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Advocacy, History and Philosophy of Theatre Education

THED 670, Spring 18

3 credits (On-Line)

Syllabus

***Please carefully read through this syllabus at least twice ***

Instructor: Gillian McNally

Phone: 970-351-2597

Email: Gillian.McNally@unco.edu

Office: Crabbe Hall, 303

Mailbox: Frasier Hall, 105

Office hours: Please arrange a time to Skype for an appointment

Prerequisites: B.A. or B.S. degree, acceptance to UNC’s MA program in Theatre

Education

Course Description: This course will explore the history and philosophy of drama and

theatre education in the U.S. Participants will investigate the guiding question: why is

drama/theatre education essential? In order to answer this question we will look broadly

at educational theories and current advocacy writings that are relevant to the field. We

will also examine how issues of diversity impact the drama/theatre classroom. Students

should complete the course with a strong foundation and ability to advocate for arts

education.

Course Objectives:

1. To increase knowledge of resources available in arts advocacy.

2. To examine the historical and philosophical educational theories which impact

practices for drama/theatre educators.

3. To delve deeply into the impact of diversity in the drama/theatre classroom.

4. To learn how to build a strong argument for the necessity of arts education in

schools.

Technology Use:

All students must be able to use MS Word (including track changes feature),

Canvass, Electronic Reserves and the Internet for research

Outline of Course Content:

1. Advocacy paper

2. Weekly history, philosophy, advocacy, and diversity readings

3. Research paper

Course Requirements:

1. Readings in history, philosophy, advocacy and diversity in drama education: Each

week, the instructor will assign a set of readings on a topic. Students will write

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responses and post them online. Students will be expected to give thoughtful

responses to each other’s work online.

2. Arts Advocacy week: Each student will find arts advocacy articles and lead a

week’s class discussion online.

3. Research or Advocacy paper: Students will choose a guiding question relevant to

advocacy, history, philosophy or diversity of drama/theatre education. In a series

of steps, students will post on-line a thesis statement, outline and drafts of their

papers. Students in the class will work collaboratively with one another to give

each other feedback. Final paper should be 6-8 pages. Students should consider a

possible publication source for their papers.

Method of Evaluation: letter grade

1. History, philosophy and advocacy readings: 30% (300 points)

2. Advocacy readings & leading class: 10% (100 points)

3. Research/Advocacy paper: 60% (600 points)

Grading:

A=93-100 A-=90-92 B+=87-89 B=83-86 B-=80-82 C+=77-79 C=73-76 C-=70-

72 D+=67-69 D=63-66 D-=60-62 F=0-59

Required Texts and/or Required Reading List:

Grady, Sharon. Drama and Diversity: A Pluralistic Perspective for Educational

Drama. Heinemann Drama; 1 edition, September 1, 2000. ISBN-13: 978-

0325002620

Various readings online. See syllabus

How to find articles:

1. The only actual “book” you will use is Grady’s book. There are several chapters

we will read from this book. Please order book on amazon.com.

http://www.amazon.com/Drama-Diversity-Pluralistic-Perspective-

Educational/dp/0325002622/ref=sr_1_1?s=books&ie=UTF8&qid=1420760154&

sr=1-1&keywords=drama+and+diversity

2. If you see “lib”—this means the article is posted on the library website. To access

these articles, go to http://library.unco.edu/. In the left portion of the page, there

is a tab that says “Reserves”. Enter my name or course number. It will prompt

you to enter your name and bear number. Readings are listed by author. Click on

the reading to view!

3. Canvass: A few of the articles are posted on Canvass. These are included in each

week’s postings.

4. Online: if the article is posted with a website address, please go to that website for

reading. Student Code of Conduct

All students are expected to adhere to the University’s Student Code of Conduct,

designed to promote a safe and respectful learning environment. For more

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information about your rights and responsibilities as a UNC student see

http://www.unco.edu/dss/UNChonorCode.html.

Academic Integrity: Plagiarism / Consequences

It is expected that members of this class will observe strict policies of academic

honesty and will be respectful of each other. Any instances in which cheating,

including plagiarism and unauthorized use of copyrighted materials, computer

accounts, or someone else’s work is determined, will be referred to Student Services

and will be investigated to its full extent.

Consider providing a definition of plagiarism and examples if desired or referring

students to: http://www.unco.edu/english/wcenter/academicintegrityindex.html.

Specific examples of academic dishonesty to provide to students.

Examples of academic dishonesty (not limited to):

Cheating – A student uses a smart phone to access the internet while taking a quiz.

Copyright infringement – A student uses a photograph found on the internet in a presentation without obtaining permission from the photographer.

Deception – A student gives a dishonest excuse when asking for a deadline extension.

Denying access to information or material – A student makes library or shared resource material unavailable to others by deliberately misplacing those resources.

Fabrication – A student invents data in an academic work.

Facilitating academic misconduct – A student knowingly allows a portion of their work to be used by another student.

Plagiarism – A student represents the ideas of another in a paper without citing and referencing the work.

Sabotage – A student prevents others from completing their work by opening a window to affect a temperature controlled experiment.

Unauthorized collaboration – A student works with other students on a paper without the specific permission of the instructor.

Procedural information about academic misconduct. Important if not addressed in the grading information.

Work that violates these values is incompatible with the goals of this class and will not be tolerated. Students who are found responsible for a violation of the Academic Misconduct Policy will receive a failing grade for the test or assignment; Students have the right to appeal and may do so by following the procedures described in the Academic Appeals policy.

Students with Disabilities

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Any student requesting disability accommodation for this class must inform the

instructor giving appropriate notice. Students are encouraged to contact Disability

Support Services at (970) 351-2289 to certify documentation of disability and to

ensure appropriate accommodations are implemented in a timely manner.

Sexual Misconduct/Title IX Statement

The University of Northern Colorado prohibits and will not tolerate sexual

misconduct or gender-based discrimination of any kind. UNC is legally obligated to

investigate sexual misconduct (including, but not limited to sexual assault, sexual

harassment, stalking, and intimate partner violence). If you disclose an incident of

sexual misconduct to a faculty member, they have an obligation to report it to UNC’s

Title IX Coordinator. “Disclosure” may include communication in-person, via

email/phone/text message, or through in/out of class assignments.

If you wish to speak confidentially about an incident of sexual misconduct, please

contact the UNC Counseling Center (970-351-2496) or the Assault Survivors

Advocacy Program (970-351-4040).

If you would like to learn more about sexual misconduct or report an incident, please

visit www.unco.edu/sexualmisconduct.

Equity and Inclusion Statement The University of Northern Colorado embraces the diversity of students, faculty, and

staff, honors the inherent dignity of each individual, and welcomes their unique

perspectives, behaviors, and worldviews. In this course, people of all races, religions,

national origins, sexual orientations, ethnicities, genders and gender identities,

cognitive, physical, and behavioral abilities, socioeconomic backgrounds, regions,

immigrant statuses, military or veteran statuses, size and/or shapes are strongly

encouraged to share their rich array of perspectives and experiences. Course content

and campus discussions will heighten your awareness to each other’s individual and

intersecting identities.

The Office of Student Rights & Responsibilities (located in Decker Hall) serves as

resource to anyone seeking support or with questions about equity and inclusion at

the University of Northern Colorado (UNC). If you are a witness to or experience acts

of bias at UNC and would like to learn more about bias response or report a bias

incident, please visit Bias Response at http://www.unco.edu/biasresponse/.

Students may report discrimination here: http://www.unco.edu/dos/Conduct.html.

Tips for Online Learning:

Most theatre educators are auditory-kinesthetic learners, so online learning can be

challenging. I recommend reading through directions at least 2-3 times before

completing the assignment. I notice that students often miss important components of the

instructions and therefore get lower grades because they did not take the time to read

instructions carefully. I assume that you carefully read these instructions and will not

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accept re-writes because of a lack of ability to follow instructions.

For weekly posts, I’m looking to see if the readings further your knowledge. I’m looking

carefully to see if you are doing a close read of the material. Please use personal stories

and narratives to illustrate examples of ideas in readings. In this course in particular, it is

easy to go into a rant of why we are so angry that we don’t get enough kudos/funding

etc…. Please avoid the trap of complaining. Instead, look to find solutions. Ask

yourself: why??? How can I incorporate what I know from my classroom experience with

these new ideas? Always cite specific quotes from readings to back up your assertions.

MLA citation is required at all times.

For major papers, I give you multiple weeks to work. The expectations of your writing

for these major papers are higher. If you have more time, I expect better work. Please

don’t wait until the last minute to write your major papers. Be cautious of how you use

your time. In this course, you are all given equal amounts of time to complete

assignments, especially major papers. Because additional time is given for major papers,

I will not be able to accept re-writes of these papers. You are evaluated on the work you

create in the given time you have to write the paper.

Course Policies

Late Paper Policy: No late papers will be accepted without previous consent of

instructor due to personal circumstances. I prefer to receive papers on the deadline, but

understand that most of you are also working full time while taking this class. If you

would like an extension, arrangements must be made AHEAD of deadline or the paper

will not be accepted. (Requests must be sent by previous Friday @ 10 am MST) During

the week of your production, you are allowed a week extension on the assignment. Please

remind me before the deadline that it is your production week. You will find that I am

quite accommodating to your needs if given notice. We are all balancing a million balls. I

get it. Plan ahead and be honest with yourself about your time. My rule of thumb during

grad school: if I thought a paper would take 2 hours, it usually took 4.

For UNC’s general policy on absences see http://www.unco.edu/regrec/Current%20Students/Attendance.html

Communication: Because this is an online class, it is important that you communicate

with me with any questions or concerns regularly. If you don’t understand an

assignment, I ask that you do two things: 1. Re-read instructions and email classmates to

see if you are on the right track. 2. If you have made several attempts, but still cannot find

an answer, then please contact me via email. I prefer to be emailed with questions by 10

am on Friday mornings. I check email M-F 9- 5 pm MST. I always respond as soon as I

get your email during business hours. Please allow reasonable amount of time for an

email response. If I am traveling, I always send an automatic reply to emails and will

respond to your question as soon as I am back at work.

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If there are any changes in the syllabus, I will email you as soon as possible. Please be

respectful of the instructor and of classmates: please respond to emails promptly. For me,

I understand if you are busy. If I email you at a busy time, please respond with a nice,

“got your message, will get back to you soon” response. This helps me know that you

have received the email. It is expected that you are responsible for all information

emailed to you. Please be courteous and professional to classmates and instructor at all

times. I encourage you to avoid complaining and work to find solutions and positive

educational growth instead. Graduate school is a challenging, glorious experience. It is

firmly in your hands to make this a positive experience.

I expect everyone to have a minimum of one Skype session with me over the course of

the semester. Online learning can feel very lonely—so PLEASE contact me so we can set

up a Skype time to talk!

Expectations of Writing: This MA in Theatre Ed encourages students to be both

practitioners and scholars. Therefore, I have very high expectations for your writing.

You should think about a place to publish the papers you write in this class! Writing is

often a difficult skill for many people. I encourage you to find a writing tutor to help you

with your papers. It can be very useful to have someone proofread your material. I

encourage to always ask WHY. Higher grades will be given to students who show an

ability to demonstrate higher-level thinking and analysis in their writing. Please contact

the Writing Center for more assistance: 970-351-2056. This semester is academically

rigorous. This is good. It makes you a smarter, better teacher.

Everything you turn in must be in MLA format. If you do not have the book, please buy

the most recent edition. (8th) I also recommend this website for reference:

https://owl.english.purdue.edu/owl/resource/747/01/

It is good practice to be in the habit of using MLA format. Our plan is to help you with

professional writing style as much as possible so that it is second nature by the time you

write your thesis. Points will be deducted if you do not use proper MLA format.

If Dr. Schutter or I request that you work with a writing tutor, this obligation must be

fulfilled. If not, 25% will be deducted from your grade for not using a writing tutor.

The material taught in this course meets the following K-12 Colorado Model

Content Standards in Drama and Theatre:

Standard 1

Create: The creation of drama and theatre is a demonstration of learned skills in forming

new theatrical works, interpreting theatrical works for performance and design, and

developing characters and analyzing roles.

Standard 2

Perform: The theatre process is a product of the knowledge and essential skills gained in

the study of theatre toward the expression of the human experience in story, movement,

speech, and staging for an intended audience.

Standard 3

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Critically Respond: An informed literacy, ethical judgment, and cultural research are key

aspects of theatre arts study. Responding focuses on the artistic and scientific knowledge

of conventions, cultures, styles, genres, theories, and technologies needed to know better

choices and best practices.

The National Council for Accreditation of Teacher Education (NCATE) Standards

Standard 1: Candidate Knowledge, Skills, and Professional Dispositions

Candidates preparing to work in schools as teachers or other school professionals know

and demonstrate the content knowledge, pedagogical content knowledge and skills,

pedagogical and professional knowledge and skills, and professional dispositions

necessary to help all students learn. Assessments indicate that candidates meet

professional, state, and institutional standards.

Standard 2: Assessment System and Unit Evaluation

The unit has an assessment system that collects and analyzes data on applicant

qualifications, candidate and graduate performance, and unit operations to evaluate and

improve the performance of candidates, the unit, and its programs.

Standard 3: Field Experiences and Clinical Practice

The unit and its school partners design, implement, and evaluate field experiences and

clinical practice so that teacher candidates and other school professionals develop and

demonstrate the knowledge, skills, and professional dispositions necessary to help all

students learn.

Standard 4: Diversity

The unit designs, implements, and evaluates curriculum and provides experiences for

candidates to acquire and demonstrate the knowledge, skills, and professional

dispositions necessary to help all students learn. Assessments indicate that candidates can

demonstrate and apply proficiencies related to diversity. Experiences provided for

candidates include working with diverse populations, including higher education and P–

12 school faculty, candidates, and students in P–12 schools.

Standard 5: Faculty Qualifications, Performance, and Development

Faculty are qualified and model best professional practices in scholarship, service, and

teaching, including the assessment of their own effectiveness as related to candidate

performance. They also collaborate with colleagues in the disciplines and schools. The

unit systematically evaluates faculty performance and facilitates professional

development.

Standard 6: Unit Governance and Resources

The unit has the leadership, authority, budget, personnel, facilities, and resources,

including information technology resources, for the preparation of candidates to meet

professional, state, and institutional standards.

National Association of Schools of Theatre (NAST) Teaching Competency

Standards for Theatre Education

The theatre teacher is expected to understand the total contemporary educational

program-including relationships among the arts-in order to apply theatre competencies in

teaching situations and to integrate theatre instruction into the total process of education.

Essential competencies are:

1. An understanding of child development and the identification and understanding

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of psychological principles of learning as these relate to theatre education;

2. An understanding of the philosophical and social foundation underlying theatre in

education and the ability to express a rationale for personal attitudes and beliefs;

3. An ability to assess aptitudes, experiential backgrounds, skills, and interests of

individuals and groups of pupils, to devise learning experiences to meet assessed

needs, and to manage classrooms and rehearsals effectively;

4. A knowledge of current methods and materials available in all fields and levels of

theatre education;

5. An understanding of the principles and methods of developing curricula and the

short- and long- term units that comprise them;

6. An understanding of evaluative techniques and the ability to apply them in

assessing both the progress of students and in the objectives and procedures of the

curriculum; and

7. An awareness of the need for continuing study, self-evaluation, and professional

growth.

Schedule

*Schedule may change. Make sure you check online regularly for any updates.

Unless otherwise noted, all assignments are due on the last Sunday of the week at

midnight, MST. Turning work in past deadline will result in a deduction of points.

Everything must be posted on Canvass.

Week One: Jan 9-15: History of Educational Theory

Due: Sunday, Jan 15, midnight MST

Assignment #1:

Readings assigned to groups:

**Groups listed under “assignments” on Canvass**

Hall, M.C. Multiple intelligences: Teaching Kids the Way they Learn. Torrance,

CA: Frank Schaffer Publications, 1999: “What is the Multiple Intelligences

Theory?” (lib)

Readers: Group 1

Banks, James. “Multicultural Education: Characteristics and Goals.”

Multicultural Education: Issues and Perspectives, 3rd ed. Eds James Banks and

Cherry McGee Banks. Boston: Allyn and Bacon, 1997. 3-31. (lib)

Readers: Group 2

Bodrova, Elena and Deborah Leon. “The Vygotskian Framework.” Tools of the

Mind: The Vygotskian Approach to Early Childhood Education. Upper Saddle

River, NJ: Prentice Hall, 1996. (lib)

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Readers: Group 3

Brooks, Jacqueline and Martin Brooks. “The Call for Constructivism: Honoring

the Learning Process.” In Search of Understanding: The Case for Constructivist

Classrooms. Alexandria, VA: Assoc for Supervision and Curriculum

Development, 1993. (lib)

Readers: All

Assignment #2:

Getting to know you exercise

Week Two: Jan 16-22: History of Creative Drama/Theatre for Young

Audiences/Theatre Education

Rosenberg, Helane. “History of Creative Drama.” Creative Drama and

Imagination: Transforming Ideas into Action. New York: Holt, Rinehart, and

Winston, 1987. 18-48 (lib)

Swortzell, Lowell, Editor. International Guide to Children’s Theatre and

Educational Theatre: A Historical and Geographical Source Book. Greenwood

Press, NY: 1990. (lib)

McCaslin, Nellie. Creative Drama in the Classroom and Beyond, 7th Edition.

Addison Wesley Longman, New York: 2000. Chapter 1. (lib)

Hobgood, Burnet. A Short History of Educational Theatre. Teaching Theatre.

Pages 13-17. (blackboard)

Week Three: Jan 23-Jan 29: Philosophy of Education

Dewey, John. The School and Society (lib) (Read ONE of the following):

Chapter One: The School and Social Progress

Chapter Two: The School and the life of the child

Chapter Five: Froebel’s Educational Principals

Chapter Seven: The Development of Attention

Everyone reads:

Seung Hwan Shim, A philosophical investigation of the role of teachers: A

synthesis of Plato, Confucius, Buber, and Freire. Teaching and Teacher

Education Volume 24, Issue 3, April 2008, Pages 515-535 (on blackboard. Listed

as “Philosophy of Ed Article” in course materials)

Week Four: Jan 30-Feb 5: Advocacy Group 1: “80% of what we teach is who we

are”

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Eric Booth Article (Canvass):

Leaders: Group 1

Week Five: Feb 6-12: Advocacy Group 2: Reframing Arts Education for those not

in our field

All read:

http://www.aep-arts.org/wp-content/uploads/2012/08/Making-a-Case-for-the-

Arts-for-Download.pdf

http://www.aep-arts.org/wp-content/uploads/2013/04/Preparing-Students-for-the-

Next-America-FINAL.pdf

Leaders: Group 2

Week Six: Feb 13-19: Advocacy Group 3: The Unique Teacher/Student

Relationship in Arts Classrooms

Stevenson, Lauren M. and Richard J. Deasy. Third Space: When Learning

Matters. Arts Education Partnership, 2005. Chapters 1 & 2. (lib)

Leaders: Group 3

Week Seven: Feb 20-Feb 26: Contemporary Issues in Theatre Education: Social

Class

Chapter 1 & 3; Drama and Diversity

Lazarus, Joan. Signs of Change: New Directions in Secondary Theatre

Education. Heinemann Drama; Portsmouth. 2004. Chapter Three: Socially

Responsible Practice. pp 57-80. (lib)

Week Eight: Feb 27-March 5: Gender

Chapter 4; Drama and Diversity

McNally, Gillian. Empowering Ophelia: Developing Critical Awareness

of Gender Issues in Youth Theatre Rehearsals. Stage of the Art; Spring 2007, Vol

18. No 2. Pages 5-7 and 24. (Posted on Canvass. Listed as “Stage of the Art”

article under course materials)

Gallagher, Kathleen. Drama Education in the Lives of Girls: Imagining

Possibilities. University of Toronto Press Inc, Toronto: 2000. Pages 131-135. (lib)

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Week Nine: March 6-12: Contemporary Issues in Theatre Education: Race

Whole Class:

How to Be an Ally if You Are a Person with Privilege

Frances E. Kendall. Ph.D. (BB)

Chapter 2; Drama and Diversity

Assigned readings to groups:

Performing National Identities: Gonzalez’s The Migrant Farm Workers Son. Youth

Theatre Journal, Vol 19, 2005. (Lib)

Readers: Group 1

Schroeder-Arce, Roxanne. Toward Culturally Responsive Artistry: Implications for

Institutions, Artists, Educators and Audiences. International Journal of Education and the

Arts, Volume 15 Number 20, November 1, 2014.

http://ijea.org/v15n20/v15n20.pdf

Readers: Group 2

McNally, Gillian . Breaking the Borders of Geography and Low Expectations. Youth

Theatre Journal, 29:2, 138-145, 2015. (Blackboard)

Readers: Group 3

SPRING BREAK

Week Ten: March 20-26: Contemporary Issues in Theatre Education: Sexuality &

Ability

Chapter 5 & 6; Drama and Diversity

Choose one on the topic of sexuality:

http://nytimes.com/2009/02/20/theater/20rent.html

http://www.examiner.com/high-school-theater-in-indianapolis/north-central-high-

school-s-laramie-project-sparks-protests

Choose one on the topic of Inclusion:

The Paradoxes of Disability and Inclusion By Talleri McCrae, Incite/Insight 2010

(Canvass)

Assessing the Future of the Field: An International Convening of Thought

Leaders in Theater, Dance, Disability, Education, and Inclusion. Kennedy Center

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for the Performing Arts, 2012 (Canvass)

Week Eleven: March 27-April 2: Work on papers Due: Post thesis, outline, and sources for paper on Canvass. Make an appointment

(Skype/email) with Gillian to get feedback!

Week Twelve: April 3-9: Work on Final Papers

Week Thirteen: April 10-17: Papers Due

DUE: Final papers due Monday, April 17 @ 5:00 pm MST

Week Fourteen: April 17-23: Feedback

Gillian grades papers and sends feedback

Week Fifteen: April 24-May 1 Feedback

Gillian grades papers and sends feedback