This paper details aspects of a research project that explored nineteen Australian primary (elementary) schoolteachers' perspectives of Creative Arts education. The study investigated the participants' personal Arts experiences and training, as well as their views of Arts pedagogy. In depth interviews with the participants highlighted the…

In a South Dakota early childhood program, children and adults in the kindergarten classroom collaborated to build a "classroom zoo" in support of the children's pretend play. Creation of the zoo incorporated information about animals and zoos that the children and their families and teachers located in secondary sources such as…

Without moments of reflection provided in every process, students might not learn to ask themselves questions. They need to understand that it is important to reflect, but students need models for efficient and effective questioning. In this article, the author discusses various approaches to reflection and questioning.

This pilot study attempted to develop systematic scientific procedures for the study of improvisational drama with children, especially ways of assessing what the typical creative drama teacher does with children, what children do when they are acting, and what effects this might have on the rest of their educational development. Specific…

Describes the procedures, preparation, and background material necessary for a class to produce an updated version of a living newspaper puppet play. These plays, originally produced by the Federal Theater Project, took a strong editorial position while examining and satirizing political issues. (MJP)

In the back to basics era, creative dramatics should still be used in the English classroom because it helps to develop the entire child. For some time, teaching strategies have been directed at the left brain, the hemisphere that deals with logical and linear functions. Recently, however, attention has been given to the right side of the brain,…

Stimulating and enjoyable dramatic activities in the classroom can nurture children's natural sympathies with drama. Re-acting a portion of a second-rate television show can help children become more perceptive critics and prepare them to view better drama that the teacher could bring to the classroom. Free, creative rhythmic movement allows…

This book attempts to give a new dimension to James Moffett's philosophy on using drama combined with the small group process as the primary basis for the teaching of language arts. The main goal of the book, therefore, is to provide the teacher with practical, proven ideas and techniques for individualizing the language arts. The first section,…

The author states that because of recent interest in readers theatre, or concert readings, some objective methods of assessing audience response should be developed. In the first section of the paper, she provides a rationale for a critical suggestions form. The author's guidelines for an evaluation form include the use of expert judges, an…

A course in the production of plays for and with children for presentation at elementary schools is outlined. This course involves choosing the play and mounting the production. The performance objectives indicate the student will: develop the necessary stage disciplines to perform as a member of a production unit; reacquaint himself with a…

Creative dramatics has potential as a therapeutic recreational tool with special populations. Informal dramatic activities such as characterizations with hats, fantasizing, and improvised television commercials can be learned by students and applied in hospitals and nursing homes. (JN)

Presents five articles on using creative dramatics in early childhood education: (1) "Drama: A Rehearsal for Life" (Julia Gabriel); (2) "Fairy Tales Enhance Imagination and Creative Thinking" (Olga Sidlovskaya); (3) "Starting with a Story" (Ruth Stotter); (4) "Using Creative Dramatics to Include All…

Author set forth an observation, which is that the more extensive the use of visual spectacle in the theatre--the more emphatic the "container", i.e., the setting--the more the dramatic nature of the "contained", i.e., the dramatic action, recedes. (Author/RK)

This article delineates an archetypal approach to drama in education. Participation in drama draws on both conscious and unconscious imaginative capabilities and involves teacher and student in the bedrock of human reaction. Drama could provide us with valuable information concerning archetypes as they unfold in the lives of our children. (MT)