Titlebook: Creativityin Theatre; Theory and Action in Suzanne Burgoyne Book 2018 Springer International Publishing AG, part of Springer Nature 2018 Ed

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,Zusammenfassung und Schlu?folgerungen,igh Learn 46:20–23, .); yet higher education often uses transmission focused forms of education like lectures and tests. Recent research on embodiment in sociology, philosophy and cognitive sciences suggests conceptual linkages between embodied ways of knowing, lived experiences and creativity. This

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more inclusive creative classroom. Traditional and accepted methods of theatrical education (specifically actor training) rely on principles and constructs that favor extroverted students in their design. The current training practices ask introverted students to perform in extroverted ways that may

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). We should also be teaching the creative process and its value in solving a myriad of problems. These are distinct and separate ends to our teaching. By being transparent about the creative process that underlies acting and design work, and encouraging students to use that creative process in a va

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d educational community that manifested themselves within an international, ethnographic study of youth civic engagement and theatre. Over the course of two years of observation and 45 individual and focus group interviews in one Toronto high school, we witnessed a sophisticated and novel voicing of

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stion is that these opportunities of ‘being other,’ of reflecting on one’s identity in the social world, are facilitated by experiences of being in role in the safety of settings that are an important part of drama in education. It is in drama lessons the techniques and practices of being in role ar