Drama and improvisation.

Incluye cincuenta y seis actividades para clase que requieren una preparación mínima, que van desde la más corta y menos exigente hasta actividades más largas y complejas y que culminan en una serie de sketches dramáticos o esbozos de dibujos. Este recurso se ha concebido para animar las clases de inglés con actividades de teatro que activen la imaginación y la creatividad de los estudiantes.

Drama.

Presenta consejos prácticos sobre cómo utilizar el teatro en el aula de ELT (English language teaching) para el aprendizaje de la comunicación oral; para enseñar literatura, para mejorar la pronunciación y aumentar la confianza del alumno en el inglés hablado. Ofrece ideas originales y pautas realistas para la creación de un proyecto teatral a gran escala, desde las improvisaciones iniciales hasta la representación final.

La práctica de la educación dramática : un ejemplo y análisis cultural de aprendizaje y enseñanza en una clase de drama de secundaria.

Resumen tomado del autor. Resumen en castelllano e inglés

El drama de nacer en Katowice.

Programa emitido el 8 de marzo de 1996

Drama y teatro. La presentación de una pieza teatral en clase de E-LE : 'El Generalito', de Jorge Díaz.

Memoria de tesis doctoral (Universidad de Salamanca, 2006). Resumen basado en el de la publicación

El drama de los científicos atómicos.

Se repasa la situación histórica de los físicos nucleares desde principios del siglo XX hasta la aparición de la guerra fría, el espionaje atómico y la carrera de armamentos entre las dos superpotencias, Estados Unidos y la Unión Soviética. Se describen algunas de estos descubrimientos, sus efectos destructores sobre la humanidad y el papel desarrollado por los científicos, a nivel ético y político, conscientes de las terribles consecuencias ocasionadas por la utilización de la energía atómica, todo ello en el marco de este agitado período histórico.

Oralidad, drama y diversidad.

Resumen basado en el de la publicación

El drama y la oralidad.

El artículo pertenece a una sección de la revista dedicada a propuestas didácticas. - Material fotocopiable. - A modo de anexo se incluyen las fichas de las actividades propuestas. - Resumen tomado parcialmente de la revista.

Drama y transformación : su metodología y práctica educativa.

Resumen basado en el de la publicación

[Ressenya del llibre] Fernando Collantes Gutiérrez. El declive demográfico de la montaña española (1850-2000) : ¿Un drama rural? . Madrid, Ministerio de Agricultura, Pesca y Alimentación, 2004, 364 pp.

Comentari del llibre de Fernando Collantes Gutiérrez, 'El declive demográfico de la montaña española (1850-2000) : ¿Un drama rural?', publicat l'any 2004 pel Ministerio de Agricultura, Pesca y Alimentación

A matter of fundamentals : sound and silence in the radio drama of Samuel Beckett

Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.

Patterns of text layout in Pompeian verse inscriptions

This article explores patterns of formal text layout of the metrical graffiti of Pompeii. After a brief discussion of the importance of formal text layout for linguistic research in general (and its relevance for poetic texts), a representative sample of poetic graffiti is discussed and analysed in detail. It is argued, then, that nature of the surface and sentence structure in particular can take precedence over the ‘default solution’ (coincidence of verse and line structures).

Too much information? : Drama teachers’ perceptions of the value of subject knowledge

This paper reports on research into what drama teachers consider they really need to know as drama specialists. In the first instance the very concept of knowledge is discussed as it pertains to education in the arts as is the current situation in England regarding the extent to which new drama teachers’ subject specialist knowledge has been formally accredited and what the implications of this may be to an evolving curriculum. The research itself initially involved using a questionnaire to investigate the way in which drama teachers prioritised different aspects of professional knowledge. Results of this survey were deemed surprising enough to warrant further investigation through the use of interviews and a multiple-sorting exercise which revealed why the participants prioritised in the way they did. Informed by the work of Bourdieu, Foucault and Kelly, a model is proposed which may help explain the tensions experienced by drama teachers as they try to balance and prioritise different aspects of professional knowledge.

Resilience or resistance? The value of subject knowledge for drama teachers

This paper reports on research undertaken by the author into what secondary school drama teachers think they need to possess in terms of subject knowledge in order to operate effectively as subject specialists. ‘Subject knowledge’ is regarded as being multi faceted and the paper reports on how drama teachers prioritise its different aspects. A discussion of what ‘subject knowledge’ may be seen to encompass reveals interesting tensions between aspects of professional knowledge that are prescribed by statutory dictate and local context, and those that are valued by individual teachers and are manifest in their construction of a professional identity. The paper proposes that making judgements that associate propositional and substantive knowledge with traditionally held academic values as ‘bad’ or ‘irrelevant’ to drama education, and what Foucault has coined as ‘subjugated knowledge’ (i.e. local, vernacular, enactive knowledge that eludes inscription) as ‘good’ and more apposite to the work of all those involved in drama education, fails to reflect the complex matrices of values that specialists appear to hold. While the reported research focused on secondary school drama teachers in England, Bourdieu’s conception of field and habitus is invoked to suggest a model which recognises how drama educators more generally may construct a professional identity that necessarily balances personal interests and beliefs with externally imposed demands.

Training drama teachers: a perspective from England

In England, drama is embedded into the National Curriculum as a part of the programmes of study for the subject of English. This means that all children aged between 5 - 16 in state funded schools have an entitlement to be taught some aspects of the subject. While the manifestation of drama in primary schools is diverse, in a great many schools for students aged between 11 – 19, drama and theatre art is taught as a discrete subject in the same way that the visual arts and music are. Students may opt for public examination courses in the subject at ages 16 and 18. In order to satisfy the specifications laid down for such examinations many schools recognise the need for specialist teachers and indeed specialist teaching rooms and equipment. This chapter outlines how drama is taught in secondary schools in England (there being subtle variations in the education systems in the other countries that make up the United Kingdom) and the theories that underpin drama’s place in the curriculum as a subject in its own right and as a vehicle for delivering other aspects of the prescribed curriculum are discussed. The paper goes on to review the way in which drama is taught articulates with the requirements and current initiatives laid down by the government. Given this context, the chapter moves on to explore what specialist subject and pedagogical knowledge secondary school drama teachers need. Furthermore, consideration is made of the tensions that may be seen to exist between the way drama teachers perceive their own identity as subject specialists and the restrictions and demands placed upon them by the education system within which they work. An insight into the backgrounds of those who become drama teachers in England is provided and the reasons for choosing such a career and the expectations and concerns that underpin their training are identified and analysed.