By David Hornbrook
ISBN-10: 0203134354
ISBN-13: 9780203134351
ISBN-10: 0203270002
ISBN-13: 9780203270004
ISBN-10: 0415168848
ISBN-13: 9780415168847
ISBN-10: 0415168856
ISBN-13: 9780415168854
To today, schooling and Dramatic paintings is still the single totally labored critique of drama schooling in faculties. Provocative and iconoclastic, this re-creation brings the argument up to date and locates the author's proposals for a curriculum in keeping with the making, appearing and appraisal of dramas securely within the evolving tradition of colleges. the 1st component to the booklet strains the origins and fortunes of drama in colleges within the context of fixing political instances and argues that via neglecting the customs and practices of the theatre, drama-in-education has usually saved from the scholars it professes to empower, the very wisdom and figuring out priceless for them to take command in their topic. half examines the developmental and pedagogic claims of drama-in-education. Theories of information and that means and assumptions approximately faculties drama's energy to set up an ethical and social schedule, are all known as to account. eventually, schooling and Dramatic paintings proposes a multiculturally-based, theoretical constitution for the educating of drama which attracts the theatre and the study room jointly and gives lecturers the basis for a huge and balanced drama curriculum with its personal designated physique of information and talents.
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Additional resources for Education and Dramatic Art 2nd Edition
Sample text
The dangers of the self-approving system which drama-in-education engendered for itself during the 1980s, and of which Heathcote and Bolton were the unchallenged ambassadors, are obvious. The intense personalising of practice, combined with a mistrust of disinterested 26 THE PLAYERS: WITNESS AND REVELATION analysis, meant that it became almost impossible to challenge the premises upon which that practice was built. Meanwhile, without the checks and reassessments that genuine debate brings with it, the elders became more self-assured and less in touch with reality, gathering their disciples around them as a shield against an increasingly unsympathetic educational world.
24 The defender of ‘Eagle and Mole’ already quoted exhorts his champions to ‘write for the real audience—classroom teachers, not obscure academics with axes to grind’,25 while another supporter sees no reason for Heathcote to change her idiosyncratic style just because it is ‘not accessible to the traditional tools of academic criticism’. H. [Dorothy Heathcote] constantly apologises for not having the answers or the right words. She should not have to apologise…. Art is process. Creative struggle is infinite.
The perception that the teaching profession itself bore some of the blame for these shortcomings and that it had as a consequence disinherited itself from the processes of educational policy-making, seemed to bear out the arguments of the Black Paper contributors, and led to more and more governmental intervention in educational affairs. In its eighteen years in office, the Conservative administration sought to impose on teachers an unprecedented number of new and highly demanding initiatives. In 1984, the Secretary of State for Education, Sir Keith Joseph, announced the introduction of a single system of examinations at 16-plus, the General Certificate of Secondary Education (GCSE), to take effect from 1988.
Education and Dramatic Art 2nd Edition by David Hornbrook
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