초ㆍ중등학교에서의 연극지도 - 정규 교과과목으로서의 연극, 그 교과 운영을 위한 기본 전략(Ⅰ)

Since early 1900`s, the ideas of making use of theatre` drama as a teaching medium has been spreaded, and tried out in school and for some special social education. The result is to confirm its positive and efficient function as educational medium. Social function of theatre/drama demonstrates the positive value in education. Theatre/drama, as a most valuable function, creates the situation of total involvement/confrontation which makes the mobilization of human potentiality and creativity maximal. Also theatre/drama, for education, provides natural and funny atmosphere through actual experience, and expresses original human nature of which education should begin from considering.<BR> The theatre for education in nature differentiates from professional theatre. To compare with professional theatre which aims at artistic outcome, the theatre, named educational theatre, places its final goal at education. Then it plays a part as teaching/learning medium. The essential quality of educational theatre should come from educational level, maximizing human growth, but rot from professional artistic level, focusing on the audience.<BR> It is argued that theatre should be perceived as an essential part of the school curriculum. Then the function of theatre in school is debated in two major ways, emphasizing theatre`s `contextualist` function, focusing that theatre should be valued for its contribution to education, and suggesting that, while this function is important. at least as a survival strategy, it must not be allowed to subvert the prime `essentialist` function of theatre. The act of theatre/drama is valued as a unique mode of learning to know about human behavior and its consequence.<BR> The curriculum planning models C3I1 be classified into two categories, central planning and openness. The former is the widely used and accepted model which is characterized by an essential reliance on `cold,` objective analysis of objective needs and strategies. Also presents the characteristics divorcing from the reality of the learning process which regarded as essentially exploratory, responsive and social. The planning of teaching should be based not so much on an often diversive discussion of `aims,` but on the use of the more pragmatic device of viewing classroom action in terms of specific teacher intention in relation to observed practice. This kind of planning, so called openness, would contain whin it a consideration of both instructional and expressive objectives.<BR> It is concerned with helping theatre teachers in school increase their effectives in teaching. In any consideration of teaching we must not only discuss `the what` but also `the how` of teaching. Teachers who whish to improve their practice consider the practical problems in an education system which encourages the teaching style of `learning by students` but positively discourages `learning by teachers,` and a number of `discovery-based` teaching models.<BR> Typically drama work do