Theatre for Young Audiences (TYA)

"Chapters provide an exploration of the methodologies and techniques used to improve drama in the curriculum, and highlight the beneficial impact drama has in a variety of classrooms, enriching learning and communication. Contributions from 17 authors, ranging from teachers in schools or universities, to researchers and drama practitioners, examine a variety of perspectives related to drama and children in an attempt to bridge gaps and move ahead collectively as educators, practitioners and researchers in drama and theatre. Divided into two parts, Part I reflects on the use of drama in its varied forms with children, while Part II focuses on projects and experiments with children using theatre in order to draw links between drama, theatre and pedagogy."

"This unique edition is the result of the second International Theatre for Young Audiences Research Network (ITYARN) conference that was held in Malmoe, Sweden, in May 2011 as part of the XVIIth ASSITEJ World Congress and Festival. In fifteen essays that are illustrative of the wide variety as well as of the many opportunities for research in TYA, this book covers six continents, includes quantitative, qualitative, ethnographic/action, and historiographical methods, and highlights critical theory, philosophical discourse, play analysis, and other approaches. The essays deal with a broad range of issues, including representation, cultural contexts, questions of identity, race-, class-, and gender theory, notions of child and childhood, aesthetics, and the influence of media and dominant ideologies. ITYARN aims to further research in the field of theatre for young audiences to contextualize and theorize the lively artistic products for children and youth globally. It is the research network of ASSITEJ, the International Association of Theatre for Children and Youth, which co-produced this publication."

Part One: Contexts and Questions -- 1. Theatre for Children and Education / Philip Pullman: Theatre -- the true key stage -- 2. From Audience Development to Cultural Rights -- Tony Graham: Children grow up not down -- 3. Quality in Theatre for Children -- Peter Manscher and Peter Jankovic: Eye-level -- Part Two: The Theatrical Experience -- 4. Researching Children's lived Experiences of Theatre -- 5. Theatrical Illusion and Material Reality -- 6. Theatrical Competence -- 7. Moral or Metaphorical Engagement -- Part Three: Enhancing Engagement -- 8. Enhancing Engagement -- 9. Drawing on the Experience -- 10. Talking about Theatre Talking about Theatre resource -- Conclusion 'Looking': Photographs by Lisa Barnard -- The Audience's Gaze

"This volume offers rare insights into the connection between young audiences and the performing arts. Based on studies of adolescent and post-adolescent audiences, ages 14 to 25, the book examines to what extent they are part of our society's cultural conversation. It studies how these young people read and understand theatrical performance. It looks at what the educational components in their theatre literacy are, and what they make of the whole social event of theatre. It studies their views on the relationship between what they themselves decide and what others decide for them. The book uses qualitative and quantitative data collected in a six-year study carried out in the three largest Australian States, thirteen major performing arts companies, including the Sydney Opera House, three state theatre companies and three funding organisations."

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"Part One of McCaslin's book is a historical overview of the significant trends and changes which have characterized children's theatre and influenced the art and craft of playwriting. Part Two contains an alphabetical listing of over 350 educational, community, and commercial theatre companies as well as national and regional organizations--some no longer operating--which have made children's theatre the main thrust of their work."

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"Swortzell has constructed a seminal reference work that chronicles the history, current state of artistic achievement, and foremost future needs of children's theater in 44 different countries."

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"Presenting asset development approaches, deliberative dialogue techniques, and frames for building strong community relationships, Stephani Etheridge Woodson shares multiple project models that are firmly grounded in the latest community cultural development practices. Guiding readers step by step through project planning, creating safe environments, and using evaluation protocols,"

How the Children Taught Me -- How I Used What the Children Taught Me -- My Class in Writing for Children's Theatre

A unique resource for drama teachers providing 200 stimuli and age-appropriate individual topics within those to help inspire and guide young people in devising performance. It contains useful information on devising techniques, workshops, schemes and lesson ideas for introducing devising and guidance on how to analyse the work and give feedback. Following on from his successful book 200 Plays for GCSE and A-Level Performance, author Jason Hanlan has once again solved one of drama teachers' most frequently encountered problems: how to unlock the best devised performance with their students. Devising as a group requires a level of collaboration, which - without a strong framework - often descends into wild flights of fancy and a myriad of dead ends. Excellent ideas can be lost or diluted in an often-awkward attempt to tie it all together to fit a narrative. The main body of this book is a unique numbered listing of 200 stimuli, designed to both inspire and focus the mind, with an example of a possible topic and 'ways in' that would be suitable for each level: "Civil rights" > "Votes for women" (11 - 14 year olds) > "Rosa Parks" (14-16 year olds) > "The Disappeared" (16 - 18 year olds) Each stimuli is given its own page dedicated to exploring its possibilities as a piece of devised theatre for different age groups, and offering suggestions for plays, films and books to look at; artefacts and images to examine; ideas to consider; and further research you can draw on.

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"Saldaña presents twenty folk tales drawn from the oral traditions of Hispanics, Native Americans, Asians and Pacific Islanders, Africans, and African Americans. He encourages teachers to use the literature as a framework and springboard for pantomime and verbal improvisation, adding detailed methods for dramatizations, with follow-up activities in the social studies and language arts."

"This practical book gives you all the ideas you need to make drama a regular and integral part of your school's curriculum, offering detailed suggestions of drama work for ages four to seven. The teaching units are arranged around four strands: drama for literacy; drama and the whole curriculum; drama film, media, and ICT; and drama for performance."

Note: Online access is limited to 7 simultaneous users.
"This practical book gives you all the ideas you need to make drama a regular and integral part of your school's curriculum, offering detailed suggestions of drama work for ages 7 to 11. The teaching units are arranged around four strands: drama for literacy; drama and the whole curriculum; drama film, media, and ICT; and drama for performance."

"Designed for busy teachers, Drama Lessons: Ages 4-7 provides tried and tested lesson plans which will help you to make your drama lessons fun learning experiences."

"Drama Lessons: Ages 7-11 offers an exciting and varied range of tried and tested lessons tailor-made for busy teachers."

"The central chapters of the book form a comprehensive cross-curricular unit of work on four specific plays – The Tempest, Macbeth, A Midsummer Night’s Dream and Romeo and Juliet – providing background notes and historical facts linked to the plays, along with comprehensive schemes of work for immediate implementation and ideas for generating performance."

Beginning Shakespeare with games -- Beginning Shakespeare with his stories -- Beginning Shakespeare in the early years -- Beginning with Shakespeare's text -- How Shakespeare can inspire children's writing -- Shakespeare, performance & the primary school -- Shakespeare, ambition & achievement

Drama -- Study and teaching (Elementary) -- Great Britain
"It offers a programme of ready-to-run workshops linked to specific dates in the calendar and specific themes into which teachers can readily dip on a regular basis."

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"Professor Fredericks offers 30 short nonfiction readers theatre plays for the young reader (grades 1-3) on topics ranging from earth and natural science to community helpers, holidays, and government."

"Teaching Primary English through Drama presents a wide range of drama approaches from ten-minute starter activities to stimulate ideas such as fun ways to practise reading, through to longer projects that can provide contexts for extended writing or help with presentation and performance. The chapters show how drama can help to bring lessons alive in imaginative ways that not only promote enjoyment but also enhance achievement."

`Dramatic' Language Learning in the Classroom -- Using Stories & Drama to Teach English as a Foreign Language at Primary Level -- Theatre, Language Learning & Identity (1): Empowering Additional Language Learners through Theatre in Education (2): Empowering Additional Language Learners through Classroom Drama Projects -- Drama & Languages Education: Authentic Assessment through Process Drama -- Accessing Traditional Tales: The Legend of Bukit Merah -- Insights From a Drama-EAL Classroom: Using Drama with English Language Learners in a Canadian High School -- Using Drama to Enrich School-Based Assessment in the Hong Kong Secondary School English Language Classroom -- Second Language Learning & Cultural Empowerment: Teaching Shakespeare in Taiwan -- Digital Storytelling, Drama & Second Language Learning -- Film & Drama Aesthetics for Additional Language Teaching

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"Joan Lazarus interviewed 100 different members of the field to see how real teachers cope with the shifting demands of theatre education. Lazarus gives you a glimpse of active, dynamic professionals in motion - hurdling obstacles, tweaking ideas, or completely overhauling their curriculum in response to the challenges their programs face. You'll go behind the scenes and discover theatre education innovations that work, methods to make them happen in your school, and inspiring stories of how these changes will improve both your teaching and the lives of your students."

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Therapeutic storytelling with children in need -- Healing stories with children at risk: the storybuilding approach -- What can teachers learn from the stories children tell? -- ''Lis'n tell: live inclusive storytelling'' -- Interactive Storytelling -- Speaking & Listening through Narrative -- Using narratives to enhance language & communication in secondary school students -- Learning to tell: teaching the skills of community storytelling -- Sensory Stories -- Storytelling with all our Senses -- Sensitive stories: tackling challenges for people with profound intellectual disabilities through multisensory storytelling -- Social Stories™ -- Storysharing™: personal narratives for identity & community -- Personal storytelling for children who use augmentative & alternative communication -- Describing & evaluating the storytelling experience: a conceptual framework

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"The purpose of this manual is to provide a clear look at the process and specifics involved in the Hope Is Vital interactive theatre techniques. The organization is sequential, providing a blueprint for creating a workable plan. Beginning with warm-up exercises and bridging activities, the process moves forward to improvisational scenework, where students actually replace characters in the stories. It is at this point that young people engage in their own mini-theatre and look at choices, strategies, and communication."

Note: Online access is limited to a specific number of users per year.
"For 30 years, acclaimed theatre company, Oily Cart has been making colourful musical interactive theatre for young children and for children and young adults with learning disabilities. This book presents a rich and illuminating picture of it's three decades of skilled theatre making."

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"This classic work on the use of drama as an educational tool in the classroom is a must for teachers looking for innovative ways to make learning fun and to bring out the best in their students."