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Essay on the role of theatre in education
History of theatre for development
Theatre as a form of education
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Theatre-In-Education
The theatre education industry/movement has seen some rapid changes
since its initial developments and establishment in the 1960’s.
However its origins mainly lie in the early years of the last century.
It was the initial establishment of companies such as Bertha Waddell’s
in Scotland and Esme Church’s in the north of England that thoroughly
established the main roots of TIE. Mainly the initial aims of these
companies was to stimulate, educate and inform young people through
encouraging them to participate in enjoyable and imaginary based
theatre programmes.
Despite early attempts in Britain in the mid 1930’s, where a Glasgow
Director of education allowed the Bertha Waddell’s company to perform
in junior schools within school time, the majority of the advances
within the movement came after World War Two. Due to the nature and
after-effects of the time, many post war Education Authorities felt
the need to sponsor drama and live theatre companies to aid in their
areas learning processes. One could perhaps say that due to the sheer
devastation of the war many education authorities felt that through
the use of drama therapy and role play style interaction that students
would be able to address their true anxieties and would therefore have
a more rewarding time in post war school. Around this time parallel
groups were beginning to form in Birmingham and London. One of the
pioneers of these types of groups was Brian Way. Having established
his own theatre-in-education company in the late 1940’s, Brain
established his companies aims as being, to assist teachers in all
types of schools with methods of approach to drama in education. This
company began to be at the forefront of schools early experiments,
linking children, their education and theatre.
This expanded further and as it progressed throughout England was
mainly made up of amateur theatre groups consisting of largely
teachers who aimed to introduce theatre to children. However, the main
expansion of TIE came when a number of professional theatre companies
began the notion of creating these experiences and took them into
schools.
Towards the end of the 1960’s the TIE movement was given a dynamic
push in the right direction. This was largely due to the new style of
teaching and curriculum delivery that was being implemented across
Britain. The ‘Plowden Report’ gave numerous advice on the delivery of
the school curriculum and a new style of “problem-solving” to teach
the syllabus was adopted throughout many primary schools. This new
“problem-solving” style of teaching allowed TIE to flourish, as
theatre could be used within schools to give examples of how to
successfully problem solve. This largely was done in the style of role
play situations and stemmed mainly from the teaching of alternative
“This is a great way to let kids have a chance to act and learn to direct because school drama programs can be limiting,” Tom Ellsworth, 17, the student Chair of C.A.S.T. said.
“Devised theatre can start from anything. It is determined and defined by a group of people who set up an initial framework or structure to explore and experiment with ideas, images, concepts, themes, or specific stimuli that might include music, text, objects, paintings, or movement.” (Alison Oddey 1). Devised theatre, also called collaborative creation, is a form of theatre in which the script is created through a collaborative process with the actors and the playwright, rather than the traditional method of theatre with a premade script. Devised theatre is created through the process, collaboration, and multi-vision of the group. Similar to improvisational theatre, a devised theatre play is created in the rehearsal process from the performers interacting with each other. By the time the devised play is performed the work is a cohesive piece that is, for the most part, set in stone. This form of theatre is a modern form of theatre, that came about from the collaboration of many different type of artists, because of the need of the performers to have some input into what they are performing. The devised theatre form is most utilized in the USA, Great Britain, and Australia, but especially in our country. Devised theatre utilizes physical movements, rather than focusing on only the language.
I went to see Around the World in eighty Days with a very open mind as it was the first professional play I have gone to see and after I left I was absolutely stunned. After experiencing the dynamic magic that is professional theatre I became positive I would never pay to see a film in a theatre ever again. I never thought film actors and stage actors were the same but now I know unequivocally that the two are on separate planets. The vast differences in both planets truly makes one appreciate theatre for all of its’ glory. While I never thought much of or respected actors, and why would anyone; stage actors are true workers, stage actors are true artists, stage actors are actual actors.
The Great Depression of the 1930s put many Americans out of work and left people searching for hope. After his election, Roosevelt's New Deal programs began to help better the lives of many jobless people. Unfortunately, many of these programs never reached their ultimate goals, and some failed without anything having been accomplished. The Federal Theatre Project (FTP) was one of many programs that could not fulfill what it had intended. The FTP was short-lived and plagued by severe censorship, all while being a major target of the House Committee to Investigate Un American Activities (HUAC).
“Theatre is like a gym for the empathy. It’s where we can go to build up the muscles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves. We practice sitting down, paying attention and learning from other people’s actions. We practice caring.” (Bill English of the SF Playhouse). This quote accurately summarises the purpose of Children’s Theatre, to help the growth and understanding of children whilst also keeping them entertained through theatrical techniques. The National Theatre’s Cat in the Hat, along with our performance pieces of Cranky Bear and Possum Magic all showcased these techniques in a number of ways, whilst also subconsciously coinciding with the child development theories
Musical theatre originated from something called an Operetta. An Operetta is a genre of light opera, light in terms both of music and subject matter. It is also closely related, in English-language works, to forms of musical theatre.
Postmodernism is a reaction to the classical types of art and theatre that had existed up until modern history, which relied on literature as the main focus of a work. The postmodernist movement began after the modernist movement, which occurred during the 19th and 20th centuries. Postmodernism is not necessary meant to be the opposite of art forms from the past, but rather, it is meant to open a person up to new experiences. Some postmodernist artists are concerned with creating works that will inspire their audience in some greater political or social manner and some postmodernists are concerned with creating works that will be entirely different than anything else an audience has ever experienced. Postmodernism is defined by specific characteristics, which mostly steam from a reaction toward the modernist movement. The modernist movement was caused by the quick paced changes that were occurring during the 19th and 20th century, in which the modernist artists used as a model of change from traditional forms. The postmodernist movement questions such acceptance of change as truth and is characterized by the rejection of any absolute truth, the idea that facts are not always true, the idea that all religions should be recognized as legitimate, rationalization, and equality. Three theorists that we have studied this semester, that exemplify postmodernism, are Adolphe Appia, Antonin Artaud, and Bertolt Brecht.
The Theatre in Education or TIE was initially developed and established in around 1960 by actor Roger Chapman. Theatre in Education refers to a style of theatre which brings audiences of young people face to face with the actors in an interactive theatre piece designed around the exploration of a particular idea. However, its aim is to stimulate, educate and inform young people by doing performance followed by the workshop that can be done before or after and it depends on the theatre company. Whereby, working with young people using drama as a means of allowing them to express themselves freely and creatively and to deal with issues relevant to them encouraging them to participate through work in the role and through debate. Theatre in education can be used to create different kinds of productions: for example, there are plays designed for a young audience, that could be based on a traditional story and activities for very young children, linked to a story with the opportunities for involvement. Theatre in education is used to encourage effective learning in schools. It calls for careful consideration of the audience's age and requirements in order to engage them and get the message
Before I started Introduction to Theatre class, I had been only to a couple of plays in my life. Just in this semester I’ve been to about ten plays and have learned so much about the art of theatre. The information I retained from class will help out a lot in the future, but the most important part of this class was the shadowing experience of A Midsummer Night’s Dream. With being able to get an inside look at this play during rehearsal and then going to see the performance was an incredible experience. By going to the rehearsal and then seeing the show, I was able to learn and understand more on how the theatre works. From there, I could understand the long process the actors and directors have to go through before the opening show happens.
Historically, drama, and indeed all areas of the arts, have been seen to make an unimportant contribution to society as a whole. As recently as the mid to late 20th century, the arts were seen as a luxury, and a purely leisure exercise or hobby, with only gifted children having access to classically defined art forms such as music or art. This ideology still exists in some form today, although the arts are beginning to be recognised as an integral part of our everyday and working lives. Many drama practitioners and educators consider the arts to be a growing power within the economy, and that drama has benefits to society, culture, and a person’s inner development. These benefits have shaped the incorporation and delivery of drama within Queensland schools. This essay will examine how, by teachers delivering a rich aesthetic experience to students through drama in schools, students are provided with opportunities to develop self identity and equipping them with a skill set that is transferable across a variety of learning areas.
In the seventies, we could do anything. It was the rainbow coalition, anti-Vietnam, all of those elements. And then we morphed over to where it became extremely straight-laced and non-risk taking. I think we are beginning to take risks again but within those societal norms.” Theatre only goes so far as society will allow it, as showcased by the Conservatory and it being influenced by the culture surrounding it. The mirror that is theatre reflects a culture and what it may want or not want to know, depending on how far it is allowed to
Throughout history, civilizations have evolved in many different facets. One of these components would be communication and in a narrower aspect, entertainment. We will delve in how entertainment has evolved, enlightened, and transformed throughout time. Each era beginning with Thespis in 6th century BC to present will be discussed and detailed to show the impact that entertainment has made upon generations and how it continues to advance: from men being the only performers allowed on stage to women’s entrance into entertainment; performances once held in amphitheaters to now transmitted via satellites and broadcasted live in our homes are only a few of the many topics that will be examined in what you are about to read.
Theatre will always survive in our changing society. It provides us with a mirror of the society within which we live, and where conflicts we experience are acted out on stage before us. It provides us with characters with which we identify with. The audience observes the emotions and actions as they happen and share the experience with the characters in real time.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern
My experience watching a live theatre performance on stage was a fascinating one, most especially since it was my first time. I attended a staged performance of “The History Boys” in a small theatre called “The Little Theatre of Alexandria” at 8:00 pm on Wednesday June 8, 2016 in Alexandria, Virginia. The overall production of the play was a resounding experience for me particularly the performance of the actors and the design of the scene made the play seem real.