M USIC AND PERFORM ING ARTS PROFESSIONS
Program in Educational Theatre
Theory of Creative Drama
Fall 2012
MAET-UE 1065 / MPAET-GE 2065 Section 001
Tuesdays 4:55 – 6:35 PM
Room: Bobst LL143
Instructor: Jonathan Jones
Email: [email protected]
Course Description
This course investigates theoretical underpinnings of creative drama and a pluralistic approach to
planning. Additionally, students will look at a few major theorists and their contributions to the
field of educational theatre. Through this examination, the class provides a practical and
theoretical introduction to several of the theories and techniques powering creative drama work in
educational theatre.
Course Objectives
1. To develop understandings of the theoretical underpinnings of dramatic activities and
techniques.
2. To gain an understanding of theorists in the field of creative drama and an ability to
speak knowledgably about their theories.
3. To learn to communicate about drama techniques effectively in the teaching/learning
process, finding the intersection of theory and practice.
4. To gain a better understanding of the importance of reflection and post-activity
processing.
5. To explore how to effectively structure drama lesson plans based on the New York
State learning standards and New York City learning strands.
6. To generate a collection of strategies and techniques that can be used in the
classroom and to present those strategies and techniques in an individual handbook.
Required Texts
Johnston, K. (1987). Impro: Improvisation and the Theatre. London: Routledge
McCaslin, N. (2006). Creative Drama in the Classroom and Beyond (8th ed.). New York: Pearson
Assessment
Attendance and Participation: The work in this course will be based upon a learning community
model in which collaboration, openness, and respect are of prime importance. The class demands
a spirit of commitment to exploration and collaboration with the instructor and colleagues. It also
requires attendance and participation in weekly class meetings. Because the course only meets
once a week, attendance at all class meetings and promptness are mandatory. More than one
Joseph and Violet Pless Hall Annex | 82 Washington Square East, 2 nd Floor | New York, New York 10003
212 998 5868 | [email protected] | www.steinhardt.nyu.edu/music/edtheatre
Theory of Creative Drama
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unexcused absence will adversely affect the participant’s final grade in the course. Official
university excused absences must be documented. If you know you will be missing class,
advance notification should be emailed to the instructor.
Readings and Blackboard: Weekly readings and discussion will be a major component of the
class. In recognition that some students express themselves better orally and/or experientially
while others prefer expressing themselves in writing, all three forms of response will be utilized
in this course. As such, every student will have the opportunity to express their thoughts and
questions in the form most comfortable for them while also practicing their skills in the areas less
comfortable. A good portion of each class meeting will be devoted to actively exploring the
readings for that week. In addition, students are required to post two short responses to the
week’s readings (100-250 words) on our Blackboard site (for a total of 24 posts). Responses may
take up any ideas brought out by the readings and the class discussions, but must show depth of
thought and thorough reading of the material. You will post an initial post and you will respond
to someone else’s post. All initial posts must be completed by Monday at 5PM so students have
an opportunity to read and respond to the initial post before class the following day.
Presentations: Working with a partner, each week there will be a presentation based on the
required reading. The presentation can take the shape of whatever you may choose, be it a formal
PowerPoint, a clever scene, a structured lecture, or whatever creative endeavor you come up with.
The requirements are that the presentation last for 30 minutes. The purpose of the presentation is
to illuminate key aspects of the week’s readings, deepen the understanding of the text and engage
your classmates in purposeful discussions about the topic. Be creative and have fun with it!
Ideally, you should provide some overview of the readings as well as a demonstration activity
that will show how that topic could be addressed in the classroom. Questions, concerns, and
suggestions for additional research information should be addressed to me via email at least a
week in advance of your scheduled presentation. If you will need to use a projector, DVD or
other A/V device, you must notify me in advance so I can put in an equipment request. Each
student will be responsible for TWO presentations. You must submit your plans to the instructor
via email at least 24 hours in advance so that the instructor’s plans do not overlap with that of the
presenters.
Creative Drama Handbook: You will be responsible for creating an individualized handbook that
outlines strategies and techniques that can be used in the classroom. Your Creative Drama
Handbook must include the following sections:
• Table of contents
• Eight Sections Culled from the Twelve Content Classes – these sections should briefly
introduce and describe the topic (a paragraph is sufficient) and should be followed by one
or more sample activities demonstrating how that topic could be broached in a classroom.
You may utilize the presentation activities you or your classmates prepared or include an
activity that the instructor demonstrated provided that you provide clear attribution for
the activity or you may detail an activity not demonstrated in the course
• Two Lesson Plans, each dealing with a different topic
Other sections may be included in the handbook at your own discretion based on your individual
interests and discoveries in the course. The handbook should present a “picture” of what you have
learned as an educator through this experience. Please note that handbooks may be constructed
online as well.
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th
Handbooks will be due in class on December 4 for an informal sharing. They will be
returned at the last class session on December 11th
Administration
Late assignments will not be accepted unless negotiated and cleared in writing with the instructor
in advance of the due date, and otherwise will be penalized.
Duplicate copies of all written assignments must be kept by all students.
Email and Blackboard
Each student must have an active NYU email account that they check on a regular basis. This is
the easiest way for me to communicate with you regarding last minute changes and for you to
contact me regarding questions and concerns about the coursework. I have established a
Blackboard account for the course, and will use this for communication and to post important
documents related to the course.
Do You Have Any Particular Needs?
Please let me know if there is anything I should be aware of regarding you and a particular need
or characteristic, such as a medical condition, an early pregnancy, a sensory or hidden disability,
etc. that may influence our interactions, your participation, or your personal well-being. I want to
make the course as inclusive as possible, so I’d appreciate your communication to keep me
informed about you. This disclosure is optional or, if you wish, only for selected individuals.
Any student attending NYU who needs an accommodation due to a chronic, psychological,
visual, mobility and/or learning disability, or is Deaf or Hard of Hearing should register with the
Moses Center for Students with Disabilities at 212 998-4980, 726 Broadway, 2nd Floor,
www.nyu.edu/csd.
Open Door Policy
It is my intention to create a safe environment and a comfortable learning community for
everyone in the class. If at any time you feel unsafe or uncomfortable, please feel free to address
these issues with the instructor.
Academic Honesty
You are responsible for knowing the University’s issued standards of academic honesty outlined
in the student handbook. While the nature of this course demands that you discuss ideas and
opinions with fellow participants, your writing and other individual work must be something that
you do on your own.
The standard penalty for academic dishonesty consists of an automatic “F” for the course
and notification of campus authorities.
Theory of Creative Drama
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Proposed Course Outline (subject to change)
9/4
Introduction: What is Creative Drama?
9/11
Imagination and Creativity
Reading:
McCaslin, Chapters 1 and 2 (pages 3 – 38)
Nachmanovitch, Free Play, Introduction (pages 4-13)
9/18
Play, Movement, and Rhythms
Reading:
McCaslin, Chapters 3 and 4 (pages 39 – 70)
Boal, Games for Actors and Non-actors (pages 92 – 114)
9/25
Pantomime and Lesson Planning
Reading:
McCaslin, Chapter 5 (pages 71 – 87)
Polsky, Let’s Improvise (pages 127 – 136)
10/2
Improvisation
Reading:
McCaslin, Chapter 6 (pages 88 – 108)
Johnstone, Impro (pages 75 – 108)
**Lesson Plan #1 Due
10/9
Puppetry and Mask Making
Reading:
McCaslin, Chapter 7 (pages 109 – 141)
Engelsman and Engelsman, Theatre Arts 2 (pages 105 – 129)
Johnstone, Impro (pages 143 – 208)
10/16 No Class / University Holiday
10/23 Dramatic Structure
Reading:
McCaslin, Chapters 8 and 9 (pages 142 – 192)
Johnstone, Impro (pages 109 – 142)
10/30 Poetry and Other Possibilities
Reading:
McCaslin, Chapters 10 and 11 (pages 193 – 224)
Saldaña, Ethnodrama (pages 1 – 33)
11/6
Performance
Reading:
Viewing:
McCaslin, Chapters 16, 18, and 20 (pages 303 – 324, 336 – 354, and 372
– 381)
Swartz, Theatre for Young People: Does It Matter?
Salvation Road***
**Lesson Plan #2 Due
11/13 Storytelling
Reading:
Viewing:
McCaslin, Chapter 13 (pages 241 – 255)
Engelsman and Engelsman, Theatre Arts 2 (pages 15 – 48)
Storytelling**
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Syllabus Fall 2012
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11/20
Applied Theatre
Reading:
McCaslin, Chapters 17 and 19 (pages 325 – 335 and 355 – 371)
Swortzell, Trying to Like TIE
Taylor, Applied Theatre (pages 28 – 52)
11/27 Drama and Diversity
Readings:
McCaslin, Chapter 15 (pages 280 – 302)
Grady, Drama and Diversity, Preface and Chapter 1 (xi – xix and 1 – 21)
12/4
Drama as a Learning Medium
Readings:
McCaslin, Chapter 14 (pages 256 – 279)
Wagner, Dorothy Heathcote: Drama as a Learning Medium, Chapters 1
and 2 (pages 1 – 25)
Hodgson, Drama – At the Core of the Curriculum
**Handbook Due
12/11 Final Thoughts, Evaluation, and Assessment
Reading
McCaslin, Chapter 21 (pages 382 – 386)
McCaslin, Seeing the Aesthetics in Creative Drama
Morgan and Saxton, Teaching Drama (pages 189 – 214)
*
All supplemental Readings are available in PDF on Blackboard
**
The Storytelling events are free for students. You need to attend one. They are presented
at the Provincetown Playhouse at 133 MacDougal Street (Between West 3rd and West 4th)
The tentative schedule is:
Sunday, September 23 at 3pm
Sunday, October 21 at 3pm
Sunday, November 4 at 3pm
***
Salvation Road will be presented by the Program in Educational Theatre in the Blackbox
Theatre, Pless Hall, 82 Washington Square East. Student tickets are $5. Ticket must be
purchased through ticket central at www.nyu.edu/ticketcentral/calendar
The tentative performance schedule is as follows:
Friday, October 25 at 8pm
Saturday, October 26 at 8pm
Sunday, October 27 at 3pm
Friday, November 2 at 8pm
Saturday, November 3 at 8pm
Sunday, November 4 at 3pm
Theory of Creative Drama
Syllabus Fall 2012
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Assessment Breakdown
Attendance and Participation
15%
Criteria for Assessment
- Student came to class and participated in the day’s activities
Blackboard
30%
Criteria for Assessment
- Responses to the readings are posted weekly (24 posts)
-
Posts consist of 100 – 250 words
-
Posts thoughtfully probe the reading, articulating understanding and/or points that need
clarification
Presentations
30%
Criteria for Assessment
- Student engages classmates in their understanding of the reading
-
Student encourages discussion related to the reading
-
Student illuminates some aspect of the reading
Handbook
Criteria for Assessment
25%
-
The handbook includes the three required elements listed in the course outline.
-
The handbook captures the student’s learning in the course.
-
The handbook includes examples of techniques introduced and modeled in the course.
-
The handbook is organized and presented so that it is useful for the creator, while also
accessible for an outside reader.
Grade Scale:
93% and up:
90-92%:
88-89%:
83-87%:
80-82%:
A
AB+
B
B-
78-79%:
73-77%:
70-72%:
68-69%:
63-67%:
62% and less:
Books to Explore:
Ackroyd, J. (2004). Role reconsidered. Sterling, VA: Trentham.
Bolton, G. (1984). Drama as education. Essex, England: Longman.
----- (1979). Towards a theory of drama in education. London: Longman.
Booth, D. (1984). Drama in the formative years. Ontario, Canada: Ministry of Education.
C+
C
CD+
D
F
Theory of Creative Drama
Syllabus Fall 2012
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Bowell, P.& Heap, C. (2004). Planning process drama. London: David Fulton.
Braverman, D. (2002). Playing a part: Drama and citizenship. Sterling, VA: Trentham Books.
Bridal, T. (2004). Exploring museum theatre. Alta Mira Press.
Brown, C. (1929). Creative drama in the lower school. New York: D. Appleton-Century Company.
Byron, K. (1986). Drama in the English classroom. London: Methuen.
Duke, C. R. (1974). Creative dramatics and English teaching. Urbana, IL: National Council of Teachers of English.
Durland, F. C. (1975). Creative dramatics for children (2nd ed.). Kent State University Press.
Fennessey, S.M. (2000). History in the spotlight: Creative drama and theatre practices for the social studies
classroom. Portsmouth, NH: Heinemann.
Freire, Paulo. (2000). Pedagogy of the oppressed. New York: The Continuum
International Publishing Group, Inc.
Grady, S. (2000). Drama and diversity. Portsmouth, NH: Heinemann.
Hayes, J. F., & Schindel, D. N. (1994). Pioneer journeys: Drama in museum education. New Plays Books.
Heathcote, D. & Bolton, G. (1999). So you want to use role play?: A new approach in how to plan. Stoke-on-Trent,
England: Trentham.
-------- (1995). Drama for learning. Portsmouth, NH: Heinemann.
Heathcote, D., Johnson, & O’Neill, C. (1984). Dorothy Heathcote: Collected writings on education and drama.
London: Hutchinson.
Heinig, R. B. (1993). Creative drama for the classroom teacher (4th ed.). Englewood Cliffs, NJ: Prentice-Hall, Inc.
Hughes, C. (1998). Museum theatre: Communicating with visitors through drama. Portsmouth, NH: Heinemann.
Hulson, M. (2006). Schemes for classroom drama. Sterling, VA: Trentham.
Hutson, N. (1968). Stage: A handbook for teachers of creative dramatics. Stevensville, MI: Educational Service, Inc.
Lazarus, J. (2004) Signs of Change: New Directions in Secondary Theatre Education. Portsmouth, NH: Heinemann,
2004.
Lement, W. & Dunakin, B. (2005). And justice for some: Exploring American justice through drama and theatre.
Portsmouth, NH: Heinemann.
Linnell, R. (1982). Approaching classroom drama. London: Arnold.
Manley, A. & O'Neill, C. (eds) (1997). Dreamseekers. Portsmouth, NH: Heinemann.
McCaslin, N. (1999). Children and drama, (3rd ed.). Studio City, CA: Players Press.
----- (1987). Creative drama in the primary grades: A handbook for teachers. New York: Longman.
------ (1987). Creative drama for intermediate grades. New York: Longman.
Morgan, N. and Saxton, J. (1986). Teaching drama. London: Heinemann.
---------. (1991). Teaching, questioning and learning. London: Routledge.
Theory of Creative Drama
Syllabus Fall 2012
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Morton, B.K. (1973). Creative drama – A visit to a class. The English Journal, 62(4), p. 622-627.
Neelands, J. (1984). Making sense of drama. London: Heinemann.
Nelson, L. & Finneran, L. (2006). Drama and the adolescent journey. Portsmouth, NH: Heinemann.
Nighbert, E. (1986). Learning through creative dramatics. East Aurora, NY: D.O.K. Publishers.
O’Neill, C. (1995). Drama worlds. Portsmouth, NH: Heinemann.
O'Neill, C. & Lambert, A. (1982). Drama structures. Portsmouth, NH: Heinemann.
O’Toole, J. & Dunn, J. (2002). Pretending to learn: Helping children learn through drama. London: Longman
O'Toole, J. (1992). The process of drama. England: Routledge.
Platzer, K.H. (1935). A technique in creative dramatics. The English Journal, 24(4), p. 307-310.
Podlozny, A. (2000). Strengthening verbal skills through the use of classroom drama: A clear link. Journal of Aesthetic
Education, 34(3/4), 239-275.
Ressler, P. (2002). Dramatic changes: Talking about sexual orientation and gender identity with high school students.
Portsmouth, NH: Heinemann.
Saldana, J. (1995). Drama of color: Improvisation with multiethnic folklore. Portsmouth, NH: Heinemann.
Schneider, J., Crumpler, T. & Rogers, T.(eds) (2006). Process drama and multiple literacies. Portsmouth, NH:
Heinemann.
Siegel, G.B. (1977). Junior high/middle school workshop: Creative drama in the junior high. The English Journal,
66(1, Resources for 1977), 110-112.
Siks, G. B. & Dunnington, H.B. (Eds.) (1961). Children’s theatre and creative dramatics. Seattle, WA: University of
Washington Press.
Siks, G. B. (1965). An appraisal of creative dramatics. Educational Theatre Journal, 17(4), PP. 328-334.
------. (1958). Creative dramatics: An art for children. New York: Harper and Brothers. (Note—chapter 6 is
comprehensive on creating drama with children)
Spolin, V., Sills, C.B., & Sills, P. (1999). Improvisation for the theater: A handbook of teaching and directing
techniques (3rd ed.). Evanston: Northwestern University Press.
Spolin, V. (1986). Theater games for the classroom: A teacher’s handbook. Evanston, IL: Northwestern University
Press.
Taylor, P. & Warner, C. D. (Eds.) (2006). Structure and spontaneity: The process drama of Cecily O’Neill. Sterling,
VA: Trentham.
Taylor, P. (2000). The drama classroom: Action, reflection, transformation. New York: Routledge/Falmer.
------. (1998). Redcoats and patriots: Reflective practice in drama and social studies. Portsmouth, NH: Heinemann,
1998.
Wagner, B. J. (1999). Dorothy Heathcote: Drama as a learning medium. Portsmouth, NH: Heinemann.
Ward, W.L. (1930). Creative dramatics. New York: D. Appleton-Century Company.
Way, B. (1998). Development through drama. Amherst, NY: Humanity Books.
Woodson, S.E. (1999). (Re)conceiving 'Creative Drama': an exploration and expansion of American metaphorical
paradigms. Research in Drama Education, 4(2), 201-214.