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.

The third edition of this popular text uses music and drama to promote learning across the curriculum and with all types of learners. Based on arts integration standards, differentiated instruction techniques, and current research, Creative Drama and Music Methods provides the theory along with applications to help teachers build confidence in using the arts in their daily lesson plans. The text is filled with hands-on activities that guide pre-service and K-8th grade teachers in understanding that integrating drama and music is easy, fun, and vital to fostering a child's desire to explore, imagine, and learn. Examples are provided in each chapter, along with the purpose of the activity and tips for instruction. Rubin and Merrion provide activities that engage elementary and middle school students and range from simple stories and rhythmic activities to story dramatization and composition. All the activities can be comfortably incorporated into the classroom routine and place no additional burdens on the teacher. They are especially useful for educators with valid learning goals but limited experience in creative drama and music. Not typical for creative drama or music texts, Creative Drama and Music Methods takes a process approach to the two arts, placing primary significance on the learner's growth and development.

The fully revised edition of this 'classic' helps teachers give their learners the tools they need to express themselves through a range of stimulating drama contexts. This completely revised edition of the classic title Drama Techniques provides: *150 ideas for interesting and productive fluency practice *a large selection of drama-based techniques which focus learners' attention on communicative tasks or activities *techniques suitable for all levels *clear instructions for the teacher *advice on how to use the techniques in the classroom

Drama Techniques in Language Learning offers a large selection of techniques for use at all levels which focus learners' attention on communicative tasks or activities. These involve the whole personality of the learner and provide real reasons for expressing feelings and opinions. The techniques require no special training and can easily be introduced into normal course work. This greatly expanded highly successful edition provides: advice on using the techniques in the classroom; 150 ideas for interesting and productive fluency practice; clear instructions for the teacher; and detailed cross-referencing between exercises.

People who don’t know theatre may think the only creative artist in the field is the playwright--with actors, directors, and designers mere “interpreters” of the dramatist’s vision. Historically, however, creative mastery and power have passed through different hands. Sometimes, the playwright did the staging. In other periods, leading actors demanded plays be changed to fatten their roles. The late 19th and 20th centuries saw “the rise of the director,” in which director and playwright struggled for creative dominance. But no matter where the balance of power rested, good theatre artists of all kinds have created powerful experiences for their audience. The purpose of this volume is to bridge the interdisciplinary abyss between the study of creativity in theatre/drama and in other fields. Sharing theories, research findings, and pedagogical practices, the authors and I hope to stimulate discussion among creativity and theatre scholar/teachers, as well as multidisciplinary research. Theatre educators know from experience that performance classes enhance student creativity. This volume is the first to bring together perspectives from multiple disciplines on how drama pedagogy facilitates learning creativity. Drawing on current findings in cognitive science, as well as drama teachers’ lived experience, the contributors analyze how acting techniques train the imagination, allow students to explore alternate identities, and discover the confidence to take risks. The goal is to stimulate further multidisciplinary investigation of theatre education and creativity, with the intention of benefitting both fields.

In recent years the contribution of drama to second language learning has grown internationally as a field of interest to both teachers and researchers. The potential for drama to provide strong social contexts for learning, to provide opportunities for the learner to embody the target language and to motivate students’ desire to communicate have been increasingly recognized as fruitful areas of inquiry. This book provides a brief historical perspective on the development of this interest before presenting a range of examples drawn from recent research projects led by those who are themselves experienced as drama and second language teachers. Drawing on a variety of theoretical perspectives and deploying a range of methodological processes, the chapters present evidence as to how and why drama can impact on student learning in a range of classrooms, from the primary school through to undergraduate level. Focusing on issues such as questioning in role, the professional development of second language teachers interested in using drama, and the role of artistry when applying drama as pedagogy for second language learning, they provide an up to date picture of contemporary practices and an acute analysis of both the possibilities and the challenges facing researchers in the field. This book was originally published as a special issue of Research in Drama Education: The Journal of Applied Theatre and Performance.