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.

In 2006 the Royal Shakespeare Company began its mission to transform the teaching of Shakespeare in schools. This has been a unique initiative from a major cultural organisation for several reasons: - Education has been placed at the heart and not at the periphery of the RSC's vision. Producing versions of Shakespeare's plays for young audiences has, for example, become an annual feature of the Company's programming. - The project's longevity - it has already been in existence for six years and has funding to continue for at least another four years; - The nature of the learning network it has established, involving schools from all over the UK and a partnership in the US; - The partnership with a higher education institution (the University of Warwick) which has steered teachers through their own research projects, resulting in a 90%+ completion rate among the teachers involved; - The amount of independent research that has established the extent and nature of the impact of this work in both quantitative and qualitative terms.The book tells the story of this transformative project - to describe and to theorise the innovative classroom practice that the RSC has pioneered and to explain what the research tells us about the impact this practice has had on children's experience of Shakespeare in both primary and secondary schools. It describes all of this in authoritative but accessible language, and is relevant to anyone with an interest in the teaching of Shakespeare and / or in how a major cultural organisation can use its expertise to impact significantly on the education of young people from a wide range of social backgrounds. As well as drawing upon the research already conducted, the book benefits from the writer's knowledge and expertise of the teaching of drama. It also benefits from interviews from internationally influential figures, notably Michael Boyd and Jonathan Bate.

'This book is clear, approachable, and true. The elegant simplicity of its good guidance is the product of years of practical experience in the classroom. I wholeheartedly commend it to primary school teachers everywhere.'

Michael Boyd, Artistic Director of the Royal Shakespeare Company

Shakespeare s plays are widely regarded as the greatest inheritance in English literature and recent years have seen a growing interest in introducing them to children in their primary schools. In this book, the authors bring a blend of clear thinking, playful and inventive practice and straightforward practical advice to bear on teaching Shakespeare in the primary school.

Children who encounter Shakespeare early have the opportunity to become comfortable with the plays, their stories, characters and settings, long before they might become intimidated by their associations with exclusivity and high culture. They are also given the chance to become familiar with and absorb his powerful and complex language at a stage when they are constantly encountering new vocabulary. To do this most effectively demands a dynamic pedagogy, one which recognises that the plays are best explored and understood through active, physical engagement.

Beginning Shakespeare 4-11 offers a sound rationale for teaching Shakespeare in primary schools and shows how to engage children with Shakespeare through story, through the very best of early years practice, and through his rich and sensual language. It also illustrates how engagement with the plays and their language can have a dramatic impact on children s writing. And because plays are for performing, there is helpful and practical advice on how to develop the work and share it with the whole school, parents and the wider community.

This accessible and comprehensive guide is ideal for teacher trainees and practising primary teachers everywhere.

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.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

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.

Beauty is something we value instinctively. We find it in art and in nature, in words, images and ideas, seeking it through our senses and through our intellect, in others and in ourselves. This book seeks to re-awaken educators to the power of beauty as an educational concept, to its relevance for schools and the current needs of students and teachers. Drawing upon a range of practical examples, Winston considers the nature and meaning of the experience of beauty, analysing its cognitive, affective and moral energies in order to demonstrate how beauty can provide young minds with some of their most powerful educational experiences. Incorporating examples across the curriculum at all levels of schooling, Winston argues that a due consideration of beauty in education can address some of the more fundamental problems that continue to bedevil policy and practice. With its clarity of style and wealth of practical examples, it will be of great interest to academics, teachers and education students at the graduate and postgraduate levels.

Beauty is something we value instinctively. We find it in art and in nature, in words, images and ideas, seeking it through our senses and through our intellect, in others and in ourselves. This book seeks to re-awaken educators to the power of beauty as an educational concept, to its relevance for schools and the current needs of students and teachers. Drawing upon a range of practical examples, Winston considers the nature and meaning of the experience of beauty, analysing its cognitive, affective and moral energies in order to demonstrate how beauty can provide young minds with some of their most powerful educational experiences. Incorporating examples across the curriculum at all levels of schooling, Winston argues that a due consideration of beauty in education can address some of the more fundamental problems that continue to bedevil policy and practice. With its clarity of style and wealth of practical examples, it will be of great interest to academics, teachers and education students at the graduate and postgraduate levels.

Written specifically for primary teachers and trainees who wish to develop their teaching skills in English and drama, this book offers practical guidance on model drama and English teaching techniques, approaches to assessment, and examples of cross-curricular links. Teachers and students will benefit from the wide range of techniques covered in this book.

This book is of great interest to all teachers and student teachers who wish to harness the power of drama and story for the purposes of social and moral education and in support of the National Literacy Strategy. It provides documented schemes of work in the form of lesson plans for each of the primary year groups, with clearly defined objectives and criteria for assessment, a step-by-step guidance through the drama work, clear links with individual objectives specified by the National Literacy Strategy, and further classroom activities to support the objectives of a curriculum for social and moral education.

In proposing an analytical framework for the contribution drama can make to the moral education of children, the author draws upon classroom examples and provides teachers with straightforward guidance to support their own whole-school planning.

Teachers are expected to take resposibility for children's moral development, particularly in the primary years, but how best to go about approaching the issues? In this book, the author explores a classroom approach that uses both drama and narrative (stories) to explore moral issues: drama gives children an opportunity to work through moral problems, make decisions and take up moral positions; stories offer a resource for moral education whereby children can learn through the "experiences" of those in the story. Through providing a number of case studies, the author shows how this may be done by practitioners in the classroom.

Teachers are expected to take resposibility for children's moral development, particularly in the primary years, but how best to go about approaching the issues? In this book, the author explores a classroom approach that uses both drama and narrative (stories) to explore moral issues: drama gives children an opportunity to work through moral problems, make decisions and take up moral positions; stories offer a resource for moral education whereby children can learn through the "experiences" of those in the story. Through providing a number of case studies, the author shows how this may be done by practitioners in the classroom.

In recent years the contribution of drama to second language learning has grown internationally as a field of interest to both teachers and researchers. The potential for drama to provide strong social contexts for learning, to provide opportunities for the learner to embody the target language and to motivate students' desire to communicate have been increasingly recognized as fruitful areas of inquiry. This book provides a brief historical perspective on the development of this interest before presenting a range of examples drawn from recent research projects led by those who are themselves experienced as drama and second language teachers. Drawing on a variety of theoretical perspectives and deploying a range of methodological processes, the chapters present evidence as to how and why drama can impact on student learning in a range of classrooms, from the primary school through to undergraduate level. Focusing on issues such as questioning in role, the professional development of second language teachers interested in using drama, and the role of artistry when applying drama as pedagogy for second language learning, they provide an up to date picture of contemporary practices and an acute analysis of both the possibilities and the challenges facing researchers in the field. This book was originally published as a special issue of Research in Drama Education: The Journal of Applied Theatre and Performance.

'This book is clear, approachable, and true. The elegant simplicity of its good guidance is the product of years of practical experience in the classroom. I wholeheartedly commend it to primary school teachers everywhere.'

Michael Boyd, Artistic Director of the Royal Shakespeare Company

Shakespeare s plays are widely regarded as the greatest inheritance in English literature and recent years have seen a growing interest in introducing them to children in their primary schools. In this book, the authors bring a blend of clear thinking, playful and inventive practice and straightforward practical advice to bear on teaching Shakespeare in the primary school.

Children who encounter Shakespeare early have the opportunity to become comfortable with the plays, their stories, characters and settings, long before they might become intimidated by their associations with exclusivity and high culture. They are also given the chance to become familiar with and absorb his powerful and complex language at a stage when they are constantly encountering new vocabulary. To do this most effectively demands a dynamic pedagogy, one which recognises that the plays are best explored and understood through active, physical engagement.

Beginning Shakespeare 4-11 offers a sound rationale for teaching Shakespeare in primary schools and shows how to engage children with Shakespeare through story, through the very best of early years practice, and through his rich and sensual language. It also illustrates how engagement with the plays and their language can have a dramatic impact on children s writing. And because plays are for performing, there is helpful and practical advice on how to develop the work and share it with the whole school, parents and the wider community.

This accessible and comprehensive guide is ideal for teacher trainees and practising primary teachers everywhere.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

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.

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.

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.

In 2006 the Royal Shakespeare Company began its mission to transform the teaching of Shakespeare in schools. This has been a unique initiative from a major cultural organisation for several reasons: - Education has been placed at the heart and not at the periphery of the RSC's vision. Producing versions of Shakespeare's plays for young audiences has, for example, become an annual feature of the Company's programming. - The project's longevity - it has already been in existence for six years and has funding to continue for at least another four years; - The nature of the learning network it has established, involving schools from all over the UK and a partnership in the US; - The partnership with a higher education institution (the University of Warwick) which has steered teachers through their own research projects, resulting in a 90%+ completion rate among the teachers involved; - The amount of independent research that has established the extent and nature of the impact of this work in both quantitative and qualitative terms.The book tells the story of this transformative project - to describe and to theorise the innovative classroom practice that the RSC has pioneered and to explain what the research tells us about the impact this practice has had on children's experience of Shakespeare in both primary and secondary schools. It describes all of this in authoritative but accessible language, and is relevant to anyone with an interest in the teaching of Shakespeare and / or in how a major cultural organisation can use its expertise to impact significantly on the education of young people from a wide range of social backgrounds. As well as drawing upon the research already conducted, the book benefits from the writer's knowledge and expertise of the teaching of drama. It also benefits from interviews from internationally influential figures, notably Michael Boyd and Jonathan Bate.