

In lieu of language lab attendance, second-year language students had the option of attending a drama lab. This program has met with great success. The objective of the lab is to improve skills in pronunciation, intonation, and stress patterns. Also, an environment is created in which the student feels at home with the target language. (PJM)

This article gives many suggestions for using drama in the foreign language classroom. (CFM)

Discusses the significance of dramatic form in fostering children's cognitive and affective development. Examines the work of John Dewey, Susanne Langer, Nelson Goodman, Gavin Bolton, and Robert Witkin. (PD)

Argues that in planning a suitable environment for dramatic play, the following aspects should be taken into consideration: teacher attitudes to dramatic play, provision of a play-conducive environment, and appropriate selection of space, time, peers, and equipment. (Author/MP)

Argues for the experiential study rather than the solely critical analysis of literature. Shows how to add to student enrichment and student appreciation for literature by exploring literature through body movement, the senses, voice and speech, the emotions, the imagination, and the intellect. (RL)

In six brief vignettes, Carol Stock Kranowitz, Bonnie Neugebauer, Shirley C. Raines, and Margie Carter discuss the use of folk and fairy tales in the preschool classroom. (DR)

Reinforces the value of drama and theater for young children. Recommends dramatic play, creative drama, theater, and television, a form of drama, as opportunities for children to learn social interaction skills and person-to-person critical thinking. Urges recognition of drama as an educational tool in the development of young children. (DLH)

Claims there is a missing link between the two seemingly independent stories in Will Hobbs' novel "Bearstone." This missing link can be found through looking at four kinds of play that occur in the novel. (NH)

The focus of this article on play training (when adults intervene in informal but purposeful ways in preschool children's spontaneous, symbolic play) is not on whether it works, but on why it works. A theoretical framework for examining adult/child play interactions, which reconciles diverse perspectives in the literature, is presented.…

In this article, first I describe from observation the spontaneous vocalisations produced during free play by young children of 18 months to three-years-old. I propose that a focus on vocalisations can provide valuable insights into general aspects of children's play. Next I describe two musical play situations between toddlers and their mothers…

Preschool children view television on an average of 4.5 hours or more daily, more than any other age group with the exception of senior citizens. With television viewing occupying such a great proportion of the preschool child's waking hours, the influence of television on the remaining play time, and particularly that of dramatic play, is of…

Describes and provides a list of materials for sensorimotor, symbolic, and construction play. Benefits of arranging the playground with a variety of materials are also discussed. (AS)

Suggests ways for teachers to support children's literacy development in the classroom's dramatic play center by providing literacy-related props, such as pencils and pads of paper, that people use in real situations. (BB)