Structured creative processes in learning playwriting: invoking imaginative pedagogies

References

• Abuhamdeh, S., & Csikszentmihalyi, M. (2004). The artistic personality: A systems perspective. In R. J. Sternberg, E. L. Grigorenko, & J. L. Singer (Eds.), Creativity: From potential to realisation (pp. 31–42). Washington, DC: American Psychological Association.
   Google Scholar
• Amabile, T. M. (1996). Creativity in context. Boulder, CO: Westview Press.
   Google Scholar
• Anderson, M., & Jefferson, M. (2009). Teaching the screen: Film education for generation next. Sydney: Allen and Unwin.
   Google Scholar
• Archer, W. (1960). Playmaking: A manual of craftmanship. New York, NY: Dover Publications Inc.
   Google Scholar
• Aston, E., & Savona, G. (1991). Theatre as sign system: A semiotics of text and performance. London/New York: Routledge.
   Google Scholar
• Bailin, S. (2011). Creativity and drama education. In S. Schonmann (Ed.), Key concepts in theatre/drama education (pp. 209–213). Dordrecht: Sense Publications.
   Google Scholar
• Baker, G. P. (1919). Dramatic techniques. London: Jonathan Cape.
   Google Scholar
• Berghetto, R. A., & Kaufman, J. C. (2007). The genesis of creative greatness: Mini-c and the expert performance approach. High Ability Studies, 18, 59–61.10.1080/13598130701350668
   Web of Science ®Google Scholar
• Boden, M. (2004). The creative mind: Myths and mechanisms. New York, NY: Routledge.
   Google Scholar
• Burton, B. (2001). Living drama. Sydney/Melbourne/Brisbane/Perth: Longman.
   Google Scholar
• Chappell, K. (2007). The dilemmas of teaching for creativity: Insights from expert specialist drama teachers. Thinking Skills and Creativity, 2, 39–56.10.1016/j.tsc.2007.01.001
   Web of Science ®Google Scholar
• Clark, L. (2006). Writing for the stage: A practical playwriting guide. Portland, ME: Pearson/Allyn & Bacon.
   Google Scholar
• Csikszentmihalyi, M. (1988). Society, culture and person: A systems view of creativity. In R. J. Sternberg (Ed.), The nature of creativity: Contemporary psychological perspectives (pp. 325–339). Cambridge: Cambridge University Press.
   Google Scholar
• Csikszentmihalyi, M. (1993). Activity and happiness: Toward a science of occupation. Occupational Science: Australia, 1, 38–42.10.1080/14427591.1993.9686377
   Google Scholar
• Csikszentmihalyi, M. (1994). The domain of creativity. In D. H. Feldman, M. Csikszentmihalyi, & H. Gardner (Eds.), Changing the world: A framework for the study of creativity (pp. 135–158). Westport, CT/London: Praeger.
   Google Scholar
• Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York, NY: Harper Collins.
   Google Scholar
• Csikszentmihalyi, M. (1999). Implications of a systems perspective for the study of creativity. In R. J. Sternberg (Ed.), Handbook of creativity (pp. 313–335). Cambridge: Cambridge University Press.
   Google Scholar
• Csikszentmihalyi, M. (2008). Flow: The psychology of optimal experience. New York, NY: Harper Perennial Modern Classics.
   Google Scholar
• Csikszentmihalyi, M., Rathunde, K., & Whalen, S. (1993). Talented teenagers: The roots of success and failure. New York, NY: Cambridge University Press.
   Google Scholar
• Davis, S. (2010). Creativity in drama: Explanations and explorations. NJ: Drama Australia Journal, 33, 31–44.
   Google Scholar
• De Roo, E. (1970). Teaching the procedures for writing a play. Speech Teacher, 19, 257–261.10.1080/03634527009377832
   Google Scholar
• Denzin, N. K. (1989). The interpretive point of view. In N. K. Denzin (Ed.), Interpretive interactionism (pp. 10–34). Newbury Park, CA: SAGE Publications.
   Google Scholar
• Denzin, N. K., & Lincoln, Y. S. (2005). The discipline and practice of qualitative research. In N. K. Denzin & Y. S. Lincoln (Eds.), The SAGE handbook of qualitative research (3rd ed.). (pp. 1–32). Thousand Oaks, CA: SAGE.
   Google Scholar
• Elam, K. (1980). The semiotics of theatre and drama. London/New York: Methuen.10.4324/9780203426074
   Google Scholar
• Fetterman, D. M. (1988). Qualitative approaches to evaluating education. Educational Researcher, 17, 17–23.10.3102/0013189X017008017
   Google Scholar
• Flannagan, W. (1996). Edward Albee, The Art of Theatre No. 4. The Paris Review ( 39). Retrieved from http://www.theparisreview.org/interviews/4350/the-art-of-theater-no-4-edward-albee
   Google Scholar
• Gardiner, P. (2016). Playwriting pedagogy and the myth of intrinsic creativity. Research in Drama Education: The Journal of Applied Theatre and Performance, 21, 247–262.10.1080/13569783.2016.1157016
   Web of Science ®Google Scholar
• Gardiner, P. (in press). Playwriting and flow: The interconnection between creativity, engagement and skill development. International Journal of Education and the Arts.
   Web of Science ®Google Scholar
• Gardiner, P., & Anderson, M. (2016). Why playwriting? Dealing with the big issues and empowering student voices. NJ: Drama Australia Journal, 39, 122–134.
   Web of Science ®Google Scholar
• Gattenhof, S. (2006). Drivers of change: Contemporary Australian theatre for young people. Brisbane: Drama Australia.
   Google Scholar
• Gombrich, E. H. (1972). The story of art. London: Phaidon.
   Google Scholar
• Griffiths, S. (1982). How plays are made. London: Heinemann Educational.
   Google Scholar
• Haseman, B. (2012). Old and new arguments for placing drama at the centre of the curriculum. QADIE Says, 35, 24–35.
   Google Scholar
• Ingold, T., & Hallam, E. (2007). Creativity and cultural improvisation: An introduction. In T. Ingold & E. Hallam (Eds.), Creativity and cultural improvisation (pp. 1–24). Oxford/New York: Bergman.
   Google Scholar
• Jeffrey, B., & Craft, A. (2004). Teaching creatively and teaching for creativity: Distinctions and relationships. Educational Studies, 30, 77–87.10.1080/0305569032000159750
   Web of Science ®Google Scholar
• Kaufman, M. (2001). The Laramie project. New York, NY: Vintage Books.
   Google Scholar
• Lassig, C. J. (2013). Approaches to creativity: How adolescents engage in the creative process. Thinking Skills and Creativity, 10, 3–12.10.1016/j.tsc.2013.05.002
   Web of Science ®Google Scholar
• McIntyre, P. (2008). The systems model of creativity: Analysing the distribution of power in the studio. Journal on the Art of Record Production (3). Retrieved from http://arpjournal.com/the-systems-model-of-creativity-analyzing-the-distribution-of-power-in-the-studio/
   Google Scholar
• McIntyre, P. (2012). Creativity and cultural production. New York, NY: Palgrave Macmillan.
   Google Scholar
• McLellan, R., & Nicholl, B. (2013). Creativity in crisis in design and technology: Are classroom climates conducive for creativity in English secondary schools. Thinking Skills and Creativity, 9, 165–185.10.1016/j.tsc.2012.11.004
   Web of Science ®Google Scholar
• Nicholson, H. (1998). Writing plays: Taking note of genre. In D. Hornbrook (Ed.), On the subject of drama (pp. 73–91). New York, NY: Routledge.
   Google Scholar
• Norden, B. (2007). How to write a play. Third Text, 21, 643–648.10.1080/09528820701600137
   Google Scholar
• Pfister, M. (1988). The theory and analysis of drama. Cambridge: Cambridge University Press.10.1017/CBO9780511553998
   Google Scholar
• Richardson, L. (2000). Writing: A method of inquiry. In N. K. Denzin & Y. S. Lincoln (Eds.), The SAGE handbook of qualitative research (pp. 923–948). Thousand Oaks, CA: SAGE.
   Google Scholar
• Sawyer, R. K. (2012). Explaining creativity: The science of human innovation. Oxford/New York: Oxford University Press.
   Google Scholar
• Smiley, S. (2005). Playwriting: The structure of action. New Haven/London: Yale University Press.
   Google Scholar
• Sternberg, R. J. (2006). The nature of creativity. Creativity Research Journal, 18, 87–98.10.1207/s15326934crj1801_10
   Web of Science ®Google Scholar
• Sternberg, R. J., Kaufman, J. C., & Pretz, J. E. (2002). The creativity conundrum: A propulsion model of kinds of creative contributions. New York, NY: Psychology Press.
   Google Scholar
• Sternberg, R. J., & Lubart, T. I. (1999). The concept of creativity: Prospects and paradigms. In R. J. Sternberg (Ed.), Handbook of creativity (pp. 3–15). Cambridge/New York: Cambridge University Press.
   Google Scholar
• Swander, M., Leahy, A., & Cantrell, M. (2007). Theories of creativity and creative writing pedagogy. In S. Earnshaw (Ed.), The handbook of creative writing (pp. 11–23). Edinburgh: Edinburgh University Press.
   Google Scholar
• Wandor, M. (2008). The art of writing drama. London: Bloomsbury Academic.
   Google Scholar
• Waters, S. (2013). How to describe an Apple: A brief survey of the literature on playwriting. Contemporary Theatre Review, 23, 137–145.10.1080/10486801.2013.777052
   Web of Science ®Google Scholar
• Weisberg, R. W. (1993). Creativity: Beyond the myth of genius. New York, NY: W.H. Freeman and Company.
   Google Scholar