Dramatherapy is increasingly being used in schools and educational establishments as a way of supporting young people's emotional needs. This book examines the space between drama education and Dramatherapy exploring the questions: Does a therapist teach? When does the role of the drama teacher border on that of therapist? How do these two professions see and understand each other and the roles they play? In Drama Education and Dramatherapy, Clive Holmwood draws on his experience as a Dramatherapist and examines the history of drama education and Dramatherapy, exploring the social, political, therapeutic and artistic influences that have impacted these two professions over the last century. He also discusses how these fields are intrinsically linked and examines the liminal qualities betwixt and between them. The book considers two specific case studies, from the therapist's and teacher's perspectives discussing what happens in the drama class and therapy space including how the dramatic form is understood, explored and expressed both educationally and therapeutically. The 'them and us' mentality, which often exists in two different professions that share a common origin is also explored. The book contemplates how teachers and Dramatherapists can work collaboratively in the future, bringing down barriers that exist between them and beginning a working dialogue that will ultimately and holistically support the children and young people they all work with. This book will be of interest to those involved in using drama in an educational or therapeutic context, including: drama teachers, arts therapists, teachers of arts therapy and researchers within wider arts, applied arts and educational faculties within colleges and universities.

Originally written for drama teachers working with students aged 9 to 18, this collection of short, snappy theater dialogues makes the perfect short break activity in any classroom, camp, or youth group situation. Students get much more out of these dialogues than just acting practice: they increase alertness, cultivate curiosity, boost literacy, and improve school attendance. The one-to-one dialogue format facilitates friendships and allows shy students to demonstrate new skills. Written by a family of drama experts, each dialogue centers around a theme related to young life: food, parents, hobbies, movies, even falling in love, to name just a few. Each dialogue is introduced with brief notes suggesting different ways of playing them at different ages and tips for adapting the dialogues to different age groups and situations. "101 Dialogues, Sketches, and Skits" is part of the "SmartFun Activity" series from Hunter House, which includes over 25 titles that have sold more than 200,000 copies to date.

Would you like to offer constructive, creative and exciting new dramatic learning experiences to the children in your setting?

The importance of using drama to promote active and creative learning in the early years is widely recognised, and this fully updated second edition of "Drama 3-5" will guide and inspire practitioners in all settings, allowing them to lead drama with confidence and enthusiasm. Young children participating in well planned drama activities learn to express themselves clearly and develop strong social skills, more self-confidence and a greater understanding of co-operation and team-work."

Drama 3-5" contains a wide range of accessible activities and sample session plans, drawn from the author s many years of extensive experience, which have all been fully and successfully tried and tested with children from 3-5 years. The book also explains the theory and value of all of the activities, as well as possible extensions and the ways in which they contribute to the learning objectives and goals of the Early Years Foundation Stage, allowing practitioners to encourage and assess children s progress. Key chapters include:

This book offers the tools and understanding needed for confident dramatic play and learning, making it an ideal companion to support every practitioner who wants to explore, develop and enjoy drama and have fun with their children. "

Queen Victoria's Golden Jubilee, 1887. At East London's Tilbury Docks, Rani Das and Abdul Karim, step ashore after the long voyage from India. One has to battle a society who deems her a second-class citizen; the other forges an astonishing entanglement with the ageing Queen Victoria who finds herself enchanted by stories of an India over which she rules, but has never seen. Through narrative, music and song, The Empress blends the true story of Queen Victoria's controversial relationship with her Indian servant and 'Munshi' (teacher), Abdul Karim, with the experiences of Indian ayahs who came to Britain during the 19th century. With private romance being mapped onto world history, the action cuts between the ship and different royal residences, offering bright contrasts as well as surprising affinities. In doing so, the play uncovers remarkable unknown stories of 19th-century Britain and charts the growth of Indian nationalism and the romantic proclivities of one of Britain's most surprising monarchs. The Empress, which premiered at Stratford-upon-Avon's RSC in 2013, is published here as a Methuen Drama Student Edition with commentary and notes by Professor Jane Garnett, Wadham College, University of Oxford, UK.

A year of drama ready to use schemes at your fingertips.

• 25 topical schemes of work
• 100+ drama lessons

'This book really will offer some new and exciting ideas for teachers to teach. Even teachers who enjoy their job often complain that they become stale after teaching the same things every year. They look for new ideas that will reignite their enthusiasm. I think this book could offer some sparks'

Jo Howells, English Advisor, Warwickshire Educational Development Service

Looking to engage, enthral and educate your pupils in timely and topical drama- based activities?

In need of dynamic and inventive cross-curricular exercises for single lessons, extended units or school assemblies?

From the September blues of change, through Great Fires, Guy Fawkes, Antarctic penguins, Rainbow Fish and Chinese Walls to Mandela s mighty day, this book offers a fascinating array of lives to be lived and journey s to be made.

Drama Lessons for the Primary School Year will enable teachers to develop their expertise and confidence in order to create active and imaginative schemes of drama for the classroom. It offers a programme of ready-to-run workshops linked to specific dates in the calendar and specific themes into which teachers can readily dip on a regular basis. The first section uncovers the author s own creative processes in generating drama experience and offers it to the reader in a set of simple, practical steps. The rest of the book is a wide-ranging compendium of schemes of work attached to specific calendar dates throughout the school year. These detailed drama lesson plans can be run as one-off workshops or can be used by teachers as a basis for creating their own drama-led curriculum experiences. The book offers a practical structure to support these new creative planning tasks.

This indispensable resource is for all Primary teachers looking for inspiration in developing effective drama sessions, exploring kinaesthetic learning, and developing creative cross-curricular approaches to their teaching.

"A master at engaging students in the process of performing a Shakespeare scene." Janet Field-Pickering, head of education, Folger Shakespeare Library Richard III: The 30-Minute Shakespeare This edition of Richard III features seven scenes, opening with the Duke of Gloucester's villainous "Winter of our discontent" speech and followed by his audacious wooing of Lady Anne. Queen Margaret's chilling curses, Richard's string of murders, and the haunting chants of his victims' ghosts are stage drama at its best. The climax is a gripping battle in which the Earl of Richmond slays Richard and becomes King of England. There is also an essay by editor Nick Newlin on how to produce a Shakespeare play with novice actors, and notes about the original production of this abridgement at the Folger Shakespeare Library's annual Student Shakespeare Festival. The edition includes a preface by Nick Newlin, containing helpful advice on presenting Shakespeare in a high school setting with novice actors, as well as an appendix with play-specific suggestions and recommendations for further resources.

This third edition of Beginning Drama 4-11 is fully updated and revised in light of the renewed Framework for Teaching Literacy, and provides an introduction for early years and primary school teachers who are new to drama and for student teachers who wish to specialise in the teaching of drama.

It offers step-by-step guidance to help teachers and children grow in confidence in their use of drama, and shows clearly how drama can contribute to work in English, and learning across the curriculum, as well as to the broader cultural life of the school.

The authors have an international profile and this third edition builds on the work's reputation of as one of the most accessible texts on primary drama available.

This classic edition of Mike Fleming's The Art of Drama Teaching provides a multitude of practical ideas for teachers of drama and for those who are interested in using drama to teach other subjects. It takes the form of detailed discussion of twenty-five drama techniques including but not limited to: beginnings and endings monologue and narration off-stage action and reported action mime irony time shifts minor characters Each technique, topic or convention is illustrated by a carefully chosen extract from a play and accompanied by a commentary and practical examples of lesson tasks. This book not only demonstrates drama as an art form and provides ready-to-use material for drama teachers, but highlights how dramatic techniques can be used to inform classroom teaching and develop teacher practice. Featuring a brand new preface by the author to contextualise the book within the field today, this Routledge Classic Edition is an indispensable resource for drama teachers in both primary and secondary schools.

Viewed through the eyes of those on the ground, Black Watch reveals what it means to be part of the legendary Scottish regiment, what it means to be part of the war on terror, and what it means to make the journey home. This book contains Gregory Burke's award-winning script, with production notes by the director John Tiffany and colour photographs that capture the powerful and inventive use of movement in this urgent piece of theatre. The National Theatre of Scotland's production of Black Watch opened at the Edinburgh Festival Fringe in 2006, where it won a Herald Angel, a Scotsman Fringe First, the Critics' Circle Award and the South Bank Show Award for Theatre. During a world tour it won the Laurence Olivier Award for Best New Play and the New York Drama Critics' Circle Award for Best Foreign Play.

Drama-based Pedagogy examines the mutually beneficial relationship between drama and education, championing the versatility of drama-based teaching and learning designed in conjunction with classroom curricula. Written by seasoned educators and based upon their own extensive experience in diverse learning contexts, this book bridges the gap between theories of drama in education and classroom practice. Kathryn Dawson and Bridget Kiger Lee provide an extensive range of tried and tested strategies, planning processes and learning experiences, in order to create a uniquely accessible manual for those who work, think, train and learn in educational and/or artistic settings. It is the perfect companion for professional development and university courses, as well as for already established educators who wish to increase student engagement and ownership of learning.

The Heart of Teaching is a book about teaching and learning in the performing arts. Its focus is on the inner dynamics of teaching: the processes by which teachers can promote-or undermine-creativity itself. It covers the many issues that teachers, directors and choreographers experience, from the frustrations of dealing with silent students and helping young artists 'unlearn' their inhibitions, to problems of resistance, judgment and race in the classroom,. Wangh raises questions about what can-and what cannot-be taught, and opens a discussion about the social, psychological and spiritual values that underlie the skills and techniques that teachers impart. Subjects addressed include: Question asking: which kinds of questions encourage creativity and which can subvert the learning process. Feedback: how it can foster both dependence and independence in students. Grading: its meaning and meaninglessness. Power relationships, transference and counter-transference The pivotal role of listening. The Heart of Teaching speaks to experienced teachers and beginning teachers in all disciplines, but is particularly relevant to those in the performing arts, from which most of its examples are drawn. It brings essential insight and honesty to the discussion of how to teach.

Using drama activities based on a range of classic and modern stories, this inspiring resource equips SENCOs, primary school teachers and speech and language therapists alike with simple, practical and effective tools to improve children's speech, language and communication. Key features include: a huge range of activities so that the resource can be used in focused support for those with SGBPN or in mixed ability classrooms topical links to the English programmes of study so that activities support core curriculum learning distinct sections for Key Stage 1 and Key Stage 2 make the book relevant from Reception to Year 6. Unlike alternative resources, this book uses drama techniques to address speech, language and communication needs and can be used for both therapy and mainstream primary education.

Most students encounter drama as they do poetry and fiction - as literature to be read - but never experience the performative nature of theater. How to Teach a Play provides new strategies for teaching dramatic literature and offers practical, play-specific exercises that demonstrate how performance illuminates close reading of the text. This practical guide provides a new generation of teachers and theatre professionals the tools to develop their students' performative imagination. Featuring more than 80 exercises, How to Teach a Play provides teaching strategies for the most commonly taught plays, ranging from classical through contemporary drama. Developed by contributors from a range of disciplines, these exercises reveal the variety of practitioners that make up the theatrical arts; they are written by playwrights, theater directors, and artistic directors, as well as by dramaturgs and drama scholars. In bringing together so many different perspectives, this book highlights the distinctive qualities that makes theater such a dynamic genre. This collection offers an array of proven approaches for anyone teaching drama: literature and theater professors; high school teachers; dramaturgs and directors. Written in an accessible and jargon-free style, both instructors and directors can immediately apply the activity to the classroom or rehearsal. Whether you specialize in drama or only teach a play every now and again, these exercises will inspire you to modify, transform, and reinvent your own role in the dramatic arts. Online resources to accompany this book are available at:https://www.bloomsbury.com/how-to-teach-a-play-9781350017528/.

The English Teacher's Drama Handbook is a rich, thought-provoking introduction to teaching drama within the English classroom. Divided into two sections, the first part of the book explores deological influences that have shaped drama's relationship with English over the past 250 years and aims to help you locate your own practice within a theoretical and historical context. Starting with Rousseau's seminal text Emile, it considers the theories of key thinkers and practitioners and a range of complex issues including the construction of 'childhood', children's play, the teacher and student relationship, the implications of linking drama and English and the impact of national curricula on drama and English teaching. The second half of the book offers a collection of comprehensive, practical schemes of work to inspire and support you and your students to realise the power of drama in bringing English language and literature vividly to life. Suitable for a range of ages and abilities, each activity makes explicit links to the key thinkers and issues explored in the first part of the book and explores a particular aspect of work in English - from grammar and spelling to poetry and play texts. Together with guidance on how to begin and progress the activities, each sequence includes ideas for exploring issues further in the English classroom. Written for English teachers at any stage of their career, The English Teacher's Drama Handbook offers new ways of looking at drama and English that will ensure meaningful and enjoyable teaching and learning.

Three old friends in their mid-twenties. One remarkable day. For Ted, Danny and Charlotte, it's time to seize control. Make a difference. Change things. This is it. A day trip through the parks and raves and cafes of South London, where life is what you make it. The rapid-fire words of Kate Tempest paint a picture of lives less ordinary in an unforgiving world, soundtracked by an exhilarating score. A play about love, life and losing your mind, Wasted heralded the dramatic career of one of the UK's most exciting performance poets, Kate Tempest. It was originally produced by Paines Plough and is published here as a Methuen Drama Student Edition alongside commentary and notes by Katie Beswick, lecturer in Drama at the University of Exeter. The ancillary material is geared at students and includes: - an introduction outlining the play's plot, character, themes context and performance history - the full text of the play - a chronology of the playwright's life and work - extensive textual notes

Drama is increasingly being recognised as a valuable pedagogy for language learning as it can harness childrens 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.

Ka nako tse ding tlala ya bojadikata e ka phehisa motho hlama. Leqheka la Naledi la ho imolla lelapa la hae bofutsaneng le ba le ditlamorao tse bosula. Ha pinyane ena e hlahella powaneng ho salwa ho binwa kodiyamalla. Motho wa kgotso o fetoha mmolai ya soto! Lejwe la kgopiso ke papadi e bontshang diphepetso tse emang ka pela mobapadi e moholo ya lekang ka thata ho tshehetsa lelapa la hae. Boiteko ba hae bo kopana le diphepetso, ho na ke hona ho re bontshang hore ha se batho bohle ba tswalwang e le babolai kapa mangeloi. Maphelo ao re holelang ho ona a rwala boikarabello ba diketso tsa motho e mong le e mong. Abject poverty can sometimes lead people astray. In this drama, Naledi's plan to extricate his family from a cycle of poverty backfires badly. Having been known as a good person, a once peace-loving man ends up a marauding killer. This play will have audiences riveted from start to finish. This eBook is a digital version of the printed, CAPS-approved book. Benefits of the ePUB format include: The ability to view on a desktop computer, notebook or tablet.; As learners adjust fonts, rotate and flip pages, content reflows to fit the device's screen giving the user a more flexible experience; and Learners can take notes, highlight and bookmark, and access video and audio for visual learning.

This book introduces the application of drama and arts-related activities to the teaching of English as a second or additional language in early education. Joe Winston draws on both his own scholarly expertise and experience as a practitioner to provide a theoretical rationale, practical examples, tips and easy-to-read teaching guides intended to help busy professionals apply drama related methods in an efficient and accessible way. Detailed examples of schemes of work are included for all year groups and developmental stages between the ages of 3 and 7 years of age. Each scheme centres on a popular and easily obtainable picturebook or children's story. Detailed guidance on how to plan and structure lessons with specific learning objectives is offered, as is extensive advice on issues of classroom management. The practical approaches have been used successfully in early years settings in China and primary and pre-primary settings in the UK, and are adaptable to a variety of national and cultural contexts.

Teaching Through Embodied Learning positions drama as an under-utilised but valuable tool for enhancing the learning of information in primary science texts. Creating a 'tableau' is an established drama practice for exploring key moments in fiction texts and historical events but less frequently applied with non-fiction texts. Based on doctoral research that studied the impact of having students create a tableau in response to reading informational texts about the solar system, it presents the idea that using drama with informational texts causes students to read purposefully and respond aesthetically; thus, positively impacting reading behaviour, comprehension and social behaviour. The book addresses the neglect of the body in learning and positions this against a narrow curriculum that is focused on print and 'seated learning'. Within a current context, it acknowledges increasing concerns by educational leaders and academics of the need for a 'broad and balanced curriculum' and pedagogical practice. In support of these concerns, the book places tableau as an embodied learning mode that broadens curriculum experience and discusses recent research that highlights the role of drama and the body in enhancing cognition. Teaching Through Embodied Learning will be essential reading for academics, researchers and post-graduate students in the fields of education and drama education. It will also greatly appeal to teacher educators, drama teachers and academics in literacy departments.

Process drama is now firmly established, internationally, as a powerful and dynamic pedagogy. This clear and accessible book provides a practical, step-by-step guide to the planning of process drama. Grounded in theory and illustrated in practice, it identifies and explains the principles of planning and shows how they can be applied across age ranges and curricula. Drawing on the authors' wide-ranging practical experience and research, examples are built up and run throughout the book, at each step showing how and why the teachers' planning decisions were made. This second edition features: a wider range of examples illustrating the planning principles in practice two completely new chapters: one deals with planning for diverse learner groups and the other moves the reader on from the pre-action planning phase to the 'planning on your feet' required as the drama unfolds. incorporated new material to reflect recent understanding of how learning takes place Written as a conversation between reader and authors, Planning Process Drama will help practitioners to update and refine their practice and strengthen their understanding, skills and confidence. Planning Process Drama will be an essential guide for students undertaking initial teacher training at primary level, in addition to both Drama and English at secondary level, and a Masters in Drama in Education. It will also prove to be valuable reading for specialist and non-specialist teacher in both the primary and secondary sectors who teach, or wish to teach, process drama.

Shortlisted for the CILIP Carnegie Medal 2010, Keith Gray's hit novel features a group of three friends who embark on a remarkable journey from Cleethorpes to Scotland with a stolen urn containing the ashes of their best friend... Now adapted for the stage by Birmingham Rep for a production by their Youth Theatre in 2011, Ostrich Boys is ideal for KS3 and KS4 English and will appeal strongly to boys as well as girls. This educational edition in Methuen Drama's Critical Scripts series has been prepared by national Drama in Secondary English experts Ruth Moore and Paul Bunyan. Building on a decade of highly effective work and publications endorsed by national organisations and supported by teachers and consultants across Britain, each book in the series: meets the new requirements at KS3 and GCSE (2010) features detailed, structured schemes of work utilising drama approaches to improve literary and language analysis places pupils' understanding of the learning process at the heart of the activities will help pupils to boost English GCSE success and develop high-level skills at KS3 will save teachers considerable time devising their own resources.