Temporary Stages II Critically Oriented Drama Education

ISBN-10: 1783200111

ISBN-13: 9781783200115

Edition: 2013

Authors: Jo Beth Gonzalez

List price: $28.50
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Theater teachers are forced to adapt constantly. Whether responding to advancing technologies, cuts to (or the growth of) their program, or ever-changing governmental mandates, they struggle to serve both their students and their craft. Using a theater arts program at one at a Midwestern high school, this book explores how change, good or ill, directly impacts students as well as teachers. Building on the work of the previous edition of Temporary Stages, Jo Beth Gonzalez shows teachers how to sustain confidence and outlines “critically conscious” teaching, a technique that encourages students to practice self-agency and critical awareness. Essential reading for all theater teachers, this indispensable resource is a font of innovative classroom and production practices.
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Book details

List price: $28.50
Copyright year: 2013
Publisher: Intellect, Limited
Publication date: 10/15/2013
Binding: Paperback
Pages: 175
Size: 7.00" wide x 9.00" long x 0.50" tall
Weight: 0.990
Language: English

Jo Beth Gonzalez has been a classroom teacher of speech, English, and theatre for twenty-seven years, the past nineteen at Bowling Green High School in Ohio, where she also directs the theater program.

Critically Oriented Drama Education Shapes Growth
Stepping From Temporary Stages to Temporary Stages II
Rethinking Power Relationships in the Theatre Classroom and Rehearsal
Sections of the Book
Promoting Critical Consciousness: The CODE Classroom and Rehearsal
National Trends Demonstrate Need for Critical Investigation of Secondary theatre Education
Seven Guiding Concepts of Temporary Stages II
Student Artistry
Incomplete Understandings
The Adventure of Teaching Theatre for Self-Agency and Critical Consciousness
Characterizing CODE Classrooms and Rehearsal Spaces
Self-Reflection: The Gateway to Critically Conscious Classrooms and Rehearsals
Qualities of a CODE Classroom
Positioning the Listening Ear
Reflection as Evaluation: What About Grades?
Balancing Passion and Censorship
Promoting Critical Consciousness Through Drama/Theatre Education
Daily Demands and Tradition Hinder Change
Language and Homosexuality Prompt Censorship
Plays With Themes of War Prompt Censorship
Treading the Divides of Partial Understanding
Personal Commitment to the Social Cause Contributes Conditions for Change
Discovering CODE in Musical Theatre
Critical Directing Challenges Conventional Hierarchies in Musical Theatre
Asking "Where Are the Stars?"
Involving Students in All Aspects of Artistry and Production to Strengthen the Whole
Securing Confidence in Collaborative Leadership
Steering Away from Stereotypes by Designing Rehearsals that Foster Critical Consciousness
Questioning Assumptions of Privilege: Dramaturgy Unveils Identity
Contemplating Complexities of Cultural Border-Crossing
Critically Oriented Drama Education Alters Traditional Power Dynamics
Examining Power Dynamics in a CODE Theatre Design Classroom
Perpetuating Dominance In Spite of Principles
Evolution of a Design
Resisting Authority and Authorizing Resistance: Students and Teachers Negotiate Control
Whose Vision Is This? On Artistry and Compromise
Co-Authored Vision: The Winter's Tale
Teacher's Vision: Much Ado About Nothing
Artistic Compromise and Compromising Artistry
Much Ado About Trees
The Winter's Tale of Trees
A Midsummer Night's Nightmare
Binaries Blend When Students Exercise Power
The Teacher/Student Binary
The Actor/Crew Binary
The Leader/Follower Binary
Emerging Conflict, Paradox, and Social Change When Students Exercise Power
Multiple Perspectives Fuel Power Straggles
Paradox: Democratic Teacher and Director Authority
Conflict Arises from Paradox: Democratic Teacher or Authoritative Director?
Social Change Evolves from Conflict: Democratic Teaching Strengthens the Co-curricular Theatre Program
Conventional Mindsets Rear Heads When New Ideas Depart From Tradition
Shaping an Ensemble Approach to Casting Understudies with a Mindset for CODE
Critical Partnership versus Conventional Substitution
Conditions for Understudy/Principal Critical Partnership
Play Selection
Ensemble Roles
Ensemble Improvisations and Workshops
Switching Out
Added Time
Adjusting to a New Theatre with Critical Awareness
Adjusting With Unease to a Place of Privilege
Effective Power Dynamics Manage Transition into a Performing Arts Center
Scheduling Activities in the New Performing Arts Center: Feminist Leadership Involves All
Top-Down Management Seeps In
The Politics of Danger: Technology Presents New Cautions
Evaluating Co-Governance in a Technological Environment
A State-of-the-Art Space: The Creativity/Technology Binary
Technology and the Spirit of Theatre
Technology: The Science/Theatre Binary
Performing Arts Center-Turned-Classroom Engages Science Students in a Fresh Way
Critically Oriented Drama Education Examines Controversy and Oppression
Establishing a Foundation for Examining Tough Issues
Evolution of Original Scripts with Controversial Themes
Leading Discussions of Controversial Subject Matter
Exploring What Works… And What Doesn't: Sometimes Traditional Teaching Methods Are Best
Testimonies Contribute Substance to Research
Unfolding Ongoing Reflective Practice Through Five CODE Strategies
Students Resist Teacher-Fed Script
CODE Conditions in a Classroom Support Student-Written Scenes on Hot Topics
The Spoonful of Sugar-Incorporate Satire to Advance Serious Work
"The Best Drunk Driver"
Invite Self-Disclosure
Build Trust to Raise Social Consciousness and Express Emotion Honestly
Integrate Teacher Voice to Model Vulnerability as Strength
Involve Tempered Teacher Authority as Process Evolves into Product
Investigating Student and Teacher Identity
Positioning Student Identity in the Classroom
Positioning Teacher Identity in Rehearsal
The CODE Classroom: A "Safe Space" With Consequences
Seeing the Opposite Reveals identity
Strong Critical Classroom Experience is an Ongoing Process
Unveiling Whiteness in a "Safe Space With Consequences"
Positioning Whiteness in Performance when the Joke is on Who?
Preparing for the Audience
Working Through the Audience "Fear Factor"
When Emotions Aren't Enough: Integrating Facts for Healthy Digestion of Controversial Material
The Responsibilities of Democratic Teaching-Include Preparing for the Audience
Works Cited
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