Drama Through Storytelling: A Practical Approach for the Teacher of Elementary School

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Dundurn, Sep 1, 1989 - Education - 143 pages
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The theories of drama come alive with excerpts from two Canadian children's plays, King Grumbleton and the Magic Pie and Chinook, and a story by a twelve year old boy, A Dog with a Thousand Fleas. These are used to suggest drama teaching methods which can be related to classroom work in other subjects. As well as an extensive children's theatre bibliography, the book contains a 6 part "Drama Circle" which can be used to dial concept combinations in both drama and other classes.

 

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Contents

Foreword
11
Grades K3
31
Grades 46
50
Grades 7 and 8
78
Structural Exercises
86
Bibliography
105
G Theories of Play
118
P Childrens Theatre
131
Copyright

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Page 17 - It is in playing and only in playing that the individual child or adult is able to be creative and to use the whole personality, and it is only in being creative that the individual discovers the self.
Page 13 - Play is not only the means by which the child comes to discover the world ; it is supremely the activity which brings him psychic equilibrium in the early years. In his play activities, the child externalises and works out to some measure of harmony all the different trends of his internal psychic life. In turn he gives external form and expression, now to the parent, now to the child within himself, and...
Page 13 - then, is the highest expression of human development in childhood, for it alone is the free expression of what is in the child's soul. It is the purest and most spiritual product of the child, and at the same time it is a type and copy of human life at all stages and in all relations. . . For to one who has insight into human nature, the trend of the whole future life of the child is revealed in his freely chosen play.
Page 14 - It represents to the child the externalized expression of his emotional life, and therefore in this aspect serves for the child the function taken by art in adult life.
Page 13 - ... account both aspects. The grouping here suggested shows a combination of both points of view, but with the emphasis upon the psychological content. The standpoint from which the classification has been made is the function each form of play serves to the child who plays it. It is suggested, therefore, that there is play that expresses the bodily impulses of the child; that apperceives his environment; that prepares the child for life; that enables him to mix harmoniously with his fellows.

About the author (1989)

Born in 1946, Mark Danby received training in English and Drama from both Acadia University, Nova Scotia, and holds a degree in Educatin from Queen's University, Kingston. After extensive teaching at the secondary school level, Danby is presently Assistant Professor of Dramatic Arts at Queen's.

David Kemp was born in 1936 and trained as a teacher at Westminster College, University of London, where he also received the Diploma of Dramatic Arts. Kemp holds a Master of Education degree for the University of Bath. A fellow of Trinity college and the Royal Society of Arts, England, he is presently Professor of Dramatic Arts at Queen's University, Kingston. Kemp has played hundreds of roles during his dramatic career, which has taken him to many counties. He has written several works including A Different Drummer, used for creative drama in Canadian school, and A Child Growing Up, a thematic anthology on Childhood.

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