An Analysis of the Benefits and Historical Development of Theatre in Education - Coursework Example

The Benefits and Historical Development of Theatre in Education Introduction The development of theatre in education is one that is not only based onbasic principles of learning acting and artistic techniques. With contemporary approaches to theatre are also other alternatives that are a part of the educational concepts and the way that theatre is approached. Specific modules and processes have been developed and created for learning to create further learning within education. While each of these modules are designed to help students in education and in theatrical techniques, most also create a specific type of development and association with theatre. The changes that have occurred within education and theatre are now able to benefit students in developing the craft of theatre more than past techniques, specifically because of the development into new and experimental approaches. Theories of Theatre in Education The purpose of theatre in education from a historical context was to develop the craft of acting for students interested in performing literary works. However, newer models of theatre in education have created an alternative approach to understanding why theatre is used in schools. The curriculum and the main goals have changed the way that theatre is approached as well as what is used within the classroom for students. The concept of expression is now not only used for the study of acting and literature, but is also used for social and psychological development. When certain plays are interacted by students they have the ability to understand and interact with the information that is linked to this. The first objective that is achieved is instructional, which relates to the classroom teaching and the cognitive process used. The second objective is related to the expressions used. The educational level that is used within this is created specifically for an understanding of social and cultural issues that are prevalent in society and which need to be looked into (Jackson, 256). The development of theatre in education is not only important with the implementation and understanding of different cognitive processes. It is also essential because of the extra skills that it provides children with as they are moving through different development stages. Theatre for children that is developed in the correct manner can help with social skills and the ability to work within teams, specifically because of the way that different scripts are developed. More importantly, the use of different scripts can help with the development of communication and confidence. For all areas of academia as well as with social and cultural settings, is the ability for this to provide children with a different educational approach (Wood, 6). Researchers have found that theatre is one that is able to support children with the other academic areas, specifically with English skills and provides well – rounded learning that is interactive and enjoyable for students. The approaches to theatre then become important to those that are using this process in the educational system. History of Theatre in Education The emphasis on education and theatre has led into current developments that are a part of the educational system. The use of theatre in and out of the classroom has created a focus on not only the theories used within theatre, but has also led to new standards that have been set for theatre. The syllabus created from the beginning of theatre in education was used as a compliment to different academic subjects. This would provide children with activities as well as a focus on different subjects that needed to be learned. Most of the older theatre in education led to defined scripts as well as productions that were specific for children and which led into new alternatives that allow children to create a specific expression within theatre. The use of theatre in education moves back to the times of Aristotle. During this time, different plays were created with a focus on the Greek tragedies. The formula that was used with this consisted of a chorus and a main play. The idea of theatre then led into specific techniques for the tragedy to be performed as well as for educational materials to be set into place. From the Greek tragedy, techniques such as imitation and definitions for the functions in theatre began to be produced. Through imitation, the ability to use theatre as education was able to move forward in society. The formulas created from this led into different relationships between the forms of the play. The infrastructure would alter with the characters and the internal plot line of events. However, the superstructure would remain the same, which would consist of the outline that was used for the tragedy to occur. The Greek tragedy and the use of these specific formulas have led into the current use of children plays and developments (Boal, 154). The current development of play and the use of the foundational techniques for children have led into standardization for the educational role of theatre. This began in 1988 with the Conservative Government of Margaret Thatcher, which introduced the Education Reform Act (ERA). The main concept behind this was to establish a national curriculum for students so they could develop the skills that were included in theatre. The ERA combined with other core organizations that were interested in changing and establishing education in a different manner. Art Councils began to appear from this as well as community theatre, all which were interested not only in the production of plays, but also in the establishment of educational centres for students. However, the centres were established as a specific response to the economic needs in the area, which led to their downfall. By 1999, several of the companies began to change their focus from economic needs by moving further into education. The Department for Education and Employment began to work with the remaining communication centres. The focus from these several organizations led into social, political and economic issues within the plays as well as a focus on problem solving that those in theatre could establish through acting techniques. A national curriculum has developed from these several focuses, all which continue to be implemented within schools for high end results in theatre and acting (Sextou, 177-179). Working Models The change in the curriculum as well as the benefits that are noted in education for theatre has led to several working models that are a part of theatrical studies. In relation to expression objectives are several newer concepts that are applied for students and the audience. Exploration is at the basis of these in which characters are developed either as still or moving images. These move into imitations of the central figures, typically which displays a social issue. After imitating this or being a still life toward the central issue, the students are asked to discuss the expressions and the experience that was created. The concept is to understand trauma and different situations so it can help with student understanding and social issues, as well as how students respond. The model is used by Boal and is known to create deeper responses to both personal and political issues which can simplify the complications that are often seen in society (Jackson, 121). Another working model can be seen from the educational reform that took place among the ERA and the Tiebreak Company. The community organization responded in the same manner with education as a basis as well as expression objectives as a part of the group. The model used was developed specifically for youth theatre and consisted of several applications of theatre as well as follow – up discussions for the central issues of the time. The model from this is created from participatory theatre. This includes a model that allows each student to reflect with personal expressions that form within the group. Imitation is used to further the different ideas that are based around different social issues. Audience participation is also often integrated into the development of the theatre. The different subjects that are used are improvisational then work into a different sense of the curriculum. The objective and goals within this is to create opinions that come from the tragedy and dramatization. Through this model, it has been found that most students are able to grasp and relate to deeper issues at a different level, specifically because of the interaction as well as the follow up that is provided within the classroom. Combining this with individual and group work is known to further the participatory theatre into something that is more conducive and is now referred to as an interventionist method (Sextou, 186). The participatory theatre is not the only essential component that should be used within a specific framework. Directors such as David Wood has found that the models in theatre need to expand so children respond while they are a part of the interactions on the stage. If a performance is being done for adults, then the feedback and the teamwork will both create better memories for those that are on stage. It has been found that children respond more to specific themes, such as mixing fantasy in with reality and providing myth as a foundation. More importantly, there needs to be an integration of different props and plots which children can relate to (Wood, 30-38). The result from this specific formula is the ability for children to respond and interact at a higher level. The teaching objectives can easily be fulfilled as each individual is able to play a specific role within the theatre. This is combined with tragedy and humor that further incorporates the needs of children. The working model is based off the concepts of Aristotle and how this interrelates to the use of formulas within theatre to create specific responses and more effective results within teaching. The use of theatre in education can be used with these specific forms and also moves into more specific educational terms that are a part of the practices. The models that are used are designed through specific exercises that are able to create a stronger response from those learning theatre. For instance, practitioners have found that practicing on the voice, body language and facial expressions as well as imitations can all lead to better understanding and responses with both educational and expressionist objectives. Exercises such as learning about the body, using specific body expressions, using the theatre as a language and moving into image theatre can be used to create different expressions and visual responses. The concept of image theatre is one that uses only a little dialogue while creating expressions through movement and images. Using these experimental techniques and combining it with the theories of education is able to create stronger responses from students while providing different experiences that can be understood and related to within the theatre (Boal, 126). Conclusion The concepts that are associated with theatre and education have led to several benefits and new alternatives for children and youth. The educational objectives that allow children to find a new understanding of academic subjects, communication and teamwork all create more opportunities with the interactive plays. More importantly, are expressive objectives which provide children and youth with the ability to explore the social and cultural issues of the present day. Having this as a part of the curriculum is able to provide new concepts to those that are interested in theatre as a main part of education. The result is more understanding of current issues with the ability to relate to the interactive performances as a complete experience within education. References 1. Boal, Augusto. Theatre of the Oppressed. Urizen Books: New York, 1979. 2. Jackson, Tony. Learning Through Theatre: New Perspectives on Theatre in Education. New York: Routledge, 1993. 3. Sextou, Persephone. Theatre in Education in Britain: Current Practice and Future Potential. New Theatre Quarterly (74), (19), 2003. 4. Wood, David. Theatre for Children: A Guide to Writing, Adapting, Directing and Acting. Ivan Dee Publishers: Chicago, 1979. Read More