BL42.R84

1- Why Theatre as pedagogy 2- standing on holy ground 3- What's in a story ? what's in an image 4- improvisation in the classroom 5- toward a theology of memorization and enactment 6- the play is the thing 7- evalusating students through enactment and playwriting 8- the comfort - fear spectrum

My passion is embodied learning. Through twenty-five years of teaching, I've learned that students engage with material best when their bodies are active participants in the learning process. I have found this to be particularly true in teaching religious studies and theology.--from the IntroductionPeople are torn by conflict, fractured by cultural, religious, racial, and economic divides. Religion has often been a prime motivator for this violence. Classrooms must be places in which we learn to hold differences and commonalities. Classrooms are opportunities to rehearse, to practice, how we want to live with one another. Religions, says Rue, are more than ideas: they are lived, enacted by human beings in particular ways. And courses in religion need more than a cognitive understanding of central concepts. Rue asserts that students need to viscerally encounter belief, religious practice, religious imagination, and religious experience. Acting Religious, a practical handbook, maps a new approach that uses theatre to teach religion. For many years, Rue has used theatre techniques and plays to introduce students to what she calls the "experience" of religion, showing how theatre makes theological ideas palatable, visceral, and available. Acting Religious is at once a call to experience meaning and a theatre method to embody it.Experienced and beginning teachers at both college and high school levels, as well as religious educators, will learn how to use the following techniques in the religion or theology classroom: improvisation, characterization, memorization, script writing, performance. From these methods, students will be able to engage religious traditions experientially as well as cognitively.