Amanda Kipling
Goldsmiths, University of London, Educational Studies, Faculty Member
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A Drama teacher-educator working at Goldsmiths, University of London. Chair of professional association, London Drama... moreA Drama teacher-educator working at Goldsmiths, University of London. Chair of professional association, London Drama. Research interests include drama as healing in the classroom, play, practices of resistance edit
This paper is from MA studies in the 90's. It remains a favourite read for Drama teacher trainees on the PGCE Drama course at Goldsmiths. It is written through a reflective practice lens and accounts the true events in my classroom... more
This paper is from MA studies in the 90's. It remains a favourite read for Drama teacher trainees on the PGCE Drama course at Goldsmiths.
It is written through a reflective practice lens and accounts the true events in my classroom following the death of the mother of a 12 year old female student. The dramatic art form was grasped by the students as an avenue for healing under these traumatic circumstances.
A certain amount of catharsis is reached by the bereaved student writing play script. However, her peers challenge her perspectives and assist her in re-writing the script in time for the school drama festival.
It is written through a reflective practice lens and accounts the true events in my classroom following the death of the mother of a 12 year old female student. The dramatic art form was grasped by the students as an avenue for healing under these traumatic circumstances.
A certain amount of catharsis is reached by the bereaved student writing play script. However, her peers challenge her perspectives and assist her in re-writing the script in time for the school drama festival.
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This chapter tracks our innate ability to re-enact ourselves in a process of self examination and understanding. From sandpit to stage, it explores this process in child development which underpins the essence of theatre.
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This article is similar to another featured in the National Drama journal which is specialised for drama educationalists. This article is written with a broader readership in mind whose interest is adult teaching and learning rather than... more
This article is similar to another featured in the National Drama journal which is specialised for drama educationalists. This article is written with a broader readership in mind whose interest is adult teaching and learning rather than the school context.
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This paper explores the healing capacity of Heathcote's approach when applied by an early career drama teacher in an inner city secondary school. The lesson is analysed in detail and the article includes photographic material providing... more
This paper explores the healing capacity of Heathcote's approach when applied by an early career drama teacher in an inner city secondary school. The lesson is analysed in detail and the article includes photographic material providing clear visuals. The highly creative and bold approach to the use of Heathcote's teacher in role and the manner in which the teacher uses her vulnerability to assist the classroom to confront their own actions provides a fascinating insight into transformations which can be achieved in the drama classroom.
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This chapter examines how play in the early years becomes theatre. By appreciating the dynamics of play in the primary phase, classroom teaching of drama is enriched as the natural propensity to play is harnessed towards theatre making... more
This chapter examines how play in the early years becomes theatre. By appreciating the dynamics of play in the primary phase, classroom teaching of drama is enriched as the natural propensity to play is harnessed towards theatre making later in KS4 and 5
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This paper examines the practice of Dorothy Heathcote as an active paradigm in the classroom both for the teacher and the learners. This is explored and explained in depth with reference to the work of a number of key research... more
This paper examines the practice of Dorothy Heathcote as an active paradigm in the classroom both for the teacher and the learners. This is explored and explained in depth with reference to the work of a number of key research methodologists. The paradigm is then applied actively to the work of a contemporary classroom practitioner whose own words are used – through online audio recording ‐ to help analyse the work described.
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Educational Drama pioneer, Dorothy Heathcote, worked in new and innovative ways which were, even in the progressive times in which she was working, considered against the grain. This chapter examines her practice as a pedagogy of... more
Educational Drama pioneer, Dorothy Heathcote, worked in new and innovative ways which were, even in the progressive times in which she was working, considered against the grain. This chapter examines her practice as a pedagogy of resistance and goes onto explore how, with the use of technology, Drama Education students carry on this resistant practice in new and challenging contexts. Heathcote's 'Rolling Role' model is explored by the students as a way of discovering their own resistant practice and re-discovering the freedom to learn for themselves and their pupils.
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This chapter examines how play in the early years becomes theatre. By appreciating the dynamics of play in the primary phase, classroom teaching of drama is enriched as the natural propensity to play is harnessed towards theatre making... more
This chapter examines how play in the early years becomes theatre. By appreciating the dynamics of play in the primary phase, classroom teaching of drama is enriched as the natural propensity to play is harnessed towards theatre making later in KS4 and 5.