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

史前

https://doi.org/10.1007/978-3-642-93560-2oment teacher behavior to create a more creative learning environment. Once improved, these skills lead to more trusting, collaborative, and creative classrooms that foster creative ideation instead of causing students to feel shamed or judged and therefore stop contributing and creating.

clarify

CLASH

hat collective narrative creative practices (including verbatim theatre and oral history performance), relationality, critical dialogue and performative/playful skill-building enact in a creative and resilient expansion of the quotidian lives of youth. We conclude by gesturing towards a theory of youth selfhood and creativity.

Headstrong

teaching. This argument becomes all the more important when we consider the fact that drama has been marginalized in the English secondary school thus denying young people access to what can be some of the most formative experiences of their educational careers.

切割

nstraints, and feedback interactions, including those that are individual and collective, fast and slow. The importance of immediate and embodied feedback as well as feedback that is more individual and reflective is characteristic of and integral to the development of dramatic work.

jaundiced