In this article, David Booth reflects on the impact of Dorothy Heathcote on education and educators, internationally, viewing her life’s work, the changes she brought about through her teaching, writing and speaking over the last fifty years, especially with universities and academic writers of drama education.
He looks back to see where we are today because of her journey.
Since the Advanced Skills Teacher (AST) grade was introduced over 4000 have been registered.
Black and Asian Theatre in Britain is an unprecedented study tracing the history of ‘the Other’ through the ages in British theatre. The diverse and often contradictory aspects of this history are expertly drawn together to provide a detailed background to the work of African, Asian, and Caribbean diasporic companies and practitioners.
Colin Chambers examines early forms of blackface and other representations in the sixteenth century, through to the emergence of black and Asian actors, companies, and theatre groups in their own right.
By Colin Chambers.
The author argues that developing students’ ability to think autonomously and critically should be regarded as an educational priority.
This paper investigates how responsibility for group work is shared in a GCSE Drama class in order to gain a greater understanding of how successful group work is achieved.
In this paper we present the design and implementation of a cross‐curriculum project that was carried out among grade 10 students in a public school in Athens.
Looking at European drama through an ecological lens, this book chronicles nature and the environment as primary topics in major plays from ancient to recent times. Cless focuses on the few, yet well-known plays in which nature is at stake in the action or the environment is a dramatic force. Though theatre predominantly explores human and cultural themes, these plays fully display the power of the other-than-human world and its endangerment during the history of Europe.
By Downing Cless
I consider how spoken language of drama might be assessed firstly by using Bakhtin’s understanding of the influences that shape spoken language, and secondly by drawing on aspects of Gee’s (1999) model of Critical Discourse Analysis (CDA).
The exploration of devised theatre towards producing case study scenarios is at the core of current drama practice as a powerful means of both giving voice to vulnerable community groups and contributing to inter‐professional education training purposes.
The article is based on a study, Creative learning through drama, carried out by the authors in 2007‐2009 on creative learning through drama.
