Theater, Drama, and Reading , livre ebook

National Council of Teachers of English (NCTE) - Judith Freeman Garey

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137 pages

English

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Description

Drawing on both the production aspects of theater and the generative learning elements of drama, Theater, Drama, and Reading provides language arts teachers the tools and resources they need to help students transform text from print to interaction and deeper understanding.

Judith Freeman Garey establishes a simple framework for how to read as an actor who builds characters’ lives, a set designer who constructs context, and a director who generates action. In the same way that theater artists engage in a rehearsal process to transform printed words into a world of people, space, sound, and action for the stage, readers can learn a modified version of this process to make text visible and concrete, unlocking its meaning.

This significant and practical new resource for all language arts teachers details the components of these reading strategies, provides step-by-step examples from classroom practice, and clearly demonstrates how the strategies achieve the Common Core State Standards. Additionally, the book defines a unique approach to teaching dramatic literature, features a short overview of additional popular classroom drama strategies to engage students with written text, and integrates practical suggestions to convert all these strategies to online instruction.

Sujets

Reading Skills

Disciplines

Language Arts

Subjects

Teaching

Theater

EDUCATION

Common Core State Standards Initiative

Theatre

General officer

Subject

Literacy

General

Informations

Publié par	National Council of Teachers of English (NCTE)
Date de parution	14 décembre 2021
Nombre de lectures	0
EAN13	9780814100141
Langue	English

Informations légales : prix de location à la page 0,1650€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

NCTE Editorial Board
Steven Bickmore
Catherine Compton-Lilly
Deborah Dean
Antero Garcia
Bruce McComiskey
Jennifer Ochoa
Staci M. Perryman-Clark
Anne Elrod Whitney
Vivian Yenika-Agbaw
Kurt Austin, Chair, ex offcio
Emily Kirkpatrick, ex offcio

“Oranges” from New and Selected Poems © 1995 by Gary Soto. Used with permission of Chronicle Books LLC, San Francisco. Visit ChronicleBooks.com .
“Thank You, M'am” from SHORT STORIES by Langston Hughes. Copyright © 1996 by Ramona Bass and Arnold Rampersad. Reprinted by permission of Hill and Wang, a division of Farrar, Straus and Giroux. Reprinted by permission of Harold Ober Associates. Copyright 1997 by the Langston Hughes Estate.
Staff Editor: Bonny Graham Manuscript Editor: Tom Tiller Interior Design: Jenny Jensen Greenleaf Cover Design: Pat Mayer Cover Images: Judith Freeman Garey
NCTE Stock Number: 53635; eStock Number: 53659 ISBN 978-0-8141-5363-5; eISBN 978-0-8141-5365-9
©2021 by the National Council of Teachers of English.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, or any information storage and retrieval system, without permission from the copyright holder. Printed in the United States of America.
It is the policy of NCTE in its journals and other publications to provide a forum for the open discussion of ideas concerning the content and the teaching of English and the language arts. Publicity accorded to any particular point of view does not imply endorsement by the Executive Committee, the Board of Directors, or the membership at large, except in announcements of policy, where such endorsement is clearly specified.
NCTE provides equal employment opportunity (EEO) to all staff members and applicants for employment without regard to race, color, religion, sex, national origin, age, physical, mental or perceived handicap/disability, sexual orientation including gender identity or expression, ancestry, genetic information, marital status, military status, unfavorable discharge from military service, pregnancy, citizenship status, personal appearance, matriculation or political affiliation, or any other protected status under applicable federal, state, and local laws.
Every effort has been made to provide current URLs and email addresses, but because of the rapidly changing nature of the web, some sites and addresses may no longer be accessible.
Library of Congress Cataloging-in-Publication Data
Names: Garey, Judith Freeman, 1949- author.
Title: Theater, drama, and reading : transforming the rehearsal process into a reading process / Judith Freeman Garey.
Description: Champaign, Illinois : National Council of Teachers of English, [2021] | Includes bibliographical references and index. | Summary: “Shows readers how to transform text from print to interaction by establishing a simple framework for how to read as an actor who builds characters’ lives, a set designer who constructs context, and a director who generates action”—Provided by publisher.
Identifiers: LCCN 2021014578 (print) | LCCN 2021014579 (ebook) | ISBN 9780814153635 (Trade Paperback) | ISBN 9780814153659 (Adobe PDF)
Subjects: LCSH: Drama in education.
Classification: LCC PN3171 .G345 2021 (print) | LCCPN3171 (ebook) | DDC 371.3/99—dc23
LC record available at https://lccn.loc.gov/2021014578
LC ebook record available at https://lccn.loc.gov/2021014579
For Christina
Contents

FOREWORD
S HERIDAN B LAU
ACKNOWLEDGMENTS
PREFACE: RETHINKING THE DYNAMICS OF READING
INTRODUCTION: CONNECTING WITH DRAMA
D RAMA AND L ANGUAGE A RTS
D RAMA AND THE C OMMON C ORE S TATE S TANDARDS
D RAMA IN AN O NLINE E NVIRONMENT
I Reading as a Theater Artist
CHAPTER 1     Reading as an Actor
Building Characters’ Lives
S TEP 1: S EARCH FOR AND R ECORD E VIDENCE OF C HARACTER FROM THE T EXT
S TEP 2: G ENERATE C HARACTER B IOGRAPHIES AND R ELATIONSHIPS
S TEP 3: F ILL IN A NY T IME G APS IN THE S TORY L INE
CHAPTER 2     Reading as a Designer
Constructing Context
S TEP 1: S EARCH FOR AND R ECORD E VIDENCE OF C ONTEXT FROM THE T EXT
S TEP 2: V ISUALIZE THE C ONTEXT IN THE C LASSROOM
S TEP 3: C REATE A R EPRESENTATION OF THE C ONTEXT IN THE C LASSROOM
CHAPTER 3     Reading as a Director
Generating Action
W HAT A RE P HYSICAL A CTION AND V ERBAL A CTION ?
S TEP 1: S EARCH FOR AND R ECORD E VIDENCE OF P HYSICAL AND V ERBAL A CTION FROM THE T EXT
S TEP 2: C ONCEPTUALIZE THE P HYSICAL AND V ERBAL A CTION
S TEP 3: T RANSFORM THE A CTION INTO C ONCRETE R EALITY
CHAPTER 4     Reading Collaboratively
Building Characters’ Lives, Constructing Context, and Generating Action Together
S TEP 1: D IVIDE THE C LASS INTO T HREE G ROUPS AND A SSIGN E ACH G ROUP A W ORKLIST
S TEP 2: D ESIGNERS AND D IRECTORS C OLLABORATE TO E NVISION THE C ONTEXT AND A CTION
S TEP 3: D IRECTORS , D ESIGNERS, AND A CTORS C OLLABORATE TO C REATE THE E NACTMENT IN THE C ONTEXT
II Application in the Classroom
F RONT -L OADING
CHAPTER 5     Application of the Actor's Process
Building Characters’ Lives
S TUDENTS B UILD C HARACTERS’ L IVES WITH “O RANGES ”
S TUDENTS B UILD C HARACTERS’ L IVES WITH “T HANK Y OU , M ’AM ”
B UILDING C HARACTERS’ L IVES WITH N OVELS
B UILDING C HARACTERS’ L IVES IN AN O NLINE E NVIRONMENT
W RAP -U P
CHAPTER 6     Application of the Designer's Process
Constructing Context
S TUDENTS C ONSTRUCT C ONTEXT WITH “O RANGES ”
S TUDENTS C ONSTRUCT C ONTEXT WITH “T HANK Y OU , M ’AM ”
C REATING C ONTEXT WITH N OVELS
C REATING C ONTEXT IN AN O NLINE E NVIRONMENT
W RAP -U P
CHAPTER 7     Application of the Director's Process
Generating Action
S TUDENTS G ENERATE A CTION WITH “O RANGES ”
S TUDENTS G ENERATE A CTION WITH “T HANK Y OU , M 'AM ”
G ENERATING A CTION WITH N OVELS
G ENERATING A CTION IN AN O NLINE E NVIRONMENT
W RAP -U P
CHAPTER 8     Application of the Collaborative Process
Building Characters’ Lives, Constructing Context, and Generating Action Together
S TUDENTS C OLLABORATE ON “O RANGES ”
S TUDENTS C OLLABORATE ON “T HANK Y OU , M 'AM ”
C OLLABORATING WITH N OVELS
C OLLABORATING IN AN O NLINE E NVIRONMENT
W RAP -U P
A C ONCLUDING W ORD ON THE R EADING S TRATEGIES
III Additional Classroom Drama Strategies
CHAPTER 9     A Production Team Approach to Studying Dramatic
Literature
W HY T HIS A PPROACH TO D RAMATIC L ITERATURE?
I NTRODUCING THE S TRATEGY
S IZE OF P RODUCTION T EAMS
E NGAGING Y OUR L IBRARIAN
I NSTRUCTIONS FOR THE P RESENTATION
T IME M ANAGEMENT
O PTIONAL C OMPONENTS
A DAPTING T HIS S TRATEGY TO O THER L ITERARY G ENRES
A P RODUCTION T EAM A PPROACH O NLINE
W RAP -U P
CHAPTER 10     Other Interactive Approaches to Engage Students with Text
R OLE -P LAYING, OR E NACTMENT
T ABLEAU
H OT S EAT
G OOD A NGEL /B AD A NGEL /S UBTEXT
M ANTLE OF THE E XPERT
T EACHER-IN -R OLE
W RITING IN R OLE
U SING T HESE S TRATEGIES IN AN O NLINE E NVIRONMENT
W RAP -U P
APPENDIX
REFERENCES
INDEX
AUTHOR
Foreword
S HERIDAN B LAU , Columbia University
T he riches of Theater, Drama, and Reading: Transforming the Rehearsal Process into a Reading Process will become quickly evident to any teacher who begins to thumb through its pages. I want to honor it as a contribution to the teaching of English by first setting it in its historical and pedagogical context. So let me begin with the somewhat dramatic, but hardly exaggerated, statement that the profession of English in America has been in need of Judy Garey's new book on theater, drama, and reading for roughly 130 years, at least since the 1890s, when English emerged from rhetoric and oratory to become a major subject in schools and colleges.
The need for and importance of Garey's book, from a historical perspective, resides in the curious fact that for most of the history of the teaching of English, the teaching of literature has not been conducted with any attention to the experience of literature as literature. That is to say, literary works in most colleges and secondary schools—most notably from about 1890 through World War II—were taught, studied, and valued in schools and colleges primarily for the instruction they could provide in subjects or discourses other than literature itself. Thus, literary texts were taught, or rather used, to teach grammar or for the examples they could provide of masterful rhetoric. They were also used as material for practice in oratory or for how they exemplified and advanced moral, civic, or religious values or provided lessons in cultural and political history. Most influentially (especially in universities), literary works were used for the study of philology—a discipline that examined the history of the English language and the related history of Anglo-Saxon folklore, along with the classical sources for more modern literary tropes and myths.
If we examine the history of literature itself, however, rather than the history of teaching it, we find that the most admired authors and critics in the Western literary tradition have consistently spoken of literature as a distinctive kind of discourse by virtue of the fact that it is not designed to serve purposes external to itself but is a discourse that comes into its own existence by being experienced by a reader. The learning that literature enables, therefore, was seen as similar to the learning that comes from living. Hence, Aristotle saw tragedies as psychologically therapeutic for auditors whose experience of a tragedy on the stage would bring about a catharsis in the discharge of feelings of pity and fear (46). Subsequently, the idea of literature as experience was confirmed by virtually every classical commentator on literature who quoted or rephrased Horace's dictum that the function of literature is to teach and delight or to teach through delight—the delight of a literary experience. The same idea was repeated and used by Sir Philip Sidney in his “Defense of Poe