Examines discourse patterns in playmaking to see if they differ from those found in more traditional settings. Indicates that playmaking can foster students' empathy, utilize their logic and creativity, and provide them with the experience of working in a group to a common end. (JD)

Discusses how David Booth's ability to elicit both commitment and authenticity in children's creation of improvised dramas distinguishes him as a teacher. Describes various phases and aspects of a drama lesson given to a group of fourth, fifth, and sixth graders that demonstrate his powerful teaching technique called "story-drama." (JD)

Describes and provides a list of materials for sensorimotor, symbolic, and construction play. Benefits of arranging the playground with a variety of materials are also discussed. (AS)

Describes a continuum of types of drama activities to be used in second language learning. Activities near the top end of the continuum are more suitable for teaching the forms of the target language; activities near the bottom end are more suitable for teaching the functions of the language. (SED)

Provides a framework for planning an approach to text through drama and describes a lesson plan using this approach with "Red Shift" by Dorothy Heathcote. (HOD)

Describes two teaching techniques for the foreign language classroom. The first involves the use of magazine pictures and simple drama techniques. The second, known as "task listening," asks students to listen only for certain things in a text and to carry out tasks such as completing maps, diaries, order forms, etc. (SED)

Describes the InQuest Procedure, which actively involves the reader or listener with narrative text through a combination of student questioning and spontaneous drama techniques. (FL)

Compares the classroom to the theatre and the teacher to an actor who assumes a role. Offers suggestions to use in developing both comparisons. (AEA)

Integration occurs when separate parts or elements are combined into a unified whole. This book focuses on classroom arts integration--equally incorporating skills in drama and reading comprehension into all lessons. Drama and reading comprehension share a multitude of authentic connections, including meaning making and interpretation. Each…

Based on the view that creative play and hands-on experiences are essential to the development of well-balanced children and that their teachers have the responsibility to create an environment that can stimulate children's senses and curiosity, this book provides activities incorporating the use of sand and water tables into the classroom on a…

Stresses the importance of creative dramatics in the language arts program, emphasizing the contribution drama makes to learning in the reading and literature programs, oral language development, non-verbal communication, listening skills, and creative writing. (RB)

Discusses use of dramatic play as a vehicle of instruction in the mother language. It is suggested as a means of developing oral self expression, social intercourse, and cultural appreciation. (DD)

This study investigated the extent of 45 delinquent boys' deficits in role taking skills, and the effects of an experimental remedial program that employed drama and videotape exercises in role taking training. (DP)

After reading a short story, a sixth grade class became involved in an avid discussion, a debate, and dramatic play - all based on the short story. A vast amount of learning had taken place through the study of a single short story. (Author/DR)