Through “Students on Stage,” Harmony students share their learned knowledge with peers, younger students, and adults. Nothing reinforces understanding of a topic more than explaining it to others. In addition to Project Based Learning Harmony uses a wide variety of methods and techniques such as Students on Stage, Custom Day Personalized Learning Environments and Character Education. What is Project Based Learning, and why do Harmony Public Schools use it?.Harmony graduates have earned seats in the nation’s most prestigious colleges and universities, gaining coveted STEM jobs and bridging the gap between students in traditionally underserved communities and lucrative satisfying STEM careers. Harmony graduates are designed to effectively navigate college-level coursework by mastering advanced concepts in Science, Technology, Engineering and Math. These individual and team laboratory projects and state-wide, national and international rocketry and robotics competitions bring Harmony students to a deeper and thrilling understanding of both traditional academic topics while teaching them skills beyond the classroom, such as public speaking, teamwork and time management. Through Harmony’s Project-Based Learning curriculum, students work on providing solutions to real-world problems. Harmony Public Schools focus on STEM because it is fundamental to every field of human endeavor, from academic and critical thinking skills to social skills to appreciation and understanding of Humanities, Social Sciences, problem solving and artistic creativity. mistaking the Author’s intention’ by informers may lead not only to ‘unkind reports’, but also ultimately to the horrors of the early modern gaol.STEM is Science, Technology, Engineering, and Mathematics, the fields of study that examine the natural world and how it operates. His metadrama therefore registers, in both form and content, the solid fear that ‘unseemly speeches.
In offering this Beaumont reveals the precarious nature of his own authority in relation to that of a potentially informing audience.
The end result is a theatrical form which accurately reproduces the critical atmosphere of the drama and of the material context of its production. Beaumont’s onstage citizens therefore stage an authorship which feels itself to be under siege by a far more unruly form of audience empowerment and signify the fear of of venal interpretation and misheld authority. In The Knight of the Burning Pestle however, the onstage audience are allowed a much more actively intrusive role, as they attempt to hold sway over the writing and production of the play they inhabit. As a contrast, Ben Jonson’s onstage audiences are often allowed only ridiculous or overblown reactions, a kind of instructional dysfunction, while remaining entirely under the control of the author. Francis Beaumont’s play, The Knight of the Burning Pestle (1607) stages a disjunction between interpretation and legitimate authority, centred around an audience which is empowered partly by the threat of informing.
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