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This guide for anyone learning to teach drama contains case studies and practical examples. It covers such issues as how to apply to become a drama teacher and how to develop one's career in school.
Starting Drama Teaching is a comprehensive guide to the teaching of drama in primary and secondary schools. It looks at the aims and purposes of drama and provides an insight into the theoretical perspectives that underpin practice alongside practical activities, examples of lessons and approaches to planning.
A guide to teaching drama effectively at KS1-3, along with advice for how it can be used for teaching and learning across the entire curriculum.
Praise for the previous edition: 'This is a text that should accompany every student teacher of English and find its way on to the shelf of all practising teachers. This book excited me. It is written in a style that makes you want to try out activities and take up challenges. This book will encourage the student teacher to embrace the subject of English along with its associated values and debates' - ESCalate `If I was training to teach English today, this is the book I would want - an extraordinarily professional handbook of good practice ' - Geoff Barton, Times Educational Supplement, Teacher Magazine This essential companion for aspiring secondary English teachers has been extensively reworked to help students meet the very latest professional and academic standards, while also equipping them with the knowledge and skills they will need for the beginning of their teaching career. Focusing on the essentials needed to be a successful English teacher, the authors combine subject knowledge with ideas, examples and approaches for creating an effective, vibrant learning environment, and real examples of lesson plans and schemes of work. Each chapter clearly links practice to theoretical and critical perspectives on teaching, making this an ideal text for students working towards M-level credits or a Masters in Teaching and Learning. There are also brand new chapters which explore in greater depth specific areas of contention and challenging issues, including: - Diversities, including global perspectives on teaching English - The application and implications of using ICT - Multi-agency provision in personalising learning - Research methodologies - Transition from the training year and the first year as a teacher The latest requirements for Qualified Teacher Status are clearly signposted throughout, and activities at the end of each chapter help to reinforce knowledge and encourage reflection. Written by a team of highly respected authors, this new edition should be on every secondary English student's bookshelf.
If you want to learn how to teach drama to kids, then get "How to Teach Drama To Kids" written by a person with real life experience teaching drama to children. This guide, “How to Teach Drama to Kids” will take someone unsure of the main principles of teaching theatre arts to various ages, through the basic categories and components principally considered to be the heart of the study of Drama. Whether you are a music or English teacher hired to teach a semester of Drama, or an actor commissioned to do a series of children’s workshops, this guide will take you through a stage-by-stage process including exercises for the under 10 age group, the pre-teens, and the high-school ages. The author adds her own tips for making particularly challenging games or exercises “work,” and presents her own hints for keeping your resources and equipment to an inexpensive and manageable budget. With chapters from the basics of “Movement,” “Voice,” “Improvisation,” “Role-Playing” and “Scene Work” to the more intricate additions of “Story-Telling,” “Puppetry” “Stage-Fighting” and “Chorus-Line Dancing Steps,” this guide is broken down so that you may choose to eliminate certain chapters from your planning or to add the author’s hints for extending an exercise to make it last longer and to be more enriching to the students. About the Expert With her first on-stage appearance at age 4, her first leading role at age 11 and her professional stage roles culminating primarily in character parts in comedies, and for troupes catering to parties and murder mystery dinner theatres, Julie Johnson decided in 1997 that she would be well-suited to TEACH Drama to others. After graduating with a four-year specialist degree in teaching the Performing Arts, she moved to England to further work in both schools and theater. While mostly teaching high school Theater Arts since then (in three different countries) she has also been a leader of workshops for pre-teens and adults, a guest-speaker at college level, an adjudicator for theatre festivals and a coach and judge for speech and debate competitions. Here, in this guide, she offers many of her tips, games and exercises for teaching three different age groups under 18 years. HowExpert publishes quick 'how to' guides on all topics from A to Z by everyday experts.
The book brings together key extracts from classic and contemporary writing and contextualises these in both theoretical and practical terms. The extracts are accompanied by a summary of the key ideas and issues raised, questions to promote discussion and reflective practice, and annotated further reading lists to extend thinking.
This unique book provides the reader with a mini-library of over one hundred readings containing: --both classic and contemporary readings--international contributors--material drawn from books and journalsAn essential reference resource in its own right, Readings for Reflective Teaching also contains numerous cross-references to Andrew Pollards Reflective Teaching.
Drama is increasingly being recognised as a valuable pedagogy for language learning as it can harness children‘s imaginations and stimulate their desire to communicate. Second Learning Language through Drama draws on current theories of additional and foreign language learning and illustrates through practical case studies how drama can be used to support the four key skills of listening, speaking, reading and writing. Drawing on the work of an international group of practitioners who are all highly experienced in using drama for the purpose of second language learning, the book clearly explains key drama conventions and strategies and outlines the innovative ways they have been used to create enjoyable and stimulating classroom activities that allow for multiple ways of learning. Throughout the book the emphasis is on making language learning accessible and relevant to children and young people through creative, physically active and playful approaches. The strategies described are all highly flexible and readily adaptable to different teaching contexts. Specific themes include: Using stories and drama to motivate learners at all levels Drama, language learning and identity Assessment opportunities through process drama Issues of language learning and cultural empowerment Digital storytelling Film & drama aesthetics Second Language Learning through Drama will be of great interest to those studying on undergraduate and postgraduate courses and will serve as a highly valuable text to practitioners looking to incorporate the approaches described into their lessons and classroom activities.
This is a book for new teachers about putting drama education theory into practice and preparing for the contextual variables that lie ahead. It is the next-best thing to actual classroom experience, enabling readers to think through "What do I do if . . .'" scenarios and experience vicariously a broad range of teaching situations. While there are many examples of teacher casebooks, Learning to Teach Drama is the first text written specifically for teachers of theatre/drama. Furthermore, these cases are written by novices, not experts, providing readers with authentic voices from the field. Eighteen case narratives are featured in all, representing the issues every beginning teacher faces: planning lessons, knowing students as individuals and as members of a group, establishing classroom climate, understanding the place of drama within the school community, and expecting the unexpected. These teachers also assist one another, comment on each other's cases, and effectively create a learning community. In addition, special "Extensions" sections prepared by the editors encourage readers to go beyond each narrative and relate the situations to their own teaching.
Schools need to have purchase on the curriculum: why they teach the subjects beyond preparation for examinations, what they are intending to achieve with the curriculum, how well it is planned and enacted in classrooms and how they know whether it’s doing what it’s supposed to. Fundamental to this understanding are the conversations between subject leaders and their line managers. However, there is sometimes a mismatch between the subject specialisms of senior leaders and those they line manage. If I don’t know the terrain and the importance of a particular subject, how can I talk intelligently with colleagues who are specialists? This book sets out to offer some tentative answers to these questions. Each of the national curriculum subjects is discussed with a subject leader and provides an insight into what they view as the importance of the subject, how they go about ensuring that knowledge, understanding and skills are developed over time, how they talk about the quality of the schemes in their departments and what they would welcome from senior leaders by way of support. We have chosen this way of opening up the potentially difficult terrain of expertise on one side and relative lack of expertise on the other, by providing these case studies. They are suggested as prompts rather than the last word. Informed debate is, after all, the fuel of curriculum development. And why Huh? Well, 'Huh?' may be John's first response when he walks into a Year 8 German class but, in fact, we chose 'Huh' as the title of our book as he is the Egyptian god of endlessness. As Claire Hill so eloquently comments in her chapter, “Curriculum development is an ongoing process; it’s not going to be finished, ever.” And we believe that 'Huh' captures a healthy and expansive way of considering curriculum conversations.
