Argues that Theatre for Development in Bangladesh practiced by Non-Governmental Organizations, which is almost entirely funded by international donor organizations, serves globalization in the name of poverty alleviation. Concludes by advocating for the necessity of exploring alternatives by which indigenous theatre performers may access directly…

Notes a response to any discussion of trust is itself in danger of repeating the very problems that Helen Nicholson raises in her article "The Politics of Trust: Drama Education and the Ethics of Care" (2002). Agrees in part with the elaborations of her thesis, but admits to some serious hesitation regarding any discussion of trust as a guiding…

Considers how Sally Mackey's deconstruction of landscape and memory in "Drama, Landscape and Memory: To Be Is To Be in Place" is a fascinating approach to potent tessellations of place, space, performance and identity and is certainly a welcome exploration of such ideas within an educational context. (SG)

Proposes a re-evaluation of the activity of teacher-in-role. Notes that the word "theatre" now encompasses a range of practices, including classroom drama. Argues that with a broader concept of acting emerging in theatre and performance, it is difficult to maintain notions of teacher-in-role as director and playwright, but not actor. (PM)

Uses notions from the field Psychology of Consciousness, including an explanation of how psychologists define and investigate Altered States of Consciousness (ASCs). Argues that actors routinely enter an ASC. Establishes acting as a way to enter an ASC and discusses why theater artists, educators, and advocates need to be aware of both the dangers…

Proposes the secondary drama classroom is a powerful arena for exploring the politics of gender. Suggests that a policy for Equal Opportunity which takes a purely binary perspective of sexual identity, focusing on the boy/girl dichotomy, is fundamentally oppressive. Concludes that it is only by making cultural issues of oppression explicit and…

Considers how Joe Winston's article, "Drug Education through Creating Theatre in Education" (RIDE, 6[1]) provides a useful evaluation of an aspect of Catalyst Theatre in Health Education's work. Outlines the ways in which Catalyst has placed the arts at the center of the health promotion process. (SG)

Surveys relevant literature on the question of how people learn through doing drama. Proposes a construct to describe this learning process. Concludes that drama, even more than other storytelling and other fictional processes, employs the world-creating and hypothetical processes some have attributed to basic learning processes, which permeate…

Discusses theories of aggression and questions commonly held assumptions regarding the link between violence and anger. Examines the link between strategies drama educators use and those utilized by counselors and psychologists. Considers whether the potential of drama-based programs might lie in the impact of shared engagement in the dramatic…