Focuses on the first production of Edward Bond's play "The Children." Discusses Bond's interest in theatre in education and assesses the significance of his dramatic writing for young people. Examines the experiences of the young people in the first cast of "The Children" and the perceptions of the teachers who facilitated the project. (SG)

Explores how the concept of "social capital" relates to the teaching of speaking and listening. Concludes that helping students identify, analyze and employ the aural, visual and verbal grammar of spoken English is not an adjunct to the subject of drama, but an intrinsic part of understanding the art form. (SG)

Gives a personal account of the authors' experiences as ex-patriots in Malawi, using theatre for education and development at a time when art, entertainment and education may have been the last thing on their audiences' minds. Describes how they developed and rehearsed a play and had plans to take it to 10 villages. (SG)

Discusses how particular leitmotifs emerged from the research concerning identity and groups, the resonance of landscape, collective and childhood memory and the particularity of site-specific theatre. Draws on two years of qualitative research of a many-layered theater education project taking place, annually, in Cornwall, England. Deconstructs…

Describes Dutch experimental theatre and dance projects in which the artists themselves participated in the preparatory lessons and/or subsequent workshop. Compares learning experiences of pupils 14 to 16 years of age who participated in the projects. Shows that besides gender and level of education, the involvement of the artist significantly…

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)

Discusses how in the United Kingdom there is currently a lot of concern about "evidence-based practice" in education. Notes that educational researchers and teachers are being asked to demonstrate that certain educational experiences result in certain outcomes, preferably outcomes which match the given education aims, intentions and values.…

Provides a detailed evaluation of a recent initiative in the field of drug education through Theatre in Education (TIE) carried out by a local education authority in England. Explains that in this project, students from secondary schools devised and performed their own TIE pieces for local primary school children. Discusses project's rationale and…

Explains a study in which male drama students, several of whom had behavioral difficulties, engaged in creating two scenes for a community play. Concludes that the play was a catalyst for significant growth in the boys, who valued highly the opportunity to share ownership of the content. Notes certain elements of the creative process need to be…

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…

Reports on two studies, which addressed the value of the role of drama by listening to the opinions of students in regard to their own learning. Compares and contrasts the findings from two studies, and notes that some surprising similarities emerged, in terms of what students said about their learning. Demonstrates that students are capable of…

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)

Introduces the concept of an "integrated" approach to the teaching of drama. Contends that arguments against dualism, which writers have advanced run the risk of moving drama towards an arid form of behaviorism. Uses the writing of Wittgenstein to elucidate the concept of "integration." Concludes that an appropriate approach to teaching drama will…

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…