{"product_id":"playwriting-in-schools-dramatic-navigation-9781783209071","title":"Playwriting in Schools: Dramatic Navigation","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eJohn Newman invites teachers to take their students on a playwriting voyage in \u003cem\u003ePlaywriting in Schools\u003c\/em\u003e. The book examines how students who learn to write plays and work with a professional playwright in residence empower themselves and gives instructors tools for teaching the process of playwriting in a way that makes space for the student voice. \u003cem\u003ePlaywriting in Schools\u003c\/em\u003e investigates two main approaches for adult teachers and playwrights to use playwriting as a strategy for student self-expression. One approach is through the creation of fully-developed plays, written either by individual students with instruction from teachers or through interactions between a team of students and a teacher-playwright. The other approach is developing plays through collaborations among professional playwrights, teachers and student actors, crafting new plays in ways that suit the needs, interests and learning of young people. Throughout, Newman and the teachers and playwrights he features express themselves with an artistic generosity that encourages us to widen the scope of our own programmes by introducing students to the vast ocean of playwriting and play development.\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003ePart of the Theatre in Education series.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eCredits\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eAcknowledgments\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eForeword\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eIntroduction: Navigating the Theatre Curriculum with Playwriting\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePart I: The Practical Navigator – Charts, Tools, and Dynamics\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 1: Phases of Playwriting\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e1. Preparation\u003c\/p\u003e  \u003cp\u003e2. Generation\u003c\/p\u003e  \u003cp\u003e3. Experimentation\u003c\/p\u003e  \u003cp\u003e4. Determination\u003c\/p\u003e  \u003cp\u003e5. Clarification\u003c\/p\u003e  \u003cp\u003e6. Exhibition\u003c\/p\u003e  \u003cp\u003e7. Examination\u003c\/p\u003e  \u003cp\u003e8. Production\u003c\/p\u003e  \u003cp\u003e9. Evaluation\u003c\/p\u003e  \u003cp\u003eMapping devised theatre\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 2: Generating and Workshopping Scripts\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e\u003cem\u003ePreparing students\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eGrounding students in dramatic theory\u003c\/p\u003e  \u003cp\u003eReading and analyzing plays as a class\u003c\/p\u003e  \u003cp\u003ePartnering with creative writing teachers\u003c\/p\u003e  \u003cp\u003eIntroducing students to professional playwrights\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e\u003cem\u003eGenerating material\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eVisual image prompting\u003c\/p\u003e  \u003cp\u003eRapid-fire prompting\u003c\/p\u003e  \u003cp\u003eCard prompting\u003c\/p\u003e  \u003cp\u003eInterviewing\u003c\/p\u003e  \u003cp\u003eWinnowing and drafting\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eExperimenting with possibilities\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eClassroom readings of initial drafts\u003c\/p\u003e  \u003cp\u003eDescriptive feedback\u003c\/p\u003e  \u003cp\u003eVariation drafts\u003c\/p\u003e  \u003cp\u003eWorld-building\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eDetermining the center\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eMural-making\u003c\/p\u003e  \u003cp\u003eCharacter tableau\u003c\/p\u003e  \u003cp\u003eRole-on-the-wall\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eClarifying text\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eQuestion selection\u003c\/p\u003e  \u003cp\u003eDraft-tracking\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 3: Presenting and Premiering Plays\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eExhibiting scripts\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eTheoretical designs\u003c\/p\u003e  \u003cp\u003eStaged readings\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eExamining text\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eWritten responses\u003c\/p\u003e  \u003cp\u003ePost-reading discussions\u003c\/p\u003e  \u003cp\u003eDay-after responses\u003c\/p\u003e  \u003cp\u003eIn-the-moment responses\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eProducing new plays\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003ePremiere productions\u003c\/p\u003e  \u003cp\u003eActor interviews\u003c\/p\u003e  \u003cp\u003eSubsequent productions\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eEvaluating product and process\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 4: Employing the Tarot Card Mode\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eThe Tarot card model and exercise by Suzan Zeder\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eWhy Tarot?\u003c\/p\u003e  \u003cp\u003eLeading the exercise\u003c\/p\u003e  \u003cp\u003eCreating the cards\u003c\/p\u003e  \u003cp\u003eLaying out the cards\u003c\/p\u003e  \u003cp\u003eReading the cards\u003c\/p\u003e  \u003cp\u003eWhat the Tarot does\u003c\/p\u003e  \u003cp\u003eWhat the Tarot does not do\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eHow to use the Tarot to develop plays in schools\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePart II: Ports of Call – Learning Environments for Student Playwriting\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 5: School Productions of Student-Written Plays\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eCollaborating with creative writing classes\u003c\/p\u003e  \u003cp\u003eMentoring student directors and producers\u003c\/p\u003e  \u003cp\u003eInvolving student playwrights in rehearsal\u003c\/p\u003e  \u003cp\u003eSounding off: Teacher-advisors at East High School\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 6: Developing Plays through Playwriting Contests\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eDeveloping plays through Thespian Playworks\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003ePre-workshop development\u003c\/p\u003e  \u003cp\u003eCollaborative casting\u003c\/p\u003e  \u003cp\u003eRole of the adult dramaturg\u003c\/p\u003e  \u003cp\u003eRole of the adult director\u003c\/p\u003e  \u003cp\u003eTheoretical designs\u003c\/p\u003e  \u003cp\u003ePublication of student-written plays\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eDeveloping plays through Young Playwrights for Change\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eWritten feedback\u003c\/p\u003e  \u003cp\u003eMentoring by adult playwrights\u003c\/p\u003e  \u003cp\u003eStaged readings and performances\u003c\/p\u003e  \u003cp\u003eSounding off: Middle school playwrights\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 7: Team-Playwriting with Students\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003ePlaywriting teams at Le Jardin Academy\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003ePreparing student playwrights\u003c\/p\u003e  \u003cp\u003eLeading playwriting teams\u003c\/p\u003e  \u003cp\u003eSounding off: Students on a playwriting team\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eTeam-playwriting at Middleton High School\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 8: Playwriting-Centered Drama Programs\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eFriends Academy: A community of equals\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eAn inclusive production season\u003c\/p\u003e  \u003cp\u003eA vertical playwriting curriculum\u003c\/p\u003e  \u003cp\u003eSounding off: Graduates of a playwriting-centered curriculum\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eCleveland School of the Arts: A constellation of voices\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eA collaborating literature teacher\u003c\/p\u003e  \u003cp\u003ePlaywriting-centered drama cohorts\u003c\/p\u003e  \u003cp\u003eSecond draft strategies\u003c\/p\u003e  \u003cp\u003eA repertory of non-traditional productions\u003c\/p\u003e  \u003cp\u003eA festival of new works\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePart III: Apprentice to a Playwright – Modeling Playwriting in School Residencies\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 9: Preparations for a School Residency 149\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003ePreparing for the voyage\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eFinding the playwright\u003c\/p\u003e  \u003cp\u003eFinding the school\u003c\/p\u003e  \u003cp\u003eForging the agreement\u003c\/p\u003e  \u003cp\u003eFinancing the venture\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eManning the ship\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eThe teacher-director\u003c\/p\u003e  \u003cp\u003eThe teacher-director’s other hats\u003c\/p\u003e  \u003cp\u003eThe playwright\u003c\/p\u003e  \u003cp\u003eStudent actors\u003c\/p\u003e  \u003cp\u003eStudent dramaturgs\u003c\/p\u003e  \u003cp\u003eStudent designers\u003c\/p\u003e  \u003cp\u003eExpert student participants\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eBuilding bridges: Sharing power in play development\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 10: Playwright Residencies at Highland High School\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eThe ARK 5 Project\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eDevelopment residency at Highland High School\u003c\/p\u003e  \u003cp\u003ePremiere production at Highland High School\u003c\/p\u003e  \u003cp\u003eSecond production at Middleton High School\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eMounting second productions\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eDeveloping novel adaptations\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eDeveloping a musical\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eFacilitating playwright residencies in schools\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eMounting plays by the teacher-director and students\u003c\/p\u003e  \u003cp\u003eAddressing technical challenges\u003c\/p\u003e  \u003cp\u003eEmploying guest directors\u003c\/p\u003e  \u003cp\u003eReading additional plays by the guest playwright\u003c\/p\u003e  \u003cp\u003eLetting the playwright process the presentation\u003c\/p\u003e  \u003cp\u003eActing with students to experience the text\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eSounding off: Student actors in new plays\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 11: Playwright Residencies at Other Secondary Schools\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003ePlaywrights In Our Schools residencies at DaVinci Academy\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eThe residency for Escape from the Labyrinth by playwright Ric Averill\u003c\/p\u003e  \u003cp\u003eItinerary of a school residency\u003c\/p\u003e  \u003cp\u003eThe residency for Max Bush’s What Remains\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eComponents of Playwrights In Our Schools residencies\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eStudent preparation\u003c\/p\u003e  \u003cp\u003ePre-residency development\u003c\/p\u003e  \u003cp\u003eWorkshop exploration\u003c\/p\u003e  \u003cp\u003eTheoretical designs\u003c\/p\u003e  \u003cp\u003eClassroom visits\u003c\/p\u003e  \u003cp\u003eMentorship of student playwrights\u003c\/p\u003e  \u003cp\u003eInformal interactions\u003c\/p\u003e  \u003cp\u003eStaged readings\u003c\/p\u003e  \u003cp\u003ePost-reading discussions\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 12: Playwright Residencies and Visits at Primary Schools\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eDeveloping When She Had Wings with Lucy School students by playwright Suzan Zeder\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eEngaging with children in research\u003c\/p\u003e  \u003cp\u003eDiscussing the script with children\u003c\/p\u003e  \u003cp\u003eExploring design possibilities\u003c\/p\u003e  \u003cp\u003eFinding an alternate title\u003c\/p\u003e  \u003cp\u003eInvolving children in rehearsal and production\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eChild learning in the script development of When She Had Wings\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eProject-based, arts integrated learning\u003c\/p\u003e  \u003cp\u003eSocial skills development\u003c\/p\u003e  \u003cp\u003eSeeking clarity and dealing with ambiguity\u003c\/p\u003e  \u003cp\u003eValidating children’s perspectives\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eDesign collaboration with children for When She Had Wings\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eConfronting limitations creatively\u003c\/p\u003e  \u003cp\u003eBalancing child perspectives with adult expertise\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003eEmulating the “Wings Project” \u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\u003cstrong\u003ePlaywright classroom visits for Lily Plants a Garden with the Bonderman Symposium\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eEpilogue: Embarking on Your Voyage of Discovery\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eAppendix: \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eBooks on teaching playwriting\u003c\/p\u003e  \u003cp\u003eBooks on play development\u003c\/p\u003e  \u003cp\u003eBooks on devising theatre\u003c\/p\u003e  \u003cp\u003eOnline resources\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eReferences\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eBiographies\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eIndex\u003c\/strong\u003e\u003c\/p\u003e","brand":"Intellect Books","offers":[{"title":"Default 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