Contemporary Theatre in Education by Roger Wooster

By Roger Wooster

The Theater in schooling (TIE) stream emerged in Sixties Britain as a distinct hybrid of functionality and child-centered studying. Roger Wooster’s modern Theater in schooling tells the tale of the construction of this dramatic shape and its variation in a speedily altering political, financial, and academic atmosphere. as well as interviews with trendy TIE administrators and discussions of particular tasks, this quantity deals a photo of all of the productions held in Wales in the course of a unmarried month through the summer season of 2004. because the contrast among TIE and children’s theater turns into much more blurred, this booklet is a useful source for a person learning using theater in schools. “A most respected, provocative and well-researched theoretical record which i'll more than likely have on my crucial examining record for college kids learning theatre in education.”—Charmian Savill, college of Aberystwyth   

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By the late 1980s each county had a company that claimed to be producing TIE. As in England, the effects of ERA were significant. Ogden [1997] notes the continuing impact of the National Curriculum and Standard Assessment Tests and the increasing financial autonomy for schools. The low status of the arts and the fact that companies needed to charge schools for their work were also perceived threats, and Ogden felt that The general movement towards market-led forces and external economic forces may undermine the artistic and philosophical autonomy of TIE…1 The Arts Council of Wales’ decision in 1998 to restructure TIE provision in Wales can be seen as an aspect of this economic and artistic pressure.

22 As has been indicated TIE was learning from DIE the power of play, role, reflection and meaning-making. 23 Warner here indicates the powerful sphere in which TIE operates. ’24 In a TIE project it can be useful for children to observe emotions being played prior to analysing them within role. They thus avoid being allowed to just ‘wallow’ in the catharsis and they are not expected to engage in any emotional exposure of themselves. ’26 Thus, TIE is not about training feelings but understanding feelings.

2. 13. YEOMAN, I. (1994), op. , p. 49. 14. GILLHAM, G. “Unsuitable for Children” in SCYPT Journal 20, Porth, 1990, p. 21. 15. GILLHAM, G. “Notes on a Curriculum for Living” in SCYPT Journal 30, Lancaster, SCYPT, 1995, p. 49. 16. REDINGTON, C. op. , p. 103. 17. , p. 113. 18. , p. 118. 19. , p. 118. 20. PAMMENTER, D. in T. JACKSON, op. , p. 63. 21. JACKSON, T. , pp. 1–2. qxd 5/15/07 5:19 PM Page 34 CONTEMPORARY THEATRE IN EDUCATION 22. 23. 24. 25. 26. , p. 34. READMAN, G. in T. , p. 267. , p. 272.

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