2024年11月4日发(作者：本心菱)
[与众不同的我]Theater与Drama的不同
篇一 : Theater与Drama的不同
“Education is not acommodity. Education is a social relationship.”
- Margolis
Why drama? Let usbegin with the first question. Theatre artists
have long dealt withasking themselves what the value is in defending and
keepingtheatre programs alive in the face of rising costs - and in
manycases a seeming loss of interest from the general public.
Don‟tbelieve me? Which would you rather do tonight, go see that
newaction movie, or go out to a play? Most people have no
problemdropping $10 in cash on an evening movie, but mention $5
theatretickets and they‟re immediately turned off. But live theatre in
anysense of the word costs money, and play productions are
community theatre survives on private donations and
money fromestablishments like the National Endowment for the Arts.
Ticketsales do virtually nothing to cover the expense of aproduction.
So whydrama in the classroom? Mention theatre, music, or dance
to aschool official and likely the first thought across their mind
issomehow related to budget cuts. Drama is, bottom line, seen as afluff
subject by many people. What on earth could students possiblylearn from
drama that is more beneficial than traditionalmainstream course work?
The useof theatre in the classroom both to teach subjects and to
developpersonal skills in students is well documented, but
seldomobserved. The broad term „drama‟ covers a wide area of
techniquesincorporating physical movement, vocal action, and
mentalconcentration which traditional classrooms have lacked in
quantityand combination in the past. Many teachers are already
familiarwith the uses of skits - basically improvisations by students -
toteach and reinforce material. Many teachers also find that studentshave
a high interest in performing those skits in the students
will often show interest in these types ofactivities, teachers without a
background in drama will often havea difficult time knowing how to
approach the idea of teaching themmore in the classroom. In the same
manner, a student who needsextra help or a new angle at learning a
subject is oftenself-motivated to find a way to learn the material;
howeverteachers lack the resources to offer the student.
In thebook Drama ofColor Saldaña discusses a study done by
researchers Gourgey,Bosseau, and Delgado with lower socioeconomic
Black andHispanic students in elementary school. After a six
monthimprovisational drama project, gains were observed in
vocabularyand reading comprehension. Survey results also suggested
thatstudents also showed improvement in attitude areas including
trust,self-accpetance, acceptance of others, and empowerment
Anotherproject discussed in Saldaña‟s book was conducted by
researchersShacker, Juliebo, and Parker in which third graders
wereimmersed in a French language acquisition program with
socialstudies through drama. The use of memorized playscripts
assistedwith recall of French language months later.
Interestingly, many of the theories presented bychild researchers
have supported child development through dramawithout ascribing that
specific title to it. For example, at themost basic level interventionists and
counselors have usedrole-playing and role-reversal for years as a means
of mediationfor children trying to understand aspects of a conflict, yet
thishas never been applied on a larger scale in the mainstreamclassroom.
This simple solution is left as a last resort becauseteachers are unaware of
its value in solving educationalproblems.
Thiswebsite is more than a resource for teachers looking for
methods ofincluding drama in their classroom. It is an attempt to bridge
thegap between traditional teaching and a sincere need within
theclassroom for students to be able to develop and learn to theirgreatest
potential, with respect to theories and examples set forthby experts in
child development.
Before we get started with our discussion on how to create
dramain your classroom, we need to cover the beginning aspects
ofclassroom drama, including the things you want to avoid and promotein
your classroom.
Thefirst issue we need to examine is the definitions we
use,specifically the difference between theatre and drama. For the sakeof
the discussions on this website, theatre pertains more toperformance work.
The word should bring to mind images of plays andactors. Drama refers
to shared elements used to explore ouremotions, our thinking, and to
teach.*
THEATRE
DRAMA
Stage
Classroom, Playing Area, Space
Scenery
Environment, Setting
Actors
Students, Participants, Players,Teacher-in-Role
Director
Teacher, Leader, Facilitator, Artist-Teacher
Play Script
Scenario, Story, Material, Idea
Rehearse
Practice, Work On, Experiment With, Explore
Perform
Share, Show, Play Out, Dramatize, Improvise
Thedifference between the two terms becomes very clear when
laid outlike this. Remember that these are not universal definitions;
theyare simply the way we will address drama and theatre here. When
wetalk about using drama in traditional classroom setting we are
nottalking about creating a play for a performance, the focus is noton the
final product. Later we‟ll look at some sample lesson plans,but for now
the focus should be on learning the basics. If you‟venever worked with
improvisational work before, there are some basicrules of thumb to keep
in mind.
Thefollowing are the basic steps you should use in writing your
lessonplan:
Decide on the objective of the lesson. What are the academicand social
goals for the class? What do you want them tolearn?Pick a general format
for the lesson. Will you use a story, animprovisational scene, small group
work? How will students work inthe session?How much time do you
have, and what does your work space looklike?Begin to structure the
session on activities that you arecomfortable leading. Allow time to stop
activities if they get outof control, and extra activities in case you come
up short or endup skipping part of what you have this all
down, like you would any lesson plan. Howspecific you are depends on
you as a how you will assess the students. For some
subjects atraditional test at the end may work just fine, but for other
dramaactivities you may find yourself needed to assess the
studentsthrough observation, journaling, videotaping, discussion time,
orany other fun! Drama is not play, but nor should it be
dogged andboring. Enjoy the time with the class, and keep things moving
at apace that will interest the student. Avoid becoming bogged down inthe
lesson. If you come across an activity that the students justaren‟t getting,
feel free to move on rather then let that break theflow of your lesson.
Theseare only the very basic rules, laid out to give you a rough idea
ofhow to begin. Teachers should never feel bound to them, eachclassroom
is unique and will require a different managementtechnique.
篇二 : 与众不同的冬天
当白雪飘飘扬扬落入大地的怀抱，当那株腊梅树旁弥漫起第一
缕暗香，我终于可以和父母一起到乡下走亲戚。[）去领略乡村那与
众不同的冬天了。
“白似糖和盐，不甜又不咸，春夏秋没有，冬天才能见。”我和
姨奶奶家的弟弟妹妹围坐在火盆旁，猜着谜语。透过贴着吉庆窗花的
窗户，可不正是那洁白无暇的雪吗？这可爱的小精灵，带着半透明的
六角帽，正打着节拍跳着舞。村子里的枫树和野柿树披上了层轻盈的
白纱。村子里的稻草垛、篱笆和邻居家的木棚也都穿上了白色的新装。
远处山上的竹林也是一片银装素裹。我们一窝蜂地向外冲去，捅房檐
下的冰凌，亮晶晶的，闪着钻石的光芒，我忍不住舔了一下，真凉快
啊！
我们来到了门口的柿子树下，呼吸着纯净清冽的空气，调皮的
弟弟趁我们不注意抓住树干一顿猛摇，积雪呼啦一下全撒了下来，哈
哈！我们互相看着对方的模样都大笑起来，不用堆雪人了，因为我们
的帽子上，，眉毛上，衣服上，全都是白雪，我们把手边的雪揉成团，
砸向调皮的弟弟，空旷的院落里回荡着我们开心的笑声。“吃烤红薯
了。”姨奶奶站在院门口喊我们，我们一个个跑得比兔子还快，拿着
刚从炭火里烤出来的红薯，心急好吃的我们烫得抓耳挠腮，可有谁能
抵挡住红薯又香又甜的诱惑呢？
第二天早上，我破天荒地没有睡懒觉，和姨奶奶到塘边稻草垛
里摸鸭蛋，刚出屋门，一阵鸭子“嘎嘎”的歌声打破了清晨的寂静，随
即就是一阵戏水的“扑通、扑通”声，看来这鸭子是第一个早起忙碌的，
塘面有些地方结了层薄薄的冰，我捧着两个还有温度的大鸭蛋，见村
落里升起袅袅的炊烟，只觉得见到了世界上最宁静祥和的画面；听着
公鸡的打鸣声、大黄狗汪汪的叫声，只觉得听到了一首幸福交响曲。
乡下生活使我远理城市的喧闹、孤独，成为一个名副其实的快
乐小农娃！乡村的美景更是让我流连忘返，沉醉其中。
篇三 : different与difference的不同同上
different 与difference的不同
同上
答:最直观的不同点: different是形容词，difference是名词.
different的常有结构:be different from ....，它的反义词是be the
与．．．一样
difference是可数名词,多用复数，
关于difference的例句：what‟s the differences between the bus
and the car？
这样的解说，能看明白吗？
2024年11月4日发(作者：本心菱)
[与众不同的我]Theater与Drama的不同
篇一 : Theater与Drama的不同
“Education is not acommodity. Education is a social relationship.”
- Margolis
Why drama? Let usbegin with the first question. Theatre artists
have long dealt withasking themselves what the value is in defending and
keepingtheatre programs alive in the face of rising costs - and in
manycases a seeming loss of interest from the general public.
Don‟tbelieve me? Which would you rather do tonight, go see that
newaction movie, or go out to a play? Most people have no
problemdropping $10 in cash on an evening movie, but mention $5
theatretickets and they‟re immediately turned off. But live theatre in
anysense of the word costs money, and play productions are
community theatre survives on private donations and
money fromestablishments like the National Endowment for the Arts.
Ticketsales do virtually nothing to cover the expense of aproduction.
So whydrama in the classroom? Mention theatre, music, or dance
to aschool official and likely the first thought across their mind
issomehow related to budget cuts. Drama is, bottom line, seen as afluff
subject by many people. What on earth could students possiblylearn from
drama that is more beneficial than traditionalmainstream course work?
The useof theatre in the classroom both to teach subjects and to
developpersonal skills in students is well documented, but
seldomobserved. The broad term „drama‟ covers a wide area of
techniquesincorporating physical movement, vocal action, and
mentalconcentration which traditional classrooms have lacked in
quantityand combination in the past. Many teachers are already
familiarwith the uses of skits - basically improvisations by students -
toteach and reinforce material. Many teachers also find that studentshave
a high interest in performing those skits in the students
will often show interest in these types ofactivities, teachers without a
background in drama will often havea difficult time knowing how to
approach the idea of teaching themmore in the classroom. In the same
manner, a student who needsextra help or a new angle at learning a
subject is oftenself-motivated to find a way to learn the material;
howeverteachers lack the resources to offer the student.
In thebook Drama ofColor Saldaña discusses a study done by
researchers Gourgey,Bosseau, and Delgado with lower socioeconomic
Black andHispanic students in elementary school. After a six
monthimprovisational drama project, gains were observed in
vocabularyand reading comprehension. Survey results also suggested
thatstudents also showed improvement in attitude areas including
trust,self-accpetance, acceptance of others, and empowerment
Anotherproject discussed in Saldaña‟s book was conducted by
researchersShacker, Juliebo, and Parker in which third graders
wereimmersed in a French language acquisition program with
socialstudies through drama. The use of memorized playscripts
assistedwith recall of French language months later.
Interestingly, many of the theories presented bychild researchers
have supported child development through dramawithout ascribing that
specific title to it. For example, at themost basic level interventionists and
counselors have usedrole-playing and role-reversal for years as a means
of mediationfor children trying to understand aspects of a conflict, yet
thishas never been applied on a larger scale in the mainstreamclassroom.
This simple solution is left as a last resort becauseteachers are unaware of
its value in solving educationalproblems.
Thiswebsite is more than a resource for teachers looking for
methods ofincluding drama in their classroom. It is an attempt to bridge
thegap between traditional teaching and a sincere need within
theclassroom for students to be able to develop and learn to theirgreatest
potential, with respect to theories and examples set forthby experts in
child development.
Before we get started with our discussion on how to create
dramain your classroom, we need to cover the beginning aspects
ofclassroom drama, including the things you want to avoid and promotein
your classroom.
Thefirst issue we need to examine is the definitions we
use,specifically the difference between theatre and drama. For the sakeof
the discussions on this website, theatre pertains more toperformance work.
The word should bring to mind images of plays andactors. Drama refers
to shared elements used to explore ouremotions, our thinking, and to
teach.*
THEATRE
DRAMA
Stage
Classroom, Playing Area, Space
Scenery
Environment, Setting
Actors
Students, Participants, Players,Teacher-in-Role
Director
Teacher, Leader, Facilitator, Artist-Teacher
Play Script
Scenario, Story, Material, Idea
Rehearse
Practice, Work On, Experiment With, Explore
Perform
Share, Show, Play Out, Dramatize, Improvise
Thedifference between the two terms becomes very clear when
laid outlike this. Remember that these are not universal definitions;
theyare simply the way we will address drama and theatre here. When
wetalk about using drama in traditional classroom setting we are
nottalking about creating a play for a performance, the focus is noton the
final product. Later we‟ll look at some sample lesson plans,but for now
the focus should be on learning the basics. If you‟venever worked with
improvisational work before, there are some basicrules of thumb to keep
in mind.
Thefollowing are the basic steps you should use in writing your
lessonplan:
Decide on the objective of the lesson. What are the academicand social
goals for the class? What do you want them tolearn?Pick a general format
for the lesson. Will you use a story, animprovisational scene, small group
work? How will students work inthe session?How much time do you
have, and what does your work space looklike?Begin to structure the
session on activities that you arecomfortable leading. Allow time to stop
activities if they get outof control, and extra activities in case you come
up short or endup skipping part of what you have this all
down, like you would any lesson plan. Howspecific you are depends on
you as a how you will assess the students. For some
subjects atraditional test at the end may work just fine, but for other
dramaactivities you may find yourself needed to assess the
studentsthrough observation, journaling, videotaping, discussion time,
orany other fun! Drama is not play, but nor should it be
dogged andboring. Enjoy the time with the class, and keep things moving
at apace that will interest the student. Avoid becoming bogged down inthe
lesson. If you come across an activity that the students justaren‟t getting,
feel free to move on rather then let that break theflow of your lesson.
Theseare only the very basic rules, laid out to give you a rough idea
ofhow to begin. Teachers should never feel bound to them, eachclassroom
is unique and will require a different managementtechnique.
篇二 : 与众不同的冬天
当白雪飘飘扬扬落入大地的怀抱，当那株腊梅树旁弥漫起第一
缕暗香，我终于可以和父母一起到乡下走亲戚。[）去领略乡村那与
众不同的冬天了。
“白似糖和盐，不甜又不咸，春夏秋没有，冬天才能见。”我和
姨奶奶家的弟弟妹妹围坐在火盆旁，猜着谜语。透过贴着吉庆窗花的
窗户，可不正是那洁白无暇的雪吗？这可爱的小精灵，带着半透明的
六角帽，正打着节拍跳着舞。村子里的枫树和野柿树披上了层轻盈的
白纱。村子里的稻草垛、篱笆和邻居家的木棚也都穿上了白色的新装。
远处山上的竹林也是一片银装素裹。我们一窝蜂地向外冲去，捅房檐
下的冰凌，亮晶晶的，闪着钻石的光芒，我忍不住舔了一下，真凉快
啊！
我们来到了门口的柿子树下，呼吸着纯净清冽的空气，调皮的
弟弟趁我们不注意抓住树干一顿猛摇，积雪呼啦一下全撒了下来，哈
哈！我们互相看着对方的模样都大笑起来，不用堆雪人了，因为我们
的帽子上，，眉毛上，衣服上，全都是白雪，我们把手边的雪揉成团，
砸向调皮的弟弟，空旷的院落里回荡着我们开心的笑声。“吃烤红薯
了。”姨奶奶站在院门口喊我们，我们一个个跑得比兔子还快，拿着
刚从炭火里烤出来的红薯，心急好吃的我们烫得抓耳挠腮，可有谁能
抵挡住红薯又香又甜的诱惑呢？
第二天早上，我破天荒地没有睡懒觉，和姨奶奶到塘边稻草垛
里摸鸭蛋，刚出屋门，一阵鸭子“嘎嘎”的歌声打破了清晨的寂静，随
即就是一阵戏水的“扑通、扑通”声，看来这鸭子是第一个早起忙碌的，
塘面有些地方结了层薄薄的冰，我捧着两个还有温度的大鸭蛋，见村
落里升起袅袅的炊烟，只觉得见到了世界上最宁静祥和的画面；听着
公鸡的打鸣声、大黄狗汪汪的叫声，只觉得听到了一首幸福交响曲。
乡下生活使我远理城市的喧闹、孤独，成为一个名副其实的快
乐小农娃！乡村的美景更是让我流连忘返，沉醉其中。
篇三 : different与difference的不同同上
different 与difference的不同
同上
答:最直观的不同点: different是形容词，difference是名词.
different的常有结构:be different from ....，它的反义词是be the
与．．．一样
difference是可数名词,多用复数，
关于difference的例句：what‟s the differences between the bus
and the car？
这样的解说，能看明白吗？