Dorothy Heathcote: Drama as a learning medium. Drama-based foreign language learning: Encounters between self and others. Structure and spontaneity: The process drama of Cecily O’Neill. The Passionate Mind of Maxine Greene: I “Am–Not Yet” (pp. ![]() Signifying self: Re-presentations of the double-consciousness in the work of Maxine Greene. Byrnes (Ed.), Advanced language learning: The contribution of Halliday and Vygotsky (pp. Languaging, agency and collaboration in advanced second language proficiency. Performance studies: An introduction (3rd ed.). Dubuque, Iowa: Kendall/Hunt Publishing Company. Improvising real life: Personal story in playback theatre. ![]() The epiphany in process drama and language learning. Pretending to learn: Teaching drama in the primary and middle years. The process of drama: Negotiating art and meaning. Dorothy Heathcote on education and drama: Essential writings. Drama worlds: A framework for process drama. Playing in the margins of meaning: The ritual aesthetic in community performance. Anthropology & Education Quarterly, 26(4), 410–424. From aesthetics to psychology: Notes on Vygotsky’s “Psychology of Art”. Words into worlds: Learning a second language through process drama. The presentation of self in everyday life. Playback theatre: Inciting dialogue and building community through personal story. Perezhivanie and the experience of drama, metaxis and meaning making. Montreal: McGill-Queen’s University Press.ĭavis, S. The Journal of the Queensland Association for Drama in Education: Drama Queensland Says, 29(2), 19–21.Ĭourtney, R. Research in Drama Education: The Journal of Applied Theatre and Performance, 8(2), 171–181.īundy, P., & Dunn, J. Aesthetic engagement in the drama process. Dramatic tension: Towards an understanding of ‘tension of intimacy’. Brecht on theatre: The development of an aesthetic. Putting process drama into action: The dynamics of practice. London: David Fulton.īowell, P., & Heap, B. The rainbow of desire: The Boal method of theatre and therapy. ![]() New York: Theatre Communications Group.īoal, A. Østern (Eds.), Playing Betwixt and Between: The IDEA dialogues 2001 (pp. Myth and metaxy, and the myth of ‘metaxis’. More often presented in movies and television than in live theater, popular examples of docudramas include the movies Apollo 13 and 12 Years a Slave, based on the autobiography written by Solomon Northup.Adžović, N. Docudrama: A relatively new genre, docudramas are dramatic portrayals of historic events or non-fictional situations.The decidedly tragic La Bohème, by Giacomo Puccini, and the bawdy comedy Falstaff, by Giuseppe Verdi are classic examples of opera. Since characters express their feelings and intentions through song rather than dialogue, performers must be both skilled actors and singers. Opera: This versatile genre of drama combines theater, dialogue, music, and dance to tell grand stories of tragedy or comedy.Sometimes called “tearjerkers,” examples of melodramas include the play The Glass Menagerie by Tennessee Williams and the classic movie of love during the Civil War, Gone With the Wind, based on Margaret Mitchell’s novel. Melodrama: An exaggerated form of drama, melodramas depict classic one-dimensional characters such as heroes, heroines, and villains dealing with sensational, romantic, and often perilous situations. ![]() Examples of farce include the play Waiting for Godot by Samuel Beckett and the hit 1980 movie Airplane!, written by Jim Abrahams. Farce: Featuring exaggerated or absurd forms of comedy, a farce is a nonsensical genre of drama in which characters intentionally overact and engage in slapstick or physical humor.Rarely enjoying happy endings, characters in tragedies, like Shakespeare's Hamlet, are often burdened by tragic character flaws that ultimately lead to their demise. Tragedy: Based on darker themes, tragedies portray serious subjects like death, disaster, and human suffering in a dignified and thought-provoking way.Comedy can also be sarcastic in nature, poking fun at serious topics. There are also several sub-genres of comedy, including romantic comedy, sentimental comedy, a comedy of manners, and tragic comedy-plays in which the characters take on tragedy with humor in bringing serious situations to happy endings. Comedies place offbeat characters in unusual situations causing them to do and say funny things. Comedy: Lighter in tone, comedies are intended to make the audience laugh and usually come to a happy ending.
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