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Cultural Diversity in the classroom
What is the arts role in education
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Historically, drama, and indeed all areas of the arts, have been seen to make an unimportant contribution to society as a whole. As recently as the mid to late 20th century, the arts were seen as a luxury, and a purely leisure exercise or hobby, with only gifted children having access to classically defined art forms such as music or art. This ideology still exists in some form today, although the arts are beginning to be recognised as an integral part of our everyday and working lives. Many drama practitioners and educators consider the arts to be a growing power within the economy, and that drama has benefits to society, culture, and a person’s inner development. These benefits have shaped the incorporation and delivery of drama within Queensland schools. This essay will examine how, by teachers delivering a rich aesthetic experience to students through drama in schools, students are provided with opportunities to develop self identity and equipping them with a skill set that is transferable across a variety of learning areas.
Within the five key learning areas of the arts (music, visual arts, drama, media and dance), drama is a highly valued medium within the educational sphere. Its significant position within Queensland schools is due to the broad skills students develop as they “create, reflect challenge, ritualize, critique and celebrate” (The Arts years 1-10 Syllabus 2002, p1). In Queensland education, schools are encouraged to incorporate all five of the arts key learning areas. Due to a mixture of reasons, such as funding, demand and skilled educators, offering all five are not sustainable. Therefore schools must choose which subjects they can offer well and will most benefit its students. Drama is consistently ...
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...cture+-+Christine&course_id=_60659_1&href=/%40%40/E3FDBA07ACC27944B8264AC7F4A0099F/courses/1/KTB201_10se1/content/_3083668_1/KTB201%2520Lecture%25201%2520for%2520BB%2520%25202010.ppt (accessed August 25, 2009).
Hartley, J. Ed (2005), Creative Industries. Blackwell Publishing. Melbourne.
Heathcote, D. (1984), Collected Writings on Education and Drama. Northwestern University Press. Illinios.
Queensland College of Teachers (2006) Proffessional Standards for Queensland Teachers. QCT. Brisbane.
Queensland School Curriculum Council. (2002), The Arts Years 1-10 Syllabus, Queensland Government. Brisbane.
Queensland Studies Authority. (2007), Drama Senior Syllabus, Queensland Government. Brisbane.
Radvan, M. (2006), Why do the Arts Matter? Drama Queensland Says, 29 (1): 2-9.
Stinson, M. and D. Wall. (2003) Dramactive, Book 1. McGraw-Hill Australia. Sydney.
Woolway, Joanne. Drama for Students. Eds. David Galens and Lynn M. Spampinato. Vol. 1. Detroit: Gale, 1998. 292-94. Print.
“Theatre is like a gym for the empathy. It’s where we can go to build up the muscles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves. We practice sitting down, paying attention and learning from other people’s actions. We practice caring.” (Bill English of the SF Playhouse). This quote accurately summarises the purpose of Children’s Theatre, to help the growth and understanding of children whilst also keeping them entertained through theatrical techniques. The National Theatre’s Cat in the Hat, along with our performance pieces of Cranky Bear and Possum Magic all showcased these techniques in a number of ways, whilst also subconsciously coinciding with the child development theories
Board of Studies NSW. (2006). OUTCOMES and CONTENT. Creative Arts K-6 Syllabus (pp. 24, 28-31, 46-53). (Original work published 2000). Retrieved from http://k6.boardofstudies.nsw.edu.au/wps/wcm/connect/ce0d0525-fb53-44db-b4bb-f9d252549824/k6_creative_arts_syl.pdf?MOD=AJPERES.
Drama- Students will make their quest from paper or media format to real-life. This can be done with friends in the classroom. All of the important factors should be included.
Finally, it is fun to study drama. It is fun to dramatise and dress up and fall over dead behind improvised curtains and fence with blackboard pointers and cook up a witches brew and come to school with a spade over your shoulder for the Graveyard Scene. It is fun, and while all the fun is being enjoyed an incredible amount of language is pouring into these students' heads, through listening, reading, watching videos and learning lines off by heart.
Dramaturgy is often referred to as being a very ‘slippery’ and indefinable word; though there are standard definitions available for us to find, we cannot seem to comprehend these definitions without exceptions arising. For example, the online Oxford English Dictionary defines dramaturgy as either being a ‘dramatic composition; the dramatic art’ or as ‘dramatic or theatrical acting.’ However, words such as ‘composition’ can be highly vague, leaving itself open to broad interpretations and debates via the scholars of drama and theatre studies. Similarly, we are left to question what exactly the role of a dramaturg is, and whether they perform this role alone or share it; as no one has actually established a clear definition of what dramaturgs actually do. Therefore, whilst I can’t propose that I can create a solid definition of what dramaturgy itself is, I shall lie the groundwork for a study into what dramaturgy may be, using an over-arching definition of what, I believe, is itself an actual field of drama and theatre studies. I initially intend to do this by referring to the teachings of such renowned dramaturgs as Adam Versényi and Gotthold Lessing. Dramaturgy also works as a form of analysis which explores the relationship between spectator, performer and even playwright; changing our preconceptions of what theatre should and could actually be. It is also important for dramaturgs to consider the social and cultural environment in which they are working, for drama is often a statement on the current society of the time, meaning that social ideas simply cannot be ignored.
The most important reason I want to go to boarding school is for the arts. Don’t get me wrong; I love my school. It is an arts magnet school, of course, and does have a partial emphasis on them, but I want to go somewhere where the whole school is focused on what I love to do most: perform. At GCHS, 70% of the students I’ve met only care about sports. It’s difficult to feel passionate about something you love when everyone just shoots it down for ‘important’ things. Of course, the administration aren’t like that, but the students are, and it’s a bit disconcerting. It’s not that I can’t get past that: of course I can. But I love theatre. It’s pretty much my life, and at the boarding school I wish to go to the most—Walnut Hill School for the Arts—it’s the life of ¼ of the students there. (The ones who don’t focus on music, visual art, or dance.) The school has, well, school, but it’s all about making you a better performer, actor, and singer. According to their website, theatre-centered students take 3 hours of acting, 3 hours of musical theatre, 2.5 hours of ‘movement for the actors’ (Also known as dance involved in musicals.), and 3 hours of production & design—a week.1 Walnut Hill’s expansive list of teachers are experts at musicals, plays, and shaping great actors, and most of their students are there because they love their craft, not because their parents—or the law—is forcing them to be, so it would probably be easier for me to focus on honing my talent rather than worrying about whether or not the other...
Theatre-In-Education The theatre education industry/movement has seen some rapid changes since its initial developments and establishment in the 1960’s. However its origins mainly lie in the early years of the last century. It was the initial establishment of companies such as Bertha Waddell’s in Scotland and Esme Church’s in the north of England that thoroughly established the main roots of TIE.
She believed that “the education of children’s spirits and emotions was as important as the education of their minds” (Rosenberg 23). Creative Drama has taken many names since then, but “[. . . ] children’s theatre in America was born in the ghetto as a social and education force to help the children of immigrants learn the language of their adopted country, to provide a meeting place for children and their families, and to offer wholesome entertainment to the children of the poor” (Swortzell, 333) A student of the Ward Approach at Northwestern University, Nellie McCaslin’s strongly believed that creative drama is not only beneficial to the student in the classroom, but the student in the world at large.
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
...drama is an interesting activity to foster and facilitate the role of the teacher and the student in the classroom setting. In facilitating and fostering process drama facilitators and student work collaboratively to create an intrinsic, imaginative world where through dramatic presentations problems are solved and harmonious solutions to aspects of real life experiences is conjured. The principles of process drama are a vehicle that is used to execute the role of the student and facilitator in adding to successive novelty approach to process drama in our classroom setting.
plays to the drama on the stage – the music is used to develop and
Applied Theatre Essay Intro statement What applies theatre is A means of identification and platform for social issues and reforms to be discussed and a means to find solutions or support. Talk about the purpose – used as a tool for identification, exploration, discussion, social action Applies theatre maintains itself as a platform used to Mention forum theatre and young people Mention boal Theatre for young people – theatre skills workshop Theatre in education- using theatre to educate about different issues i.e bullying Community based theatre with young people – using theatre to build positive communities – i.e bighArt documentary -talk about techniques, aims, outcomes 3 national one typ - one tie – wester edge youth arts – Flemington
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern
According to the Australian Curriculum and Assessment Reporting Authority (ACARA) (2017a, version 8.3) by participating in the four strands of Creative Arts; Dance, Drama, Music and Visual Arts it enables children to explore, form and express their understanding of themselves and others as they make sense of their world. For instance, when children participate in Dance they are