Explore the vast range of titles available.

This paper reports on research undertaken into the processes through which student teachers begin to formulate an identity as a professional teacher. Using Fuller's investigations into the attitudes of trainee teachers towards their courses (1969) as a baseline, a discussion is established on the place of the student voice in contemporary initial teacher training programmes. In order to further investigate the potential importance of affording student teachers the opportunity to reflect on and express their thinking and feeling as they embark on their chosen career path, the concerns of a group of student drama teachers were recorded and interpreted. The vehicle for this exercise involved writing and subsequently performing reflective monologues. These were analysed by using The Listening Guide as composed by Gilligan et al. ( 2003 ). This paper illustrates how the methodology revealed distinct yet generally harmonious voices at work in the group in the first few weeks of their training year. Subsequent analysis suggests a model for the initial formation of a teaching identity built on aspects of self, role and character. Recognising the relative values and relationships between these factors for student teachers may, it is argued, provide greater security for them while affording their tutors insights which could help them to re-shape initial teacher training programmes.

This paper is a wake-up call, reclaiming the place of the artistic and the aesthetic in theatre and drama education as its core experience. Drama and theatre educators need to remind themselves that although drama is now being viewed as a multileveled discourse, the true appeal and beauty of drama and theatre in education lies in its power to express the human mind and spirit via the captivating magic of theatre. The authors' basic claim is that the young field of drama/theatre education feels old because no one challenges the aesthetic language. She feels this is because the educators are stifled by applied drama and theatre that have so often put real obstacles in the way of broadening the horizon of the field by its expansion of the utilitarian function of theatre in the curriculum and beyond. (Contains 16 endnotes.)

This book examines teachers' lounges as sites for the development of communal knowledge. It highlights data from surveys of teachers regarding their interactions in 26 elementary and secondary teachers' lounges in Israeli schools. The book regards teachers in lounges as learners, whether they are involved in formal professional development activities or in informal exchanges with their colleagues. There are nine chapters: (1) \"Modes of Inquiry\"; (2) \"Social Situations\"; (3) \"Dramatic Language\"; (4) \"Blurring of Boundaries\"; (5) \"Metaphors and Monologues\"; (6) \"Teachers' Perception of Lounges and Student Achievement\"; (7) \"Principals in the Teachers' Lounge: Intruders or Colleagues?\" (8) \"Professional Communities and Teacher Development\"; and (9) \"Implications for Teacher Education.\" An epilogue presents \"Paradoxes in the Lounge.\" Two appendixes present a description of the location and interior design of some teachers' lounges in Israel and a copy of the teacher questionnaire. (Contains approximately 90 references.) (SM)

This chapter seeks to broaden the scope of research in Theatre/Drama Education by placing the neglected issue of the child as spectator in the mainstream of thought on the uses of drama in education. The fine boundary between imagination and reality is studied from the viewpoint of the child watching a theatre performance. This is based on observational research in which I examined if and how children aged 5-8 live the aesthetic experience of a performance, and how their involvement in the performance affects the reduction of aesthetic distance. Research on the child as spectator in early childhood and his or her perception of aesthetic distance in a theatre performance is new and ground-breaking. It aims at developing an instrument for assessing aesthetic distance in early childhood.

Discusses the inherent conflict that exists between the tendency of Israeli schools to promote uniformity and their current mission to socially integrate immigrant children. A multicultural class production of \"The Ugly Duckling\" exemplifies how performing and visual arts can facilitate integration and acceptance. (MJP)

Schonmann discusses the integration of drama/theater into the curriculum of Israeli schools. Teachers must remember that their voice is vital to any development in drama/theater in the school curriculum.

Discusses the reasons for, and the reactions to, the marginalization of drama/theater education in the Israeli school system. Curricular reform introduced in the mid-1980s resulted in some improvement, however, school principal autonomy remains a major stumbling block. Recommends drama teachers seize the initiative and implement programs on their own. (MJP)