ABSTRACT
In the above description of David Booth’s praxis, the late Richard Courtney, a British-Canadian educator who was a prolific writer on
drama education, notes how often the most fulfilling experiences in drama emerge when participants have a range of options from which they must choose. In the previous chapter we saw how a pre-text, when carefully selected, can yield numerous artistic possibilities for rich inquiry in the drama classroom. Now, in this chapter, readers are introduced to the power of storydrama as an artistic encounter which helps students commit to the whole curriculum. Examples from drama classrooms will be provided.
