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Dorothy Heathcote
- In the 1950s, Dorothy Heathcote developed a program to train teachers and students of all ages how to use drama-based pedagogy activities in classrooms in England. She called her program and design “drama in education” (Wagner, 1999).
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The ethos of drama in education today owes an enormous debt to the inspiration of one woman. Dorothy Heathcote (MBE) began her working life as a weaver in a Yorkshire worsted mill at the age of 14 and, despite failing her 11-plus, became a lecturer at Durham University by the age of 24.
In the 1950s, Dorothy Heathcote developed a program to train teachers and students of all ages how to use drama-based pedagogy activities in classrooms in England. She called her program and design “drama in education” (Wagner, 1999). She led workshops all over England and around the world, teaching educators how to transform learning.
Summary. The field of drama education and applied theater is best understood through a consideration of the major developments and aspirations that have shaped its trajectory over three historical periods: the latter years of the 19th century up until 1960, between 1960 and 1990, and the years encompassing the turn of the 21st century, 1990–2015, which was a decidedly more globalized epoch.
Gavin Bolton. Part of the book series: Springer International Handbook of Research in Arts Education ( (SIHE,volume 16)) 1806 Accesses. 30 Citations. Download to read the full chapter text. Chapter PDF. Keywords. Apply Theatre. Child Drama. International Drama. Professional Theater. Creative Drama.
- Gavin Bolton
- 2007
Jan 1, 2021 · Drama in education: why drama is necessar y. Manon van de Water1*. 1 University of Wisconsin-Madison, Madison, Wisconsin, USA. Abstract. The article dwells on the use of drama and performance ...
by Drama for Schools come from a long history of educational drama and libratory approaches to education (e.g. Boal, 2002; Freire, 1970; Heathcoate, 1984; O Neil, 1995). These strateg ies support a variety of learning styles that keep students actively engaged in th e learning process,
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Peter Slade (1954) is recognized as being the. first to attempt developing a rationale for drama in education as a creative subject in its own right. His basic argument was that child drama is an art form, and that drama processes begin with the "spon- taneous, egocentric creations of the child in sound.
