Integrating Drama with Primary and Junior Education

Author: Walkinshaw, Agnes D.
A sense of mystery surrounds the subject of drama within primary and junior education, compounded by the assumption that the individual modalities of the experts in the field are exclusive rather than inclusive. This has fostered obscurity and confusion as to what constitutes drama, and indeed how drama should be taught. The direct consequence of such misconception and erroneous supposition is the beggared implication of drama. However, in an era of primary and junior education when the Arts generally, and drama specifically, are being given a dutiful nod at best, it is of critical importance that a solution to this problematic predicament be established.

This work offers such knowledge by deconstructing the methodologies and philosophies of Winifred Ward, Peter Slade, Brian Way, Dorothy Heathcote and David Hornbrook within the neutral framework of Aristotle’s dictates for drama. These pioneers from the field of drama within education exemplify individual, unique and exclusive styles. Traditionally they would have been considered as incompatible. However, an unbiased examination and analysis of their work exposes mutual concerns, common threads, as well as polemic opinions. A definitive conclusion is thereby charted, offering a solution based in tolerance, knowledge and respect.


"This is a fascinating, lively and engaging examination of some of the key issues in drama education - and what the 'elders of the tribe' of drama educators have said and written about these issues. The overview is rich with thought-provoking examples drawn from theory and practice, past and current. The book puts forward a compelling vision of drama education as classroom practice integral to the holistic education of all children." - Professor Meguido Zola, Simon Fraser University, British Columbia, Canada

Table of Contents

Preface, Acknowledgements
1. Setting the Stage: An Introduction
2. Integrating Drama with Primary and Junior Education: Acknowledging Commonalities, Accepting Disparities
• Plot: Establishing objectives to create dramatic activities inspired by plot material
• Character: the casting, developing and rehearsing of dramatic personae
• Theme: Pursuing the theme – is drama a tool or subject in its own right?
• Diction: Should skills, specifically those of diction, be taught within the subject area of drama?
• Music: The musical harmony, and disharmony, of the lexical-semantic interface
• Conventions: Addressing the conventions of education. evaluation and curriculum, within the subject area of drama
3. The Final Curtain: A Conclusion Notes