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Academic literature on the topic 'Secondary theatre curriculum'
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Journal articles on the topic "Secondary theatre curriculum"
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Thambu, Nadarajan, Mohamad Khairi Haji Othman, and Noor Banu Mahadir Naidu. "USING FORUM THEATRE TO DEVELOP VARIOUS LEVELS OF THINKING SKILLS AMONG MORAL EDUCATION STUDENTS IN SECONDARY SCHOOL." Malaysian Journal of Learning and Instruction 17, Number 2 (July 31, 2020): 167–94. http://dx.doi.org/10.32890/mjli2020.17.2.6.
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Purpose –The power of forum theatre in education and various other fields is well known by educators. However, the use of forum theatre in Malaysia, particularly in the field of moral education, is still limited. At the same time, the development of thinking skills is one of the aims of the Malaysian moral education curriculum. Therefore, this study examined the use of forum theatre as a pedagogical tool in developing various levels of thinking skills among moral education students. Method –The study adopted a qualitative research design and was underpinned by Bloom’s revised taxonomy as the theoretical and analytical framework. A total of 14 moral education students participated in this study. Data were collected qualitatively using classroom observations, interviews, and journal writing. Thematic analysis was utilized to analyse and present the findings. Findings –The findings revealed that various theatrical activities that underpinned the four elements of forum theatre: (i) writing a script, (ii) delivering a dialogue in an anti-model play, (iii) discussion and decision-making in a forum session, and (iv) improvisation in an intervention play, show the development of students’ thinking skills at the level of analysing, evaluating and creating. Therefore, this study suggests that forum theatre can be used in moral education pedagogy to enhance higher order thinking skills. Significance – Meaningful instructional pedagogy must inspire thinking skills to foster creativity and innovation among students. This is considered an important skill in 21st century learning. Hence, these findings are beneficial for teachers, lecturers, parents and instructional designers who wish to plan and implement suitable teaching methods such as forum theatre to empower and improve students’ thinking skill levels.
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Prendergast, Monica, and Robyn Shenfield. "From theatre to performance studies: collaborating on curriculum change with secondary level dramatic arts teachers." Research in Drama Education: The Journal of Applied Theatre and Performance 24, no. 2 (December 5, 2018): 118–32. http://dx.doi.org/10.1080/13569783.2018.1551127.
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Et.al, Nadarajan Thambu. "Using Forum Theatre to Develop Various Levels of Thinking Skills among Moral Education Students in Secondary School." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 01–13. http://dx.doi.org/10.17762/turcomat.v12i3.454.
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Purpose –The power of forum theatre in education and various field is well known by educators. However, the use of forum theatre in Malaysia, particularly in the field of moral education, is still lacking and limited. At the same time, the development of thinking skills is one of the aims of the moral education curriculum in Malaysia. Therefore, the purpose of this study was to examine the use of forum theatre as a pedagogical tool in developing various levels of thinking skills among moral education students.
Method –This study adopted a qualitative research design and was underpinned by Bloom’s revised taxonomy as the theoretical and analytical framework. A total of 14 moral education students participated in this study. Data were collected qualitatively using classroom observation, interviews, and journal writing. Thematic analysis was utilized to analyse and present the findings.
Findings –The findings of this study reveal that various theatrical activities that underpinned the four elements of forum theatre-(i) writing a script, (ii) delivering a dialogue in an anti-model play, (iii) discussion and decision-making in a forum session, and (iv) improvisation in an intervention play-show the development of students’thinking skill level such as analysing, evaluating, and creating skills. Therefore, this study suggests that forum theatre can be used in moral education pedagogy to enhance higher order thinking skills (HOTS).
Significance –Meaningful instructional pedagogy must inspire thinking skills to foster creativity and innovation among students. This is considered an important skill in 21st century learning. Therefore, these findings are beneficial for teachers, lecturers, parents, and instructional designers to plan and implement suitable teaching methods such as forum theatre to empower and improve students’ thinking skill levels.
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Ogbonna, Kelechi Stellamaris. "Youth Education and Intercultural Interaction as Panacea to Ethnic Conflict: Theatre to the Rescue." International Journal of Pedagogy, Innovation and New Technologies 7, no. 2 (December 30, 2020): 98–106. http://dx.doi.org/10.5604/01.3001.0014.6877.
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It is obvious that broad world view provided by education can douse tension, discrimination, reduce hate speech and minimize aggression. Education is a weapon of mass instruction and has been powerful enough to push ignorance to the background. More so, it has become a prime function of education to illuminate the world with ideas and in its nature to unite the world through inventions and technological developments. Arguably, education has also introduced strange norms and vices especially among youth circles. But, because habits are hard to modify, the onus falls on the theatre that thrives on burlesques, parody, polar attitudes and modification of character to use the stage effectively for correction and preservation. Methodically, this paper x-rays selected theatre performances that have tried to reduce ethnic conflicts in Nigeria using the Fundamental Interpersonal Relations Orientation (FIRO) as theoretical backings. Through role playing on stage and in the classroom, the paper redirects the attention of the youth and government towards reorientation and sustainable values. The findings reveal that theatre has the capacity to influence minds and can engineer behavioral change which by extension ensures peaceful co-existence and sustainable developments. Thus, the paper recommends that History, Culture and Youth Education be incorporated in the secondary school curriculum. Also, if theatre performances with topical themes are sponsored for the benefit of the youths, it will increase tolerance. The research concludes that performing youth education in the classroom, at grass root level and public spaces will subtly promote nation building and integration.
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Schildmeier, Marvin. "Of Empathy, Imagination and Good Gloves." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (January 1, 2016): 89–106. http://dx.doi.org/10.33178/scenario.10.1.7.
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From the moment I first stepped in the door to our seminar room I was aware that I was a foreigner here. That was not just due to the fact that I had set out from my familiar Hannover on an Erasmus semester at University College Cork, but rather particularly due to the fact that in choosing the course Drama and Theatre of the 20th and 21st Century, I set foot in hitherto untested territory. As far as theatre and the performing arts were concerned, I was, in fact, a blank page. My stage experience was limited to playing Joseph in the Christmas nativity play, the canon of plays which I had read to those which were a part of the core curriculum in secondary school. I was a foreigner. The mental image of going up on stage made me feel uneasy and at moments when eyes were focused on me, I had the feeling that I could no longer properly control my body language. However, as you must sometimes set yourself new challenges, and as I thought that there could be no better point in time for such a peek outside the box than a semester abroad, in which ...
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Bałachowicz, Józefa. "School in need of repair. Values as everyday learning dimensions." Problemy Opiekuńczo-Wychowawcze 583, no. 8 (October 31, 2019): 3–16. http://dx.doi.org/10.5604/01.3001.0013.5753.
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The author of the article considers the causes of Polish school crisis paying particular attention to teaching practice. School diagnosis starts with interpretation of the theatre performance Mury I (Walls I) and Mury II (Walls II), presented by a secondary school students the day of grand opening of The Tenth All-Poland Pedagogical Forum. In pupils’ perception, school is transmissive, directed towards implementation of curriculum, standards and external measurement of learning effects, which causes strong pressures on pupils’ school performance. School builds up walls around young people’s development needs and using authority, doesn’t allow democratic values to enter its gates. Consequently, the author of the article poses the question about the purpose of educational reforms introduced after political-economic system transformation in Poland. The author also turns attention to commitment of academic pedagogy to form the foundation for humanistic, personalistic basis of education and to democratise education process. Nevertheless, the subsequent authority elites ignored axionormative basics of reforming education, sharpening the understanding of social change in economic terms. The change of school everyday life depends on many factors, but the author of the article reminds, that building teaching practice on values shapes both current and future human relations, which belongs to the principles of education.
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Blanco Martínez, Alfredo, and Mercedes González Sanmamed. "Aprender desde la perspectiva de las ecologías: una experiencia en Secundaria a través del teatro y de Tiktok." Educatio Siglo XXI 39, no. 2 (June 24, 2021): 169–90. http://dx.doi.org/10.6018/educatio.465551.
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El presente trabajo tiene por objeto analizar una experiencia didáctica e innovadora, y reflexionar sobre sus implicaciones en el marco de las ecologías de aprendizaje. Se describe cómo un docente de Secundaria, de la especialidad de Lengua castellana y Literatura, transforma y enriquece sus prácticas educativas y, al mismo tiempo, propicia nuevos formatos de aprendizaje de los estudiantes en escenarios alternativos al aula física. En este caso, cobran sentido y relevancia la utilización del teatro como herramienta potencialmente pedagógica, junto con la red social Tiktok, la cual se erige como un entorno virtual que ofrece nuevas oportunidades formativas. Para ello, se ha empleado una metodología cualitativa que, por medio de la observación y el análisis de documentos, ha posibilitado conocer en profundidad el objeto de estudio, la realidad educativa del fenómeno y sus implicaciones desde la perspectiva de las ecologías de aprendizaje. La exposición de los resultados pone de manifiesto, por un lado, el valor que adquieren los aprendizajes en la trayectoria de vida, tanto del docente como de los participantes, así como el impacto de la experiencia en sus identidades como formador y aprendices, respectivamente. Por otra parte, subraya la necesidad de incorporar a las aulas recursos de la sociedad de la información, como Tiktok, para facilitar experiencias de aprendizaje que estén en sintonía con las necesidades socioculturales de los individuos y que favorezcan el enriquecimiento de los currículos, posibilitando la formación integral y expandida a todos los niveles. This paper aims to analyse a didactic and innovative experience and to reflect on its implications within the frame of learning ecologies. We will be describing how a Spanish Language and Literature Secondary school teacher transforms and enriches his educational practices while fostering new learning formats outside the physical classroom. In this case, the use of theatre makes sense as a potentially pedagogical tool together with the social network TikTok, the latter becoming a virtual environment offering new educational opportunities. A qualitative methodology based on observation and document analysis was used for this purpose, allowing us to gain a deep understanding of the object of study, its educational reality and its implications from the perspective of learning ecologies. Results show the value of long-life learning experiences, both for the teacher and for the participants, together with the impact on their identities. There is an evident need to use ICT resources such as TikTok in the classroom. These resources may encourage learning experiences, consistent with the sociocultural needs of the individuals, fostering curriculum enrichment, and stimulating a comprehensive and expanded idea of education in all levels.
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Musneckienė, Edita. "Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture." Pedagogika 114, no. 2 (June 10, 2014): 167–79. http://dx.doi.org/10.15823/p.2014.014.
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This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.
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Musacchio, Gemma, Tiziana Lanza, and Giuliana D’Addezio. "An Experience of Science Theatre to Introduce Earth Interior and Natural Hazards to Children." Journal of Education and Learning 4, no. 4 (November 8, 2015): 80. http://dx.doi.org/10.5539/jel.v4n4p80.
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<p>The present paper describes an experience of science theatre addressed to children of primary and secondary school, with the main purpose of making them acquainted with a topic, the interior of the Earth, largely underestimated in compulsory school curricula worldwide. A not less important task was to encourage a positive attitude towards natural hazards that are here presented as an expression of our planet vitality. We conducted the experience with the help of a theatrical company specialized in shows for children, trying to merge scientific accuracy, entertainment and ethical issues. Several performances have been reiterated in different context, giving us the opportunity of conducting a preliminary survey with a public of different ages, skills and expectations. Results suggest that science theatre, while relying on creativity and emotional learning has the potential to raise children interest on the process of making science, on natural phenomena and may trigger a positive attitude on natural disasters reduction best practices.</p>
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Kwashabawa, Bala Bakwai. "ASSESSMENT OF THE ROLE OF SCHOOL COMMUNITY RELATIONSHIP IN THE DEVELOPMENT OF SECONDARY EDUCATION IN ZAMFARA STATE." Sokoto Educational Review 14, no. 1 (June 30, 2013): 11. http://dx.doi.org/10.35386/ser.v14i1.86.
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This study investigated the roles of school community relationship in the development of secondary education in Zamfara State. The population of the study consisted of all the principals, vice principals, teachers and PTA officials of the 89 senior secondary schools in Zamfara state. The research design adopted was descriptive survey and questionnaire was used in collecting data. Among the major findings of the study is that school community relationship is very significant in the development of secondary education in Zamfara State because it helps in the discipline of students, welfare of teachers, the planning of curriculum, information sharing and dissemination, provision of school facilities, finance, policies, security, management decision and in monitoring students' progress. It is also found resources which Zamfara State Senior Secondary classrooms, halls and lecture theatres, playgrounds, libraries, business centres, restaurants and/or canteens, furniture, parks and gardens and school farms. It is concluded that school community relationship plays a very significant role in the development of secondary education in Zamfara State. It is recommended that School principals should have some information about the composition of the community, what community opinion is regarding both broad educational issues and day to day operation of the school itself. And also school administrators should acquaint themselves with educational resources available in the community in order that they can be utilized to enrich and enhance the school
programmes.
Dissertations / Theses on the topic "Secondary theatre curriculum"
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Heald, Lorie Elizabeth. "Bridging the gap between dance and theatre: A physical approach to teaching theatre at a secondary level." Thesis, The University of Arizona, 1999. http://hdl.handle.net/10150/278689.
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The body has within it an intelligent force, a cognitive power, which deserves recognition. This cognitive power is defined in this thesis as physical cognition, a way of knowing, learning, and responding that occurs within the body and comes from the body. There is currently an imbalance in the relationship between mental and physical cognition in secondary education. This imbalance has permeated Western thought since Descartes claimed that the thinking being is separate from the bodily being. With requirements for physical education and fine arts at the bare minimum, there is a need for physical engagement in learning in secondary education. Offering a teaching model that includes movement, acting, and Anne Bogart's Viewpoints, this model provides a step by step plan for both teaching theatre from a physical perspective and developing physical cognition. It is through this integration of mind and body that education of the whole person begins.
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.
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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Rock, Jeana T. "Teaching Another Literacy Across the Curriculum." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1866.
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Advances in communication technology have allowed for new ways for high school teachers to incorporate these technologies into their classroom practice. However, most teachers are uninformed about media literacy pedagogy. This study investigated how using a collaborative professional development group influenced teachers' understanding and use of media literacy concepts in their current practice. A professional development group with teachers from different content areas met for five months to study the theory and methodology of media literacy. This collaborative group provided opportunities for teachers to develop and share analytical and productions skills in media literacy, as well as design lessons utilizing media literacy principles appropriate to each teacher's field of study in order to facilitate better student understanding and application of media literacy as well as discipline-specific knowledge and skills. Results indicate positive development for the participants in using media literacy in their current instruction if adequate time and technology resources are available and that professional development groups for teachers of various content areas are an effective way to introduce them to media literacy.
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Atkinson, Megan E. "Move, Interact, and Connect Personally Barter Theatre’s Project REAL Gets Implicit In Order To Learn." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2510.
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Body movement, hands-on activity, embodiment, social interaction, emotions, and self-reflection allow teaching artists of Barter’s Theatre’s Project REAL to conduct a lesson with an implicit learning experience as the focus. Barter Theatre’s Project REAL exists as a theatre for education program that collaborates with regular classroom teachers on delivering the curriculum through specific theatre exercises in order to connect the material personally to the students’ lives. Theatre tools provide a human experience that enhances learning for the student by use of kinesthetic movement, social learning, emotions and interpersonal skills. To understand the effects of Barter Theatre’s Project REAL, the director and teaching artists collected interviews with teachers, administrators, and students. Teaching artists also conducted pre and post assessments and end of the semester surveys with classes. This study aims to give insight to the results of Project REAL’s pedagogy as well as the strengths and weaknesses of the program.
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Soderbery, Celeste Koren. "The use of children's theatre as a tool for teaching environmental education." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2476.
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The play, Madagascar Mayhem, was devised as a means of developing ecological understanding about rain forest preservation and educating and expanding upon the use of drama as it relates to environmental education. By being involved in and learning about issues addressed in the play's content, students learned about how their actions may have a positive impact on rain forest preservation, the biodiversity of Madagascar, its agricultural loss and the movement to protect it.
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"The Theatrical Ties that Bind: An Examination of the Hidden Curriculum of Theatre Education." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17857.
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abstract: Examining the elements of the hidden curriculum in theatre education allows theatre educators the opportunity to reflect on their own pedagogy and its effects on the learner. The hidden curriculum refers to the unspoken or implicit values, norms, and beliefs that are transmitted through tacit messages. When the hidden curriculum remains veiled, the impact on the learner's education and socialization process can perpetuate gender, race, and class inequalities. In order to understand how the hidden curriculum manifests itself in theatre classrooms, we have to look at schools as "agents of legitimation, organized to produce and reproduce the dominant categories, values, and social relationships necessary for the maintenance of the larger society" (Giroux, 1983, p. 72). This qualitative study examined the hidden curriculum in theatre at the secondary level and looked at theatre teachers' pedagogy in reproducing elements of the hidden curriculum. Interviews, naturalistic observation, and a researcher reflective journal were employed in the data collection process to better understand: a) the elements of hidden curriculum that appear in theatre education at the secondary level, b) how the pedagogical practices of theatre teachers support societal structures, and c) how the hidden curriculum in theatre reinforces gender, race, and social class distinctions. Data were then coded and analyzed to find emergent themes. Multiple theoretical perspectives serve as a conceptual framework for understanding the hidden curriculum, and provide a neglected perspective of the hidden curriculum in theatre education. The theatre classroom provides a unique space to view hidden curriculum and can be viewed as a unique agent of social change. Themes related to the first research question emerged as: a) privileges for older students, b) school rules, c) respect for authority, d) acceptance of repetitive tasks, and c) punctuality. Themes related to the second research question emerged as: a) practices, b) procedures, c) rules, d) relationships, and e) structures. Finally, themes related to the third question emerged as: a) reinforcement of social inequality, b) perpetuation of class structure, and c) acceptance of social destiny. The discussion looks at the functions of theatre pedagogy in the reproduction of class, inequality, and institutionalized cultural norms.Dissertation/Thesis
Ph.D. Curriculum and Instruction 2013
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Halkopoulos, H. Elaine. "Participation by students in the senior class day show as part of the extra-curriculum at an urban high school: A case study." 1997. https://scholarworks.umass.edu/dissertations/AAI9721456.
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Disaffected students have an extra need for activities which bolster self-confidence, add to self-esteem, and address their sense of alienation from more advantaged students. Without on-going efforts to compensate for their perceived inadequacies they are likely to fail in career and educational goals. Urban high schools do not have staff and programs available to assist these students. Hope lies in extra-curricular programs which attempt to bridge the gap between needs of the students and lack of resources available to alleviate the problem. The Senior Class Day Show is a successful extra-curricular program which has benefited many students who feel otherwise alienated from the mainstream. This is a qualitative descriptive case study in which I, as a participant-observer of this yearly event, examined 161 secondary school student Show participants of the total defined population of 1,285 students involved in the Show from 1969-1992 concentrating on years 1987, 1989, and 1991. A triangular methodology was used including the following: (1) Attendance statistics from 157 (100%) secondary school student Show participants from three graduating classes were analyzed and compared with non-participants from the same years. (2) Survey results from 115 (73%) secondary school student Show participants of the same three graduating classes were collected immediately after the Show. These results were coded into six categories which were developed after an examination of all the surveys. (3) Open-ended interviews with four alumni who had been Show participants and selected to represented different classes, sexes and background were coded and excerpts were aligned with the six categories examined in the surveys. The data shows that the absence rate for participants decreased during the fourth quarter when students were actively preparing for the Show and the mean absence percentage rate for quarter 1-4 were found to be significantly lower for participants than for non-participants. Surveys from 115 student participants expressed six positive benefits attributed to their participation. The most significant benefits expressed by these students were (1) improved attendance; (2) sense of community or "Esprit de Corps;" (3) heightened self-esteem; (4) opportunity for self-expression, (5) a sense of accomplishment, and (6) the thought of theater as a career.
Books on the topic "Secondary theatre curriculum"
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Flynn, Rosalind M. Dramatizing the content with curriculum-based readers theatre, grades 6-12. Newark, DE: International Reading Association, 2007.
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O'Toole, John. Dramawise: An introduction to GCSE drama. London: Heinemann Educational, 1988.
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Ofsted. Inspecting post-16: Drama and theatre studies : with guidance on self-evaluation. London: Ofsted, 2001.
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Ofsted. Inspecting post-16: Drama and theatre studies : with guidance on self-evaluation. London: OFSTED, 2001.
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Lewis, Martin. Teaching Drama and Theatre in the Secondary School: Classroom Projects for an Integrated Curriculum. RoutledgeFalmer, 2005.
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Dramatizing the Content With Curriculum-based Readers Theatre, Grades 612. Intl Reading Assn, 2007.
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Watrous, Whitehead Jill, Iowa. Dept. of Education. Bureau of Instructional Services., Iowa Arts Council, and Alliance for Arts Education (Iowa), eds. Creating curriculum: A framework for drama/theatre for upper elementary-high school. Des Moines, Iowa: Bureau of Instructional Services, Iowa Dept. of Education, 2000.
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Anderson, Michael, and Colleen Roche, eds. The State of the Art. Sydney University Press, 2015. http://dx.doi.org/10.30722/sup.9781743320273.
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The State of the Art: Teaching Drama in the 21st Century presents cutting-edge scholarship from leading drama education in New South Wales. This collection features discussions that are directly relevant to drama teachers in primary and secondary schools, artists and theatre makers, drama education researchers and those interested in the relevance of arts and drama education in reforming the curriculum. The book reminds of the connection between practice and research in drama education, and reflects changes in curriculum and new areas of research on: playwriting improvisation and play building young people as audiences technology and drama education dialogue in drama education the opportunities for drama as a curriculum change event The scholarship assembled here reflects some of the best and most insightful reflections on how research can directly inform the transformation of learning and teaching.