This article delineates an archetypal approach to drama in education. Participation in drama draws on both conscious and unconscious imaginative capabilities and involves teacher and student in the bedrock of human reaction. Drama could provide us with valuable information concerning archetypes as they unfold in the lives of our children. (MT)

The significance of drama as an expressive form of thinking and feeling lies in its concern with the process of personal engagement with the objective world. A Taxonomy of Personal Engagement is offered and strategies and techniques to engage students are suggested. (MT)

The Spolin Theater Games consist of more than 200 games and exercises to encourage spontaneity, creativity, and interpersonal communication in group settings. This article describes the use of Spolin games in four classes of six- to nine-year-old educationally handicapped children and looks at changes that occurred, particularly in the way…

When the "mantle of the expert" system of teaching is used in drama, the teacher assumes a fictional role which places the student in the position of being the expert. In this project, students were historians/anthropologists charged with the responsibility of creating a Bronze Age community. (MT)

Because of the close interrelationship among language, thinking, and the contexts in which learning takes place, many children experience difficulties when they enter school. This article discusses ways in which dramatic contexts can provide continuity between home and school by enabling children to take control of their thinking and language. (MT)

This article describes ways in which the dramatic context can provide children with a purpose for writing. When writing is integrated with drama, children can reflect on a problem by expressing their thoughts and feelings in different forms ranging from the personal and private to the more formal and public. (MT)

Traditionally, classroom drama is a safe literary activity that involves students in reading or writing scripts. The newer methods that have the students out of their seats improvising drama require training that few teachers have had. Current teacher training methods are described, and alternative methods are suggested. (MT)

The essential nature of drama is a liberating act of imagination, of self-transcendence. A session is described in which the class maintained the delicate balance of dual consciousness and focused its attention and empathy on an illusory but possible world, creating and being responsible for the meaning of its construction. (MT)

At a summer program designed to create a purpose for writing, 18 children moved from everyday language to diction appropriate to monks experiencing a significant moment in communal life. Scribes copied the children's words in a careful italic hand, providing pressure for even more precise diction and dignity of language. (MT)

Reading and drama are closely related in the learning process, interacting to develop the same personal resources in the child, building links between print and experience, dream and reality, self and other. The pressure and authenticity of the drama can help children create new knowledge and make different and necessary connections. (MT)

This article gives a brief historical account of the principal rationales of drama in education in England, pursuing the notion of distortion of the nature of drama itself. By looking at past mistakes, we may better assess the place of drama in today's curriculum. (MT)