Chapter 13: Drama and Theatre in and for Schools:

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Drama and Theatre in and for Schools: Referencing the nature of theatre in contemporary New Zealand A thesis submitted in partial fulfilment of the requirements for the degree of Degree Master of Arts in Theatre Studies) at The University of Waikato by Jane Isobel Luton _________ The University of Waikato 2010 Abstract This thesis considers the nature of drama and theatre in and for schools and references the nature of theatre in contemporary New Zealand. Drama in schools in New Zealand has developed from the earliest school productions in the 1800's, through its perceived role to enrich lives, to becoming a discrete Arts subject within the New Zealand educational curriculum in 1999. During this development, theatre companies began to tour schools and arguments ensued regarding drama‟s role in education as a process or performance. This development is charted through a range of historical and current curriculum documents. The thesis references the importance of the Australian UNESCO Seminar on drama in education in 1958 which explored the relationship between the educational aspects of Drama and Drama as an art form, and which inspired New Zealand Drama teachers. The research contains interviews conducted during 2009, with Drama teachers, students and theatre practitioners, as well as considering examples of performances by schools and professional theatre since the advent of the new curriculum. The thesis investigates some of the many kinds of Drama work taking place in contemporary New Zealand schools, including co-curricula and curricula productions concerning a wide range of issues and utilising a range of dramatic styles. These include, an Intermediate School‟s collaboration and contribution to capital E‟s production of Kia Ora Khalid, and examples of devised and scripted projects undertaken at Secondary Colleges in New Zealand. The research explores the relationship which exists between schools and professional theatre practitioners, and establishes some of the ways in which the relationship is beneficial for the development of high quality Drama programmes in schools. The contribution of the Auckland Theatre Company‟s Educational Unit to schools is investigated, as is an example of the Artist in Schools programme at Pakuranga College in Auckland. The introduction of the National certificate in Educational drama in 2001 has undoubtedly contributed to the range and quality of work being undertaken in schools, allowing the contention that their Drama ii performance work can, and often does, contribute to the cultural welfare of local communities and to a New Zealand theatre identity in general. iii Acknowledgements This thesis could not have been written without the support and insights of several people to whom I am very grateful; Dr. William Farrimond, the Convenor of Theatre Studies at the University of Waikato discussed many aspects of theatre and led me to take new paths for my research; Jenny McGhee, Subject Librarian, who provided invaluable technical support and much positive encouragement. I am also very grateful to all the theatre practitioners, Drama teachers and students who took valuable time out of their days to discuss their work with me. These included: Lynne Cardy of the Auckland Theatre Company, Anton Bentley, Head of Drama at Botany Downs Secondary College, and the Level 3 Drama students at the college. My thanks also to Ms Jacqui Hood of Macleans College, Ms Fiona Keith-Kirk at Pakuranga College, Nicole Jorgensen, professional actress, in her role as Artist in School at Pakuranga College, and Amy Charles at Viscount Primary School. It has been exciting, and valuable to experience the high levels of performance at the various schools, and I am grateful to all those students and theatre practitioners who shared their drama skills with their communities and me in 2009. This has been the culmination of a dream for many years, therefore, this thesis is dedicated to my father who passed away in 2005 always hoping I would undertake a Master‟s degree. It is to my husband Tim that I also dedicate this work, to thank him for making it possible for me to concentrate on this project during 2009. iv Table of Contents Abstract ....................................................................................................... ii Acknowledgements .................................................................................... iv Table of Contents ....................................................................................... v Introduction ................................................................................................ 1 Literature review ..................................................................................... 1 Chapter 1: History of „Drama in Education‟ in New Zealand .................... 12 1937 - 1970 .......................................................................................... 12 Australian UNESCO Seminar on Drama in Education 1958 ................ 14 The first New Zealand handbook for Drama ......................................... 17 1971- 1986 ........................................................................................... 19 The importance of Theatre in Education (TIE) to Schools .................... 21 Conclusion............................................................................................ 23 Chapter 2: Development of the Senior Drama Syllabus ........................... 24 1986-1999 ............................................................................................ 24 2000-2009 ............................................................................................ 27 Scholarship........................................................................................... 29 Chapter 3: The Role of New Zealand Plays in the Curriculum ................. 31 What is New Zealand Drama? .............................................................. 31 Brief historical overview of New Zealand Drama .................................. 32 The prescribed list ................................................................................ 35 Conclusion............................................................................................ 39 Chapter 4: Drama Productions in Schools ............................................... 41 Why are productions done in schools? ................................................. 41 History of productions ........................................................................... 42 Putting on a school production ............................................................. 43 Our Country’s Good by Timberlake Wertenbaker ................................. 44 Choosing the play for a school production ........................................... 45 The language and themes within the play ............................................ 47 Rehearsing the play ............................................................................. 49 The role of the teacher /director ........................................................... 49 Student actors ...................................................................................... 52 v Quality of productions ........................................................................... 52 Challenges for putting on a school production...................................... 53 Use of technologies .............................................................................. 56 Conclusion: Valuing the production ...................................................... 56 Chapter 5: The role of curricular productions ........................................... 57 The production of Vinegar Tom by Caryl Churchill at Botany Downs Secondary College directed by Anton Bentley July 2009: an example of curricular/assessment production. ........................................................ 57 Rehearsal process ............................................................................... 59 Staging the play .................................................................................... 60 Learning outcomes ............................................................................... 62 A New Zealand theatre identity? .......................................................... 65 Conclusion............................................................................................ 68 Chapter 6: Drama process and performance: a method for peer teaching and learning within New Zealand schools ................................................ 70 Theatre in Education: devised by students for students ....................... 71 Developing a devised project about an issue: Break the cycle:

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