Drama Research Volume 8
Following on from the 50th anniversary of the birth of Theatre in Education in Britain in 2015, this is an essential and timely companion to the story of TIE. It contextualizes it within the political and educational landscape of the last fifty years and examines its legacy today. Through this, Roger Wooster offers insights into future possibilities and applications in the field of Applied Theatre, drama in schools and pedagogical theory. With examples and analysis of international developments in TIE, and a foreword by Philip Taylor (NYU, USA), the volume provides a wide-ranging account of past and current practice.
By Roger Wooster
In a world deeply affected by globalisation, negotiating effectively across cultural diversities has vital and increasing importance.
Discovering the value of ‘not knowing’.. Using drama for a deeper understanding of pedagogy and learning
This is the first phase of our research which looks to use drama development to increase pedagogical effectiveness within drama but more widely in other curricular areas also.
The Impact of Live Performance in Primary Schools in Ireland: A Case Study of the Abbey Theatre’s Priming the Canon Programme
Set against the context of the Arts in Education Charter, which encourages a partnership between artists and schools, this article reports on a study conducted with the Community and Education Department at the Abbey Theatre, the National Theatre of Ireland.
Youth Theatre: Drama for Life defines the youth theatre process, by outlining its constituent parts and explaining how these activities work in order to support young people’s development. As well as describing what is done in youth theatre, it also explores why it’s done and how to ensure the best possible outcomes. Michael Richardson has worked in youth theatre for over 20 years, has been involved in the training of other practitioners, and in the strategic development of the youth theatre sector in the UK. As well as giving key tips and advice from his own invaluable experience, Richardson offers comments from practitioners and participants on what makes a successful youth theatre experience.
By Michael Richardson
Performance in the Twenty-First Century: Theatres of Engagement addresses the reshaping of theatre and performance after postmodernism. Andy Lavender argues provocatively that after the ‘classic’ postmodern tropes of detachment, irony, and contingency, performance in the twenty-first century engages more overtly with meaning, politics and society. It involves a newly pronounced form of personal experience, often implicating the body and/or one’s sense of self.
By Andy Lavender
Drama, Creativity and Intersubjectivity presents a new theoretical approach to dramatherapy. The book examines the key concepts of creativity and intersubjectivity in detail, through a comparison of their manifestations in children’s life and the major scientific studies and developing research in the fields. Linking these concepts, Salvo Pitruzzella argues that ‘identity’ as a construct is now outmoded, and needs to be replaced with a more relational model. His ideas impact on dramatherapy theory, updating its basic tenets, and providing insight into how it practically works, with a focus on imagination as a major tool to support change.
By Salvo Pitruzzella
How do audiences experience live performances? What is gained when a national theater is born? These questions and more are the subject of Locating the Audience—the first in-depth study of how people form relationships with a new theater company. Investigating the inaugural season of National Theatre Wales, Kirsty Sedgman explores how different people felt about the way their communities were engaged and their places “performed” by the theater’s productions. Mapping the complex interplay between audience experience and identity, the book presents a significant contribution to our contemporary project of defining cultural value. Rather than understanding value as an end point—“impact”—Sedgman makes the provocative claim that cultural value can better be understood as a process. By talking to audiences and capturing pleasures and disappointments, Locating the Audience shows the meaning-making process in action.
By Kirsty Sedgman
When Albert Hunt joined the staff of the Regional College of Art, Bradford, in 1965, he found himself working mostly with ‘non-academic’ students on a fascinating range of games, projects and theatre events outside the main stream of exam-oriented education. In this title, first published in 1976, Albert Hunt describes this experience, and explains how he himself evolved from a conventional grammar school teacher to a radical and experimental educator. In particular, Hunt describes the evolution of new working relationships between teachers and students, which in turn highlight an alternative way of viewing society. Hopes for Great Happenings is not only a vividly interesting account of Albert Hunt’s teaching methods, but is of practical value to anybody involved in the study of liberal arts, theatre studies or in community arts work.
By Albert Hunt