This article explores the possibility of combining educational approaches to film and theatrical drama to enhance teachers' confidence in creative, transmedia and multidisciplinary approaches to learning. A detailed case study is explored -- a short teacher training event which utilised certain media literacy resources to inspire and familiarise…

This vignette focuses on Theatre/Drama in the Greek curriculum. Issues for consideration are presented, such as the minimal space for active learning through theatre, the limited opportunity of teachers to work as critical pedagogues and the problematic conceptual framework. A main issue is the fragmented implementation as Theatre/Drama is not…

This article interrogates the connections between the self-study research methodology and the making of a piece of theatre, and explores ways in which self-study can offer a new arts-based research paradigm for theatre-makers. There are a number of useful parallels to be explored between the self-study project and structures of drama and…

This "Note from the Field" provides an overview of what is happening in Kindergarten to University drama and theatre education across Canada. In addition to this snapshot I offer some considerations for extending this discipline and its potential impact on curriculum, policy and practice.

Over the last two decades drama pedagogy has helped to lay the foundations for a new teaching and learning culture, one that accentuates physicality and centres on performative experience. Signs of this 'performative turn' in education are especially strong in the field of foreign/second language teaching. This volume introduces scholars, language…

Describes the Empire State Institute for the Performing Arts, the first state-mandated educational theatre for children in America, established for the youth and educators of New York State. (PD)

A number of studies of the effects of drama on individuals' cognitive and affective characteristics have been carried out recently. These studies revealed that drama had positive impact on students' development of communication skills, socialization levels, development of emotional intelligence, social skills, empathic skills and empathic…

This article presents an interview with Richard Hahlo, a Teaching Artist, trainer of Teaching Artists, actor, director and author who has worked around the globe in a variety of settings. In Germany, England, Japan, Poland, South Africa and the United States, he has brought his unique vision and skill to a wide range of students, teachers,…

These guidelines represent an initial publication of curriculum guidelines for a total program in drama education for K-12. Five areas are discussed: reasons for education in the theatre arts; space and equipment requirements for teaching drama; drama education in the elementary schools; drama for the junior and senior high schools; and…

This report is a transcription of the proceedings of the Aesthetic Education Center meeting of 1971, sponsored by AETA and CEMREL, Inc. Following an opening statement, the report summarizes a panel discussion on "What Is Aesthetic Education?" which centered on finding approaches to relating the arts programs in schools more closely and in new ways…

Although the situations in which and for which drama teachers are trained vary widely, six principles can be applied to virtually all drama education programs. First, drama teacher education must be based upon the contexts in which the students will be teaching. Second, drama teacher education should be based upon the interpersonal skills both of…

Few universities or colleges offer courses in the Teaching Arts; even fewer offer formal degree programs in the field. What alternative models already exist for the training of Teaching Artists? And as educators build new models, what should be the core content, and with what scope and structure? This article explores these questions through a…

Prospective theater teachers not only can be trained to develop self-actualization in high school students, but they must develop self-actualization in themselves. Self-actualization, as the cornerstone of humanism, emphasizes the achievable goal of being (rather than becoming) creative, spontaneous, curious, concerned about others,…

In recent years, theatre faculty have come to understand that advanced degrees do not guarantee that a person is qualified for the subtle, complex, and dangerous job of teaching acting, and that actor training has more to do with the problems of human behavior than with the theatre. The fundamental problem with acting is the fear that controls…

Suggesting that foreign-language literature classes often teach over the heads of students, argues that foreign-language literary texts be taught not as finished works of art but instead as culture-in-process, focusing on the creative-performance approach to the dramatic text within the context of a foreign-language teacher practicum. (MSE)