DOCSLIB.ORG

End of the Beginning End of the Beginning the Student Showcase Experience

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
End of the Beginning End of the Beginning the Student Showcase Experience End of the beginning End of the beginning The student showcase experience STORY AND PHOTOGRAPHS BY HARPER LEE THE PAIR OF dancers—a petite, the music slows as the tempo eases. Facing page: Headshots are sorted into blonde, beaming young woman and A sweet, quiet moment appears: his stacks before the crowd arrives at the Lau- a tall, agile young man—grin at one reluctance was an act. These two are rie Beechman Theatre for Wright State Uni- another, smoothly executing chore- smitten with each other. And as they versity’s 2014 senior showcase. Above: ography that they could clearly do in glide to a rest, chins in hands, eyes Jon Hacker takes a moment to study his music. After the showcase, Hacker became their sleep. A slide, a turn, upstage for locked on each other—a stray elbow part of the first national tour of Disney’s a few counts, and then back around, bumps an uninvited water glass off Newsies. enjoying the approving crowd gath- the hood of the piano that’s been ered in the darkness beyond the stage scoring their encounter. The glass lights. Their number is a charming, falls—shatters—sending ice, water, athletic crowd-pleaser. Her character and debris across the stage. has coaxed his into dancing. Then, The dancers, Taryn Lemmons DECEMBER 2014 • DRAMATICS 71 and Cooper Taggard from Wright receives a jolt of fresh, energetic tal- atre program, believes the showcase State University, have rehearsed for ent while recent grads get their first is essential to B.F.A. training, part of months. It’s one of their first big mo- taste of the Big Apple. how his department provides the best ments in New York City: a featured During showcase season—the possible preparation for the industry. duet in their senior showcase. There damp weeks stretching from the tail “We felt that in order to be on par are agents in the house (gulp), and end of winter in March to the very with all the other similar programs everything went smoothly except for tip of summer in May—New York out there, we needed to offer that,” the heap of glass at their feet. will host approximately two hundred Deer said of the showcase. “But we They take a beat. And laugh. showcases. Wright State University, also were interested in really giving located in Fairborn, Ohio, just outside our kids a launch into the industry. What is a showcase? of Dayton, has been among these Not just getting them agents or getting Each year, hundreds of soon-to-be schools for almost two decades. Last them seen by agents, but also getting B.F.A. theatre graduates from across April, Dramatics magazine tagged them oriented towards the industry, the country make a pilgrimage to along with the 2014 musical theatre which is a very important part of their New York City or Los Angeles seek- and acting B.F.A. graduates as they education.” ing connections, industry exposure, each said goodbye to an old life and At Wright State, most students pre- work, representation, housing, and hello to a new one with their own pare two selections for the showcase: a flexible day-job. Many of these showcase experience in New York a solo and a piece they perform with students/newly minted professionals City. a partner. The work is intended to re- begin their theatrical careers as part of This weekend is an opportunity flect each student’s skills and person- a senior class showcase, produced by for them to show potential employers ality, clarifying in the minds of agents their college or university at one or what they’re made of. Joe Deer, the and casting directors each individual’s more venues in the city. The market longtime head of WSU’s musical the- type. A student more inclined to mu- sical theatre might sing a duet as well as a solo; students with a great deal of dance training might dance dur- ing one of their pieces; and students with an acting focus might perform a monologue as well as a song, to dem- onstrate their drama chops. The Wright State students worked extensively with their faculty to find and craft the best material, and ul- timately assembled a lively, memo- rable, fun evening of entertainment. The class performs two shows in the city: one for invited industry profes- sionals and one for Wright State alum- ni living in the area. “I affectionately refer to the alumni performance as the debutante ball,” Deer said. “It is our students coming out to the industry, but it’s also them connecting with the alumni network. We have anywhere from a hundred to a hundred and fifty people show up, and there’s a party immediately after. It’s really a chance for everybody to see each other and for us to help ce- ment relationships between the new graduates and the alumni.” In addition to their performance pieces, the showcase forces students to prep résumés, headshots, and an entire book of additional material that Kelsey Andrae preps for show time. demonstrates their range and can be 72 DRAMATICS • DECEMBER 2014 called up at a moment’s notice in an audition setting. Does a casting agent want to hear something more legit? Maybe something more character? No problem; it’s in the book. The showcase grooms graduates for the profession, the finishing touch to four rigorous years of technical training. But Deer noted that the showcase also prepares students psychologically for the stresses of near-constant audi- tioning and what will inevitably come after college: rejection. “Students get to find out what life is like on the high wire,” said Stuart McDowell, chair of Wright State’s de- From left: Kaitlyn Sage, Cameron Blankenship, Zack Steele, Taylor Montgomery, and partment of theatre, dance, and mo- DeLee Cooper at lunch together between appointments. tion pictures. “They are auditioning in front of agents and it’s tough. A big directors, casting directors, and other their classmate Amy Wheeler, who chunk of their future is auditioning. It theatre professionals. During the spent the previous evening battling will be their bread and butter.” height of showcase season, an agent sickness. Quiet and cocooned in a “It’s a lonely career,” McDowell might make it to only seven or eight blanket until show time, Wheeler went on to say. “The showcase ex- out of the approximately two hundred transforms for her moment in the perience can prepare a student for showcases, Deer said. He pointed showcase. rejection and not getting the role. out that many faculty members worry “I haven’t eaten a whole lot,” she You have to learn to deal with that, that the showcase system is not as said later, smiling. “But because I’m and it’s best to learn as an undergrad, effective as they would like for it to not eating a whole lot, I can afford when we can help.” be simply because there are so many to take a taxi. Last night, I was like, programs trying to put their students ‘With this ten dollars I haven’t eaten Big fish, new pond out in the world. with—I’m going to ride in a taxi.’” It’s an especially wet and dreary April “Agents are overwhelmed,” he said. Having agents in the room is thrill- afternoon in Manhattan when the “Their full-time job is to find their cli- ing, but the Wright State crew seems group arrives at the Laurie Beechman ents work—not seek out new talent. happiest about sharing a singular, Theatre, an intimate cabaret space For them to give up two hundred af- special moment in their careers: a on West 42nd Street. The fourteen ternoons, they’d be working half days final performance together and for student performers apply make-up, for months.” most, an inaugural performance in rehearse, sound the room, sort head- Today’s industry crowd is small, New York City. shots, and review choreography. In but very engaged. They chuckle as “This is one of the last times I just a few hours, they will kick off they make notes and hand out cards. know I’ll be getting to perform,” their long weekend of pavement- After their water glass fiasco, Lem- DeLee Cooper said. “Because once pounding. mons and Taggard receive some un- you graduate you might not have a “The goal in coming here, at least expected praise and notice. They kept job for a while. I’m just really excited for me, is to get some perspective of their cool. They didn’t let a hiccup to be here in the city and doing what where I sit in the hierarchy of things devastate them. Agents found that im- I love, because who knows when the in New York City,” Wright State B.F.A. pressive. next opportunity is going to be.” student Zack Steele said. As part of his “It happened in slow motion, you warm-up, Steele tunes his guitar; he know,” Taggard said once safely off- ‘Scary people in the scary room’ provides the accompaniment to a class- stage. “But there was nothing I could The next day, students gather at mate’s solo in the showcase. “When do about it. You just sort of have to ac- Telsey+Company, a leading casting you go to college, you aren’t really knowledge it and move on.” A San Fran- agency on West 43rd. Instead of a sure. You’re a big fish in high school cisco native, Taggard came to Wright bright stage and an attentive audi- and then you go to college and say, State by way of Interlochen Summer Arts ence, this is the cloistered world ‘Okay, at this level where am I at?’” Camp, where Greg Hellems, a WSU fac- of professional auditions.
Load more

Recommended publications
  • Martin Amis: Postmodernism and Beyond, Edited by Gavin Keulks 102 Martin Amis: Postmodernism and Beyond a Lethal Hostility to Deviation Or Resistance
    7 Martin Amis’s Time’s Arrow and the Postmodern Sublime Brian Finney California State University, Long Beach Time’s Arrow (1991) confronts a question that has consumed Amis from an early stage in his career: is modernity leading civilization to self-destruction? While his main concern remains the world’s develop- ment of nuclear weapons, he sees the origins of the West’s drive to implode not just in Hiroshima and Nagasaki but in the Holocaust (Time’s Arrow) and the Soviet gulags (Koba the Dread). The Holocaust is, he has said, “the central event of the twentieth century” (Bellante, 16). As Dermot McCarthy observes: Amis’s “generation suffers from an event it did not experience, and will expire from one it seems power- less to prevent” (301). James Diedrick has called Einstein’s Monsters (1987), London Fields (1989), and Time’s Arrow an “informal trilogy” (104). The first two focus on a nuclear holocaust that threatens postwar civilization, whereas Time’s Arrow returns to the Holocaust, which cast its shadow over the rest of the century. London Fields and Time’s Arrow complement one another in particular. In a prefatory note to London Fields Amis mentions that he even considered calling the novel by the latter’s title. Indeed, Hitler remains at the heart of Amis’s belief that we are living in the aftermath of disaster. In London Fields Nicola Six remarks that “it seemed possible to argue that Hitler was still running the century” (395), and in 2002 Amis confessed, “I feel I have unfinished business with Hitler” (Heawood, 18).
    [Show full text]
  • Immortality in Ravelstein
    [Expositions 6.1 (2012) 81–89] Expositions (online) ISSN: 1747–5376 Immortality in Ravelstein STEPHEN BLOCK Baylor University This essay takes up the issue of “return” in Saul Bellow’s Ravelstein, a theme related to the alternatives of faith and philosophy or Jerusalem and Athens. Although the “return” is usually associated with faith, Bellow portrays Abe Ravelstein as initiating a return to the great texts of philosophy. Thus, the great question at the end of the novel which Bellow asks us is, Which provides a path towards immortality: faith or philosophy, Jerusalem or Athens? In the novel, Chick, who is the narrator, provides an absurd picture of Ravelstein as a Moses- like lawgiver creating a religion for his students and friends based on the Platonic dialogues. On Ravelstein’s account, modernity has perverted the human soul, making it neither faithful nor philosophic. And yet this same critique undercuts the idea that the question of philosophy or faith is a permanent question, as on his account moderns evade these alternatives. Ravelstein’s return to the ancients is thus paradoxical: it accepts the impermanence of the question of philosophy or faith, such that a call to return to these alternatives cannot be understood as philosophic. While Ravelstein is certainly about the relationship between faith and reason, it is also about whether we should understand human choices either as modern versus ancient or as philosophy versus faith. It is Chick’s less critical stance towards modern life that preserves Athens and Jerusalem as fundamentally human alternatives. Chick’s, and ultimately Bellow’s, manner of “seeing” and writing is aimed at showing the persistence and continuance of the old in the new, of the ancient in the modern, and thus of the persistence of the alternatives between faith and philosophy.
    [Show full text]
  • A Study of Jake Barnes Self - Awareness of His Weakness and His Relationship with the Woman
    A Study of Jake Barnes Self - Awareness of His Weakness and His Relationship with the Woman In Hemingway’s Novel A Thesis Submitted in Fulfillment of the Requirement For the Sarjana Sastra Degree at Faculty of Letters Hasanuddin University ANDINI SARI MAKKA F21107102 ENGLISH DEPARTMENT, FACULTY OF LETTER HASANUDDIN UNIVERSITY MAKASSAR 2011 ACKNOWLEDGMENT Praise and gratitude the writer prayed as much as possible to Jesus Christ for all his inclusion and protection, so this paper can be resolved as such. During the process of writing, there are many challenges, trials, and problems that writers face. But with perseverance, patience and hard work of the writer, as well as encouragement and guidance from faculty mentors, eventually everything can be resolved. The writer awares of her ability in writing this thesis, therefore this thesis is still far from perfection, both the content and composition. Thus the writer with all the limitations expecting suggestions from any readers, for discussion in this paper is more perfect. In preparation of this thesis from begin to end, many people are involved. Therefore, with humility the writers say many thanks and highest appreciation to Drs. Hussain Hasyim,M.Hum as the head of English Department, Drs.R.S.M.Assagaf,M.Ed as her first consultant and Drs.M.Amir P.M.Hum as her second consultant. who gave her the time in motivating , helping, correcting, and guiding during the preparation of this thesis. And also the writers thanks to Drs. M Syafri Badaruddin, M.Hum as her first examiner and Karmila Mokoginta,SS,M.Hum as her second examiner who gave many correction.The writers also thanks to all the lectures and staffs of English department who helping and educated the writer during her study.
    [Show full text]
  • Holding House Meetings
    Organizing Toolbox Articles from Kentuckians for the Commonwealth and the Southern Empowerment Project Holding House Meetings One method that local groups have found effective in strengthening an organization is to hold a series of house meetings. House meetings help an organization to get basic information out quickly and efficiently to a wider range of people. It can also be an efficient approach to get a broader group of people to define a particular issue and to be more specific about what they want to see changed in their community. For example, in one county, a group of people interested in forming a VOP chapter had one-to-one conversations with members of the community for over nine months. They heard in many of these conversations that education was a problem, so they decided to hold a series of house meetings to find out more specifically what people wanted to see changed about the educational system in the county. The group had to develop a plan for the house meetings. At a planning meeting, the coordinating committee set a goal of having 20 house meeting in two months, assigned tasks that are described below and set a date to come together to discuss the comments they received at each house meeting. Besides refining the focus of the issue work, the group was hoping to get more people active and to build support and momentum for a public action (or actions). The group also used the house meeting approach to increase the diversity of their group, to get new ideas about possible strategies and to help members learn new leadership skills.
    [Show full text]
  • The Science of Getting Rich” Written by Wallace D
    “The Science of Getting Rich” written by Wallace D. Wattles was first published in 1910 by Elizabeth Towne Publishing New York. The original text is now in public domain. However, this free e-book edition is not in public domain. It cannot be shared, distributed or reproduced in whole or in part. If you would like to share this e-book with others please direct them to our website www.thesecret.tv where a legitimate copy can be downloaded for free. Copy as preface page for e-book of “The Science of Getting Rich” A note from Rhonda Byrne, creator and executive producer of ‘The Secret’. Less than two years ago, at a time in my life when I was facing challenges from every direction – business, relationships, family, you name it – I stumbled across this book. Or, to be more accurate, IT stumbled across me! I can honestly say that, since that first night when a tattered printed transcript found its way to me (thanks to one of my daughters), my life has never been the same. Once you read it yourself, you will understand why. And “why” was the question I had been asking myself. Why are there people who seem to attract unlimited wealth into their lives, while others, equally as capable or talented or worthy, suffer from poverty and lack? As you’ll discover when you work your way through this wonderful little book, it has nothing to do with education, status, talent, environment, intellectual ability, physical prowess, or geography. Wallace Wattles explains, in simple, straightforward language, how ANYONE, regardless of their background or circumstances, can attract wealth into their lives.
    [Show full text]
  • Martin Amis's Nuclear Fiction
    UNLV Retrospective Theses & Dissertations 1-1-1995 Living the bomb: Martin Amis's nuclear fiction Rebecca L Bostick University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Bostick, Rebecca L, "Living the bomb: Martin Amis's nuclear fiction" (1995). UNLV Retrospective Theses & Dissertations. 571. http://dx.doi.org/10.25669/1fxy-go1t This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • LITTLE BLACK BOOK for STUNNING SUCCESS 1 © ROBIN SHARMA “People Who Have Achieved Great Success Are Not Necessarily More Skillful Or Intelligent Than Others
    ROBINROBIN SHARMA'SSHARMA'S LITTLELITTLE BLACKBLACK BOOKBOOK FORFOR STUNNINGSTUNNING SUCCESSSUCCESS LITTLE BLACK BOOK FOR STUNNING SUCCESS 1 © ROBIN SHARMA “People who have achieved great success are not necessarily more skillful or intelligent than others. What separates them is their burning desire and thirst for knowledge. The more one knows, the more one achieves.” ~ Robin Sharma CONNECT WITH ROBIN: http://www.facebook.com/theofficialrobinsharmapage http://www.twitter.com/_robin_sharma Thank you. © 2011 by Robin Sharma http://www.robinsharma.com LITTLE BLACK BOOK FOR STUNNING SUCCESS 2 © ROBIN SHARMA By International Bestselling Author Robin Sharma THE LEADER WHO HAD NO TITLE A Modern Fable on Real Success in Business and in Life “If you want to operate at the level of ‘WOW!’ be an exceptional leader, and live life ‘full out’, buy this book.” Darren Hardy, publisher, SUCCESS magazine In The Leader Who Had No Title, You Will Learn: • How to work with and influence people like a superstar, regardless of your position • A method to recognize and then seize opportunities in times of deep change • The real secrets of intense innovation • An instant strategy to build a great team and become a "merchant of wow" with your customers • Hard-hitting tactics to become mentally strong and physically tough enough to lead your field • Real-world ways to defeat stress, build an unbeatable mind-set, unleash energy, and balance your personal life Regardless of what you do within your organization and the current circumstances of your life, the single
    [Show full text]
  • Reading for Pleasure: a Research Overview
    Reading for pleasure: A research overview Christina Clark and Kate Rumbold National Literacy Trust November 2006 The path of a reader is not a runway but more a hack through a forest, with individual twists and turns, entanglements and moments of surprise. (Holden, 2004) © National Literacy Trust - Reading for pleasure 2 Many thanks to the Thomson Corporation whose generous contribution has made this research possible. © National Literacy Trust - Reading for pleasure 3 Table of contents 1. Setting the context ..................................................................................................5 2. The story so far.......................................................................................................9 The benefits of reading for pleasure ........................................................................9 Reading for pleasure – some statistics ..................................................................10 A decline in reading enjoyment?............................................................................12 Reasons for reading...............................................................................................14 Reading preferences..............................................................................................15 3. Delving more deeply .............................................................................................16 Introducing reading motivation...............................................................................16 Reading motivation and its link
    [Show full text]
  • Money and Tragedy in the Nineteenth-Century Novel Clany Soileau Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2006 Money and tragedy in the nineteenth-century novel Clany Soileau Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Comparative Literature Commons Recommended Citation Soileau, Clany, "Money and tragedy in the nineteenth-century novel" (2006). LSU Doctoral Dissertations. 1875. https://digitalcommons.lsu.edu/gradschool_dissertations/1875 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. MONEY AND TRAGEDY IN THE NINETEENTH-CENTURY NOVEL A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Interdepartmental Program in Comparative Literature by Clany Soileau B.A., University of New Orleans, 1971 B.A., University of New Orleans, 1972 M.A., University of New Orleans, 1978 M.A., Louisiana State University, 1998 May 2006 ACKNOWLEDGEMENTS I would particularly like to express my gratitude to Joseph Ricapito who over the past ten years has given me an inspiring example of what a scholar should be. I was fortunate to have him as a teacher and an inspiration beginning with my very first semester of graduate study at LSU and every year since. I would also like to thank the members of my committee, Bainard Cowan, John Pizer, and Adelaide Russo, for working with me on this project.
    [Show full text]
  • Killing the Crime Novel.Pdf
    Kent Academic Repository Full text document (pdf) Citation for published version Norman, Will (2011) Killing the Crime Novel: Martin Amis’ Night Train, Genre and Literary Fiction. Journal of Modern Literature, 35 (1). pp. 37-59. ISSN 0022-281X. DOI https://doi.org/10.2979/jmodelite.35.1.37 Link to record in KAR https://kar.kent.ac.uk/40667/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Killing the Crime Novel: Martin Amis's Night Train, Genre and Literary Fiction Author(s): Will Norman Source: Journal of Modern Literature , Vol. 35, No. 1, Re-assessing, Breaking, Transcending Genres (Fall 2011), pp. 37-59 Published by: Indiana University Press Stable URL: https://www.jstor.org/stable/10.2979/jmodelite.35.1.37 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive.
    [Show full text]
  • Share Your Story: a How-To Guide for Digital Storytelling
    SHARE YOUR STORY A How-to Guide for Digital Storytelling SUPPORTING THE RECOVERY AND HEALING OF SELF AND OTHERS THROUGH MESSAGES OF HOPE 1 Contents Overview…………………………………………………………………………………………………………………………3 Getting Started………………………………………………………………………………………………………….4 Making a Digital Story………………………………………………………………………………………………………………6 Step 1: Develop Idea………………………………….…………………..…………………………………………………….7 Step 2: Plan………………………………….…………………………………………………………………………………….11 Step 3: Outline/Script………………………………….………………………………………………………………………21 Step 4: Storyboard………………………………….…………………………………………………………………………31 Step 5: Film and Record………………………………….…………………………………………………………………40 Step 6: Finish………………………………….……….……………………………………..………………………………….44 Step 7: Publish and Share………………………………….………………………………………………………………48 Step 8: Review………………………………….……………………………………………….………………………………54 A Note for Organizations………………………………………………………………………………………………………64 Summary………………………………………………………………………………………………………………………………68 Resources………………………………..……………………………………………………………………………………………69 2 Overview Digital storytelling is all around us; videos, podcasts, Digital storytelling may seem intimidating, but really and commercials use words paired with images to there are simple tools you use in your daily life that share meaningful stories with a wide range of people. can also be used to create a digital story. Many other Digital storytelling helps us connect to people no resources are available and identified in this guide. matter where they are located. We can learn a great deal about each other from our smart phones,
    [Show full text]
  • How People Learn: Brain, Mind, Experience, and School: Expanded Edition
    THE NATIONAL ACADEMIES PRESS This PDF is available at http://nap.edu/9853 SHARE How People Learn: Brain, Mind, Experience, and School: Expanded Edition DETAILS 384 pages | 7 x 10 | PAPERBACK ISBN 978-0-309-07036-2 | DOI 10.17226/9853 AUTHORS BUY THIS BOOK Committee on Developments in the Science of Learning with additional material from the Committee on Learning Research and Educational Practice, National Research Council FIND RELATED TITLES Visit the National Academies Press at NAP.edu and login or register to get: – Access to free PDF downloads of thousands of scientific reports – 10% off the price of print titles – Email or social media notifications of new titles related to your interests – Special offers and discounts Distribution, posting, or copying of this PDF is strictly prohibited without written permission of the National Academies Press. (Request Permission) Unless otherwise indicated, all materials in this PDF are copyrighted by the National Academy of Sciences. Copyright © National Academy of Sciences. All rights reserved. How People Learn: Brain, Mind, Experience, and School: Expanded Edition Copyright National Academy of Sciences. All rights reserved. How People Learn: Brain, Mind, Experience, and School: Expanded Edition Expanded Edition How People Learn Brain, Mind, Experience, and School Committee on Developments in the Science of Learning John D. Bransford, Ann L. Brown, and Rodney R. Cocking, editors with additional material from the Committee on Learning Research and Educational Practice M. Suzanne Donovan, John D. Bransford, and James W. Pellegrino, editors Commission on Behavioral and Social Sciences and Education National Research Council NATIONAL ACADEMY PRESS Washington, D.C. Copyright National Academy of Sciences.
    [Show full text]