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Signs of Change: New Directions in Theatre Education; Amplified Edition,9781841506296

Signs of Change: New Directions in Theatre Education; Amplified Edition

by
Edition:
Revised
ISBN13:

9781841506296

ISBN10:
184150629X
Format:
Paperback
Pub. Date:
9/15/2012
Publisher(s):
Univ of Chicago Pr
List Price: $28.50

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Summary

There is no one-size-fits-all way to keep pace with the changes affecting high school students and those who educate them. That's why Joan Lazarus has gathered here the insights of hundreds of secondary school theater teachers and teaching artists on how they have responded to the shifting demands of theater education in today's schools. She paints a portrait of active, dynamic professionals who build vibrant programs and confront challenges in a variety of ways-from inclusive, interactive lessons to comprehensive programs that address the impact of poverty, race, gender, and spirituality on students' lives. In the process, she shows how real teachers bring about real change. An accessible and up-to-date guide to best practices in theater education, this expanded and revised edition encompasses new hands-on activities-drawn from the author's in-depth interviews and research.

Author Biography

Joan Lazarus is a professor and heads the theatre education program at The University of Texas at Austin. Honored nationally for her work, Joan has served the field as President of the American Alliance for Theatre and Education, Director of the Drama Institute at the University of Wisconsin-Madison, and Director of the National Conference of Youth Theatre Directors. In 2012 she was awarded the Campton Bell Lifetime Achievement Award.

Table of Contents

Foreword to the Revised and Amplified Editionp. 13
Foreword to the First Editionp. 15
Acknowledgementsp. 17
Introduction: A Yearning for Changep. 21
Signs of Change and the Need for Changep. 23
Changep. 26
Change and Educationp. 27
A Different Future for Theatre Education?p. 29
Why Change Now?p. 31
Best Practicep. 33
Best Practice in Theatre Educationp. 35
So What's New?p. 37
New Directionsp. 38
Clarifying Termsp. 39
The Pioneer's Journeyp. 40
Voices from the Field - What Does Best Practice Look Like? - Variousp. 41
A Closer Look - Best Practice in Action - Mandy Whitlock:p. 42
Ideas for Further Reflectionp. 46
Selected Resourcesp. 50
Notesp. 51
Learner-Centered Practicep. 53
Learner-Centered Practice in a Theatre Programp. 56
Teacher-Student Relationshipsp. 59
Participation in a Learner-Centered Programp. 59
Dialogue, Decision Making, and Reflectionp. 61
Organization and Classroom Management in a Learner-Centered Environmentp. 63
Drama and Learner-Centered Practicep. 67
Differentiating Instruction in a Learner-Centered Theatre Programp. 68
Learner-Centered Practice in Productionsp. 70
Balancing Art and Educationp. 73
Directing Young Performers Versus Adult Performersp. 74
Process-Centered and Product-Centered Intersectionsp. 75
Artistic Standards in a Learner-Centered Programp. 80
Critical Response to Student Workp. 81
Intersections Between Classroom Work and Productionsp. 82
Devising and Producing Student Worksp. 84
Time Investmentp. 87
Voices from the Field - Learner-Centered Practicesp. 89
Embracing Digital Media in a Learner-Centered Programp. 89
Shared Decision Makingp. 92
Asking Questions Is an Awful Lot Easierp. 94
When Surprising Things Happenp. 96
We Do Not Produce High School Theatrep. 97
A Closer Look - Learner-Centered Classes and Productionsp. 98
Director or Dictator?p. 98
A Place for Everyonep. 100
Making Connections Is Not Always Easyp. 103
Examples of Learner-Centered Lessons and Rehearsal Ideasp. 105
The Spotp. 105
Moment Analysis - A Learner-Centered Approach to Directingp. 106
Ideas for Further Reflectionp. 115
Selected Resourcesp. 116
Notesp. 116
Socially Responsible Practicep. 119
What Is Socially Responsible Theatre Education?p. 122
A Pattern of Awareness and Actionp. 123
Self-Reflection and Socially Responsible Practicep. 123
Whose Program Is This? Theatre and Individual Differencesp. 126
Theatre, Poverty, and Social Classp. 127
Theatre, Ability, and Disabilityp. 130
Theatre, Race, and Privilegep. 132
Theatre, Language, and Culturep. 136
Theatre and English Language Learnersp. 140
Theatre and Genderp. 141
Theatre and Sexual Orientationp. 145
Theatre, Religion, and Spiritualityp. 148
Theatre and Age Appropriate Practicep. 153
Making Connections to Students' Lived Experiencesp. 155
Building a Safe Learning Communityp. 157
A Culture of Caringp. 161
Building Relationships within the Programp. 164
Socially Responsible Interactions with Studentsp. 166
Theatre as a Catalyst for Dialogue: Connections to the Community Outside of the Schoolp. 168
Choosing Socially Responsible Material to Teach and Producep. 170
Finding Time to Look for Scriptsp. 173
Challenges to Socially Responsible Theatre Practicep. 174
At What Cost? Taking Care of Yourself as Best Practicep. 175
Voices from the Field - Socially Responsible Practicesp. 178
Strangers in a Strange Landp. 178
Recognizing Spirituality in a High School Theatre Programp. 181
Theatre in the Middle: Big Enough for Everyonep. 184
Theatre Teachers as Teacher Leadersp. 187
A Parent's Perspectivep. 189
A Closer Look - Socially Responsible Classes and Productionsp. 190
No Limitsp. 190
Reaching the "Unreachable"p. 192
Breaking the Cycle for "Unreachable" Studentsp. 194
Establishing a Socially Responsible Classroomp. 196
Socially Engaged Practicep. 199
Examples of Socially Responsible Lessons and Productionsp. 202
Conflict with Authorityp. 202
Drama with English Language Learnersp. 204
Devising Socially Engaged Performancesp. 207
Ideas for Further Reflectionp. 215
Selected Resourcesp. 217
Notesp. 218
Comprehensive Theatre Educationp. 219
Discipline-Based Theatre Education: A Framework for Learningp. 224
Interdisciplinary Arts Educationp. 231
Arts Integrationp. 234
Successfully Collaborating with Colleaguesp. 238
An Example of Comprehensive Theatre Educationp. 240
Drama-Based Interdisciplinary Unitp. 240
Ideas for Further Reflectionp. 260
Selected Resourcesp. 262
Notesp. 262
Theatre Education Outside the Boxp. 265
Community Based Theatre Educationp. 268
Albany Park Theatre Projectp. 269
People's Light and Theatrep. 270
Fulton Youtheatrep. 271
Flint Youth Theatrep. 274
Creative Arts Teamp. 278
Imagination Stagep. 280
Teaching Artists and Artists in Residencep. 281
Voices from the Field - Community Based Theatre Educationp. 282
Creative Spaces: Arts Integration with a Social Justice Focusp. 282
A Teaching Artist's Reflectionsp. 286
An Example of Theatre Education Outside the Boxp. 288
Empowering Opheliap. 288
Ideas for Further Reflectionp. 292
Selected Resourcesp. 292
Notep. 293
Breaking the Mold: Best Practice in Theatre Teacher Educationp. 295
Rethinking Theatre Teacher Education: What Could Bep. 298
New Directions in Theatre Teacher Educationp. 300
The Relationship Between Lifelong Learning and Best Practicep. 303
Challenges to Change in Theatre Teacher Educationp. 304
Voices from the Field - New Directions in Theatre Teacher Educationp. 306
The Heart of a Teacherp. 306
Methods for Teaching Theatre: Preparation through Collaborative Partnershipsp. 308
Breaking the Cycle in Teacher Educationp. 311
Ideas for Further Reflectionp. 312
Selected Resourcesp. 312
Notep. 313
On the Frontier of Change: Visions for the Fieldp. 315
A Wider View of Changep. 318
Parker Palmerp. 318
Ben Cameronp. 319
Maxine Greenep. 321
David O'Fallonp. 322
Voices from the Fieldp. 323
Teachers, Change Makers, and Pioneers on the Verge of Changep. 323
Works Citedp. 329
Indexp. 341
Table of Contents provided by Ingram. All Rights Reserved.


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