Discusses the importance of drama in the learning development of children and suggests ideas and exercises designed to stimulate the imagination and encourage creativity.

Patrice Baldwin gives an overview of the way drama links to learning, teaching and the curriculum. It will help those who need to connect with the rationale for drama in and across the curriculum and who need to plan for it and explain it to others in terms of its necessity and impact. The book offers guidance that will facilitate schools' work on self-evaluation, preparing for Ofsted, drawing up school development plans and drama policies. With exemplar lessons for each of the year groups across KS1-KS3, this is a highly practical book that has something to offer all who work in or with primary and secondary schools.

English through Drama presents a clear introduction to using drama activities with all ages, stressing its importance for the education of the whole learner. It supports teachers with challenging students in their classes to teach English in more stimulating and effective ways.

Grade level: 4, 5, 6, 7, 8, 9, e, i, s, t.

Drama-Based Pedagogy examines the mutually beneficial relationship between drama and education, championing the versatility of drama-based teaching and learning designed in conjunction with the classroom curriculum. Written by seasoned educators and based upon their own extensive experience in diverse learning contexts, this book bridges the gap between theories of drama in education and classroom practice.

‘Here’s a knocking indeed!’ says the Porter in Shakespeare’s Scottish play (Act II, Scene 3) and immediately puts himself into role in order to deal with the demands of such an early call after a late night of drinking and carousal: ‘If a man were porter of hell-gate...’. But what roles does the porter of curriculum-gate take on in order to deal with drama’s persistent demands for entry? Ah, that depends upon the temperature of the times. We, who have been knocking for what seems to be a very long time, know well that when evaluation and measurement criteriaare demanded as evidence of drama’s ef cacy, an examiner stands as gatekeeper. When the educational landscape is in danger of overcrowding, we meet a territorial governor. And how often has the courtesan turned out to be only a tease because the arts are, for a brief moment, in the spotlight for their abilities to foster out-of-the-box thinkers? In this text, we meet these ‘commissionaires’ and many more. The gatekeeping roles and what they represent are so familiar that they have become cliches ́ to us. We know them by their arguments, ripostes, dismissals, their brief encouragement and lack of follow-up. And we know that behind each one (however rmly they think they keep the keys) is a nancial and political master whose power controls the curriculum building and everything in it.

Experiential therapy is used to locate repressed feelings and re-experience them. Once we feel them in the present, we can come to terms with them and put them in their proper perspective. We can use our energies to truly enter into the moment with all our awareness. The quality of our happiness lies in our ability to experience what is around us. Feelings are often attached to roles. When we experiment with different roles we gain information about our personal history and play with new possibilities for change. Games help us to increase concentration, develop thinking skills and to coordinate thought, emotion and action. They are a way to allow humor and fun to enter into the therapeutic process. This book is designed to help participants get in touch with and express buried feelings in a safe and structured way and to offer training in the ability to be creative and spontaneous.