Titlebook: New Directions in Teaching Theatre Arts; Anne Fliotsos,Gail S. Medford Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Thea

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incredulity

Teaching Critical Writing in the World Theatre Course: WAC Pedagogy and the Scaffolded Research Paper. Next, we discuss three different case studies to exhibit the usefulness of scaffolded design for three unique student types, before turning our attention to the benefits of the scaffolded process. We conclude by describing our assessment tools and the rationale behind these grading methods, along

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The Intracultural Actor: Embracing Difference in Theatre Arts Teachingerefore be wielded as an exclusionary device against students of diverse identities and diasporic heritages. The second section introduces an intracultural training practice: it first summarizes the ideas that have informed the development of our practice, and then sets out its main principles. In t

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The Entrepreneurial Actor: A Study of Training Programs in Anglophone Countries Abroadting personal interviews. The assembled research suggests an entrepreneurial approach is necessary for preparing actors for the current job market. As such, among the best practices gleaned from the case studies are a curricular structure for student-led projects as well as comprehensive training in

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Learning Theatre from Childrenn Helane Rosenberg’s operationalized theory of imagination in practice, effective dramas emerge from five principles: (1) a strong, unifying, thematic or metaphoric image through which individuals (2) demonstrate metacognitive abilities (3) with uncommon originality (4) while working dynamically as

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Generating Ethics and Social Justice in Applied Theatre Curriculaleave school as effective, skilled, ethical practitioners in order to grow the field responsibly. A designated course in applied theatre ethics is the only way to assure that ethics get covered in enough depth to be fully understood; a piecemeal, class-by-class approach will be incomplete. The secon

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