Executive Summary Confidence is a word that, in educational settings, carries both everyday familiarity and considerable depth. While its meaning seems self-evident, it resists easy definition and measurement and is often misinterpreted. Yet, confidence in drama education appears with such…
Introduction Antonin Artaud’s concept of theatre as a visceral and overwhelming encounter has historically served as a stimulus for both educators and practitioners. In his compilation of essays titled The Theatre and Its Double, Artaud advocated for a stage language…
Traditional brainstorming sessions—often a verbal discussion with students seated in a circle—are just the initial spark in drama classrooms. To truly unlock creative potential, drama educators are expanding brainstorming beyond talking in circles and into more dynamic, embodied, and collaborative…
Unit Overview and Pedagogical Framework This unit introduces students to Bertolt Brecht’s Epic Theatre technique of “gestus” – the physical embodiment of social attitudes and relationships. Students will develop critical thinking about social class, power dynamics, and various alienation effect…
Senior secondary drama students are expected to engage in sophisticated abstract thinking, encompassing the interpretation of symbolic elements within texts as well as the creation of original performances. A significant challenge facing drama educators is their ability to foster this…
The spiral curriculum, introduced by cognitive psychologist Jerome Bruner in 1960, emphasises the continuous revisiting and refinement of essential concepts throughout a student’s educational experience. Grasping the principles, advantages, and implementation techniques of the spiral curriculum is critical for today’s…
