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)

Contends that theatre has the power to induce oppressors to change their attitudes permanently towards the groups they oppress. Describes theatrical performances by women in Mundemba Sub-Division, Cameroon, which created lasting changes in men's attitudes. Concludes that theatre calls for sociocultural and economic changes and it has the power to…

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…

Examines the role and function of theatre rituals for approaching ethics in the curriculum. Discusses the ritual's main traits as a collective experience, constituting performed actions with symbolic status, within a structure of formal qualities and defined relationships. Concludes that theatre rituals: enable children's individual voices to…

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…

Examines Augusto Boal's relationship to and understanding of Marxism, and its influence on the development of his work. Explains that Boal's reformist politics as reflected in his practice would therefore appear a negation of socialism as Marx conceived it. Concludes Boal's approach appears to encourage people to look for that insight in terms of…

Discusses issues surrounding research questions and inquiry, motivated by keynote speakers, discussions, and reflections from the third annual International Drama in Education Research Institute, July 2000. Outlines the author's frustration on the lack of responses to important questions asked. Notes that culturally marginalized groups tend to be…

Responds to an article in an earlier issue of this journal which proposes that drama educators should cultivate and provide students with opportunities to analyze, reflect upon, and reconcile daily human life experiences. Proposes that drama curriculum is a product of each teacher's abilities credibly to deliver basic elements of their own…

Responds to an article in the previous issue of this journal on the intersections between performance and autobiography. Notes that the majority of recent work on autobiography appears to involve a series of double gestures, such as the performer using autobiographical forms to question the form of autobiography. (PM)

Contends that the aim of professional actor training is to reveal and develop an actor's individuality. Proposes that the responsibility of drama teachers is to lead training in such away that students feel accepted, understood, and respected. Proposes that psychodrama is the most appropriate method for student and professional actors' personal…

Responds to an article in the previous issue of this journal discussing Howard Gardner's work and its relation to drama education. Suggests that when Gardner's multiple intelligences theory is applied in teaching, differences are valued and communities are strengthened. Concludes that Gardner's theory helps to validate the practice and place of…

Describes a collaborative piece of theatre made by members of Headway, a charity working with head-injured people, and students and staff at Parkside Community College, an 11-16 school in Cambridge, England. Considers how the piece employs multimodal forms of expression and representational resources to challenge the invisibility of disability,…

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…

Describes aspects of a research project which, investigated how drama and theatre were used to explore the space that is emerging through the interaction of Maori and Pakeha cultures in New Zealand. Discusses two case studies: a project that used the arts as a catalyst to explore cultural difference, and an account of reflective practice in a…

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…