anthesis
发表于 2025-3-23 10:00:26
Practitioner Voices: Scotland, England and Wales, represent practice from across the three nations addressed in the book with Dougie Irvine and Neil Packham writing from a Scottish context, whilst Kevin Lewis and Sarah Argent’s piece is accompanied from a Welsh perspective by Catherine Bennett and Paul Davies from Volcano Theatre, Swansea and Timo
Incise
发表于 2025-3-23 16:12:00
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Introduction
发表于 2025-3-23 18:47:46
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acolyte
发表于 2025-3-24 01:30:26
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judicial
发表于 2025-3-24 02:28:47
https://doi.org/10.1007/978-1-349-19393-6apter finds itself in tune with Helen Nicholson’s proposition: ‘The education of young people is always orientated towards the future, but it also builds on the knowledge of the past’ (., Palgrave Macmillan, 2011, p. 12). As with Nicholson, I will acknowledge and appreciate in ‘How Did We Get Here?’
QUAIL
发表于 2025-3-24 07:59:01
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Lipoprotein
发表于 2025-3-24 11:01:41
https://doi.org/10.1007/978-1-349-19595-4gent nationalism and divergent educational agendas. What indicators do we have for impending optimism or anxiety in this field of pedagogy and praxis and what trajectories may theatre education find itself on beyond 2020. Returning to the themes of maps and departures the chapter considers where the
insolence
发表于 2025-3-24 18:03:23
https://doi.org/10.1007/978-1-349-19595-4ion, several of those practitioners who have contributed now generously offer reflections on theatre education practice in their own words. Each short essay presents an illuminating insight into contemporary theatre-making for, with and by children and young people, from its ethos and politics to it
确保
发表于 2025-3-24 23:05:31
https://doi.org/10.1007/978-3-030-63738-5Devised theatre; Stan‘s Cafe; Talkingbirds; RedEarth; Visible Fictions; BigFoot Arts Education; Bamboozle
Amylase
发表于 2025-3-25 01:01:49
978-3-030-63740-8The Editor(s) (if applicable) and The Author(s) 2021