Jonothan Neelands – författare

This guide explores the roles, skills and knowledge needed to become an effective drama teacher. It combines practical advice on planning, teaching and assessing with the best teaching practices. It also offers lesson plans for years 7-9 students to use intheir teaching.

This guide explores the roles, skills and knowledge needed to become an effective drama teacher. It combines practical advice on planning, teaching and assessing with the best teaching practices. It also offers lesson plans for years 7-9 students to use intheir teaching.

Using drama right across the curriculum to improve and invigorate teaching and learning, this book provides whole school and individual class approaches underpinned by sound theory and implemented in a real primary school. Explanations and examples are given in a clear and accessible style, and links are made to The National Strategy.

The book illustrates a wide range of strategies that show how drama can help with:

This user-friendly and comprehensive text is the perfect support tool for teachers and managers ready to improve their school regardless of whether they''re approaching drama for the first time or are already passionate about it.

Using drama right across the curriculum to improve and invigorate teaching and learning, this book provides whole school and individual class approaches underpinned by sound theory and implemented in a real primary school. Explanations and examples are given in a clear and accessible style, and links are made to The National Strategy.

The book illustrates a wide range of strategies that show how drama can help with:

This user-friendly and comprehensive text is the perfect support tool for teachers and managers ready to improve their school regardless of whether they''re approaching drama for the first time or are already passionate about it.

Urban theatre can be described as theatre made with or by those whose lives are marked by the urban landscape and its social limits and possibilities. At the heart of this text lies the question of how theatre can illuminate the urban and how theatre is illuminated by the urban. The city, like a play, is a space where everything adopts multiple meanings. It is an objective thought and a subjective experience, a charged and symbolic thing, as well as a real, material, lived reality.

The chapters in this book illustrate the theatre’s uncanny ability to narrate and symbolize the physical and psychic space of the city. Running through all of the pieces presented are the themes of power and of young people’s sense of agency within the structures they dwell in and are shaped by. Through drama education and applied theatre practices, the affinity between the urban and its theatres is radically replaced by marginal spaces, boulevards and schools. As Guillermo Gómez-Peña suggests, the theatre has gone to the people to serve their local and immediate need for a means of holding the urban and the self so that both can be interrogated and re-imagined; so that the various dystopias of urban existence can be envisaged as places of urban solidarity and as utopias, at least, of the mind.

This book was originally published as a special issue of Research in Drama Education: The Journal of Applied Theatre and Performance.

Urban theatre can be described as theatre made with or by those whose lives are marked by the urban landscape and its social limits and possibilities. At the heart of this text lies the question of how theatre can illuminate the urban and how theatre is illuminated by the urban. The city, like a play, is a space where everything adopts multiple meanings. It is an objective thought and a subjective experience, a charged and symbolic thing, as well as a real, material, lived reality.

The chapters in this book illustrate the theatre’s uncanny ability to narrate and symbolize the physical and psychic space of the city. Running through all of the pieces presented are the themes of power and of young people’s sense of agency within the structures they dwell in and are shaped by. Through drama education and applied theatre practices, the affinity between the urban and its theatres is radically replaced by marginal spaces, boulevards and schools. As Guillermo Gómez-Peña suggests, the theatre has gone to the people to serve their local and immediate need for a means of holding the urban and the self so that both can be interrogated and re-imagined; so that the various dystopias of urban existence can be envisaged as places of urban solidarity and as utopias, at least, of the mind.

This book was originally published as a special issue of Research in Drama Education: The Journal of Applied Theatre and Performance.

‘I know of no more useful and enthusiastic book about what drama teaching is all about than this one.’ – The Use of English

This third edition of Beginning Drama 11–14 has been fully updated and revised to reflect the new Secondary Curriculum and its emphasis on life long and life wide learning. It explores the roles, skills and knowledge needed to become an effective drama teacher and proposes practical ways for teachers to energise drama in the new Key Stage 3 curriculum.

Written by a leading authority in the field for trainee and experienced teachers, the book provides practical advice and guidance on teaching the Key Stage 3 drama curriculum along with lesson plans for teachers to use. There are new sections on the assessment of pupils’ performances and ensemble based learning to show how drama can deliver the key personal and social aims of the curriculum as well as a detailed analysis of an exemplar scheme of work for Key Stage 3.

This informative guide to Drama and Theatre Education at Key Stage 3 is based in best and next practice and essential for teachers interested in developing a broad and successful drama programme in school.