By John O’Toole, Madonna Stinson, Tiina Moore (auth.)
Written through drama practitioners/theorists, this publication seriously investigates the lengthy, complicated and ambivalent shared background of drama (and theatre) and schooling, formal and casual. The extensive sweep takes in key ancient and modern figures and their affects on drama schooling perform, together with the ‘speech and drama’ move, drama- and theatre-in-education, drama remedy and psychodrama, and emergent types equivalent to utilized Theatre. In its trip via play within the early years to the play at the level, the publication identifies and explains drama’s 4 paradigms of function: for language, for improvement, as pedagogy and as art-form. It exhibits how those interweave in hugely problematic how one can offer other forms of studying for various contexts, and the way they typically turn into tangled in perform and thought, within the consistent efforts of drama and theatre practitioners to get drama validated within the curriculum, and retain it there.
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Extra resources for Drama and Curriculum: A Giant at the Door
Comenius, adapted from Østern 2007). However, while educational philosophers to this day continue to extol the visionaries like Comenius and Froebel, schooling systems have never followed their vision. In England at the same time as Comenius, when the restoration of King 1 Strange Bedfellows: Drama and Education 23 Charles II brought theatre back with a wave of popularity, under a monarch even more enamoured of it than his forebears, it is hardly surprising that the ongoing ambivalence kept drama out of the schools virtually until the twentieth century, at least in any kind of dramatic form.
From the start, schools, set up in huts or even tents, were seen as necessary mainly to stop these children running wild, so curriculum was a secondary consideration. Schools were founded in Sydney in 1789, Parramatta in 1791 and Norfolk Island in 1792. However, voluntary immigration and settlement followed fast on the establishment of the convict settlements, besides the release and ‘ticket-of-leave’ arrangements that left many ex-convicts and their families unable or unwilling to return to Britain.
Thespis now spoke other languages as the storytellers of the Norse and Celtic sagas, and mimesis was alive and well among the carnivals and folk-rites of the underclasses, such as the Nordic Yul-Plays (Eriksson 2002). However, with typical ambivalence, not all in the church had totally dismissed drama in those theatrically dark ages, and it was its educational potential that encouraged the same church once more to bring it out as a distinct art-form (though not this time in quite such a frenzied cult as Dionysus), at the turn of the millennium.