Abstract
The teaching and learning practices found in theatre studies programs develop what Greater Expectations and College Learning for the New Global Century call the intentional learner. 1 These self-aware and self-directed undergraduate students understand that there is an underlying purpose to their studies. Such a student values the development of advanced intellectual and practical skills; recognizes the importance of gaining knowledge of science, society, and cultures; demonstrates the ability to transfer and apply knowledge to many situations (present and future); faces personal challenges in ethically and socially responsible ways; and appreciates diversity and commonality in an effort to gain a deeper understanding of community. The Association of American Colleges and Universities encourages educators to develop a practical, contemporary liberal education that cultivates intentional learners who are empowered, informed, and responsible. These individuals are capable of interpreting, integrating, applying, and communicating a wide range of knowledge to resolve complex issues and to manage challenging projects.2 The essential learning outcomes and the principles of excellence that are recommended by the National Leadership Council’s Liberal Education and America’s Promise (LEAP) initiative serve as a guide to educators who are committed to developing powerful, high-impact educational practices that help all college students become intentional in their learning so that they can meet twenty-first-century realities and become active participants in American democracy.3
Collaborative learning activities immerse students in challenging tasks or questions. Rather than beginning with facts and ideas and then moving to an application, collaborative learning activities frequently begin with problems, for which students must marshal pertinent facts and ideas. Instead of being distant observers of questions and answers, or problems and solutions, students become immediate practitioners. Rich contexts challenge students to practice and develop higher order reasoning and problem-solving skills.
Barbara Leigh Smith and Jean T. MacGregor (1992)
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Notes
The epigraph to this chapter is drawn from Barbara Leigh Smith and Jean T. MacGregor, “What Is Collaborative Learning?” in Collaborative Learning: A Sourcebook for Higher Education, ed. Anne S. Goodsell, Michelle R. Maher, and Vincent Tinto (University Park, PA: National Center on Postsecondary Teaching, Learning, and Assessment, 1992), 10.
See Association of American Colleges and Universities, Greater Expectations: A New Vision for Learning as a Nation Goes to College (Washington, DC: Association of American Colleges and Universities, 2002) and College Learning for the New Global Century (Washington, DC: Association of American Colleges and Universities, 2007 and 2008).
Association of American Colleges and Universities, College Learning for the New Global Century (2008), 3, 6.
See Richard Florida, The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life (New York: Basic Books, 2002), 33. This four-step process is attributed to Graham Wallas; see his 1926 book The Art of Thought (New York: Harcourt Brace).
Robert Shoenberg, Why Do I Have to Take This Course? A Student Guide to Making Smart Educational Choices (Washington, DC: Association of American Colleges and Universities, 2005), 22.
Association of American Colleges and Universities, College Learning for the New Global Century (2008), 3.
Elliot W. Eisner, The Enlightened Eye: Qualitative Inquiry and the Enhancement of Educational Practice (New York: Macmillan, 1991), 1.
Jerry G. Gaff, “What Is a Generally Educated Person?” Peer Review 7, no. 1 (2004): 5.
For further discussion on commanding image, see Nancy Kindelan, Shadows of Realism: Dramaturgy and the Theories and Practices of Modernism (Westport, CT: Greenwood Press, 1996), 70–99, 101–37. In this regard, I suggest that through the synthesis of the production’s presentational images and metaphors on stage, a commanding image can result—an inspirational insight that leads to a deeper understanding of the play’s complex ideas.
See Lorin W. Anderson et al., A Taxonomy for Learning, Teaching, and Assessing: A Revision of Bloom’s Taxonomy of Educational Objectives (New York: Longman, 2001), 65–92.
Ernest L. Boyer, Scholarship Reconsidered: Priorities of the Professoriate (Princeton, NJ: Carnegie Foundation for the Advancement of Teaching, 1990), 21.
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© 2012 Nancy Kindelan
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Kindelan, N. (2012). Intentional Learning through the Art of the Theatre. In: Artistic Literacy. The Arts in Higher Education. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137008510_6
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DOI: https://doi.org/10.1057/9781137008510_6
Publisher Name: Palgrave Macmillan, New York
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