We started the session with a recap of what we had done in the previous session using video recordings, pictures and documentation from the previous lesson that Liselle had taken. We were directed by Liselle. In and out of character a drama process described by Heathcote. He explains that the teacher and students interact in both worlds simultaneously and move back and forth between them at will. We used.
We continued to develop piece, the process was very amazing, seeing the script come to life, the practice and session with Liselle helped to understand and develop my interest
Through The mantle of the expert which Dorothy Heathcote discribes as a student-centered dramatic-inquiry-based approach to teaching, both the group and the Lecturer Liselle re-framed in fictional roles in which we were “endowed” as experts in a specific field. Heathcote explains that we students are more than passive receivers of knowledge. This means that they we are the ones constructing the performance. With this approach, what happens within the process of the drama is what the lesson is, though it fosters critical thinking skills of us students about facts.
Jackson. (2007) Theatre, education and the making of meanings
This book for theatre for social change, kids, theater for development, museum reenactments, prisons or seniors. It is a study of theatre’s educational role during the 20th and the first years of the 21st centuries. Jackson explores variety of ways through which theatre’s educational potential has been harnessed and theorised, the book examines the tension between theatre as education and theatre as ‘art’: it explores the preliminary discussion of key theoretical approaches to aesthetics, dramatic art and learning while examining the relationships between them. It Follows a the study is organised into two broad chronological periods: one of the main aim of this was to develop an argument about how we might better understand the value these kinds of theatre, hitorically, philosophically and pragmatically. Early developments in European and American theatre up to the end of world war two, and participatory theatre and education since world war two. Within each period, a cluster of key themes is introduced and then re-visited and examined through a number of specific examples – seen within their cultural contexts – in subsequent chapters. [In this way, the approach resists being driven by chronology but recognises the value of locating and interrogating notions and examples of educational theatre practice within historical contexts.] Topics covered include an early use of theatre to compaign for prison reform