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THEATRE/DRAMA in EDUCATION in the UNITED KINGDOM, ITALY and POLAND

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THEATRE/DRAMA in EDUCATION in the UNITED KINGDOM, ITALY and POLAND The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. THEATRE/DRAMA IN EDUCATION iN THE UNITED KINGDOM, ITALY AND POLAND A historical and comparative analysis In Two Volumes Volume Two TADEUSZ LEWICKI A Thesis submitted for the Degree of Doctor of Philosophy in the University of Durham DURHAM SCHOOL OF EDUCATION 1995 - 6 DEC 1995 Contents CONTENTS VOLUME TWO PART B: LEADING APPROACHES AND IMPORTANT PHENOMENA OF THE 1980S 8 CHAPTER 4: LEADING CONCEPTIONS AND PRACTICES OF DRAMA IN THE 1980S AND ITS PLACE IN NATIONAL CURRICULUM 13 4.1. THE TEAM OF HEATHCOTE & BOLTON AND THEIR FOLLOWERS 19 4.1.1. Towards an 'alternative curriculum for living' 22 4.1.2. Drama in education: an 'Art Form' for understanding 35 4.2. EXTENSIVE USE OF DRAMA iN TEACHING; VARIETY OF DIE APPROACHES (A SURVEY) 44 4. 2. 1. Drama teacher within the changing curriculum 46 4.2.2. Demands and projects for a new style of training of drama teachers 49 4.2.3. Fight for the place for drama in the curriculum of the 1980s 51 4.2.4. Variety and diversity of drama methodologies inthel98Os 57 4.3. 'THEATRE iN EDUCATION ACTIVITY AND SCYPT PRACTICES; TIE IN TRANSFORMATION PROCESS 65 4. 3. 1. Political and social choices as a dictate for changes 66 4. 3. 2. TIE's evolution towards theatre groups in community service and a search for artistic identity 71 4. 3. 3. liE's transformation and the beginning of 'curriculum for living' 76 4.4. DRAMA AND THE NATIONAL CURRICULUM 79 4. 4. 1. The background for the place for drama in the National Contents Curriculum 80 4. 4. 2. Drama in the documents previous to the National Curriculum 83 4. 4. 3. The place and functions of drama in the National Curriculum 86 4. 4. 4. Hornbrook's critique and proposal of'dramatic art' 98 CHAPTER 5: AWAKENING OR CULTIVATION OF THE TRADITIONAL WAYS IN ITALY 103 5.1. 'CHILDREN'S THEATRE' GROUPS IN THE SERVICE OF YOUNG AUDIENCE 111 5.1.1. Development of the ideas about the new theatre for children 111 5.1.2. Theatre groups: their practice and projects 125 5.2. YOUNG PEOPLE'S THEATRES AS A CULTURAL ACTIVITY IN THE SOCIETY 135 5.2.1. Post-animation school theatre 137 5.2.2. Post-animation young people's theatre 143 5.2.3. New school programmes and successive theatre purposes 151 5.3. THEATRE IN SCHOOL (OR EDUCATION) BETWEEN ANIMATION AND MEDIA 159 5.3.1. Good and bad heritage of animation in school 161 5.3.2. Animationithealre and the languages in the school 164 5.3.3. Theatre and 'first cultural aiphabetisation' 169 CHAPTER 6: DIALECTICAL PRESENCE OF THEATRE/DRAMA IN 'SCHOOL IN CRISIS' OF THE 1980S 174 6.1. THEATRICAL EDUCATION AS A PART OF THEORY OF CULTURAL EDUCATION 181 6.1.1. 'Cultural education' and the 'Polish concept of aesthetic education' 185 6.1.2. Theatre and theatrical education in 'rocking' programmes 189 3 Contents 6.2. PRAXIS OF THEATRICAL EDUCATION 196 6.2.1. Didactic/Methodological use of theatre methods and its elements 198 6.2.2. School and young people's theatre activity 210 6.2.3. Forum of the children's and school theatres 216 6.3. 'GDANSK' CONCEPT OF ThEATRICAL EDUCATION AND FIRST 'THEATRE IN EDUCATION GROUPS 220 6.3.1. 'Gdañsk' concept in accordance with the tradition of aesthetic and cultural education 221 6.3.2. 'Second edition' 1980-1983 223 6.3.3. 'Centre of Theatrical Education' and enlargement of project 227 6.3.4. Temtonal operativeness, structures and publications of'Gdañsk' Centre 231 6.3.5. 'Scena Centrum' ('Centre Stage') and first 'theatre in education' groups 238 6.4. INTRODUCTION OF 'BRITISH DRAMA', ITS ADAPTATION AN) DEVELOPMENT 241 6.4.1. Theatre 'Ochota' and ideas about 'theatre in education' 242 6.4.2. Halina Machuiska met Dorothy Heathcote 244 6.4.3. Beginning of'British Drama' in Poland 245 6.4.4. Adaptation and development 247 6.4.5. Growing popularity of drama 251 PART C: SIMILARITIES, DIIYERENCES AND COMMON PROBLEMS 255 CHAPTER 7: A CHRONOLOGICAL COMPARISON EXAMINING SIGNIFICANT STAGES OF DEVELOPMENT AND THE PLACE OF THEATRE/DRAMA IN EDUCATION PROGRAMMES 259 7. 1. A CHRONOLOGICAL COMPARISON BETWEEN TE{E SIGNIFICANT EVENTS IN THE THEATRE/DRAMA DEVELOPMENTS 260 7. 1. 1. The 1950s 260 4 Contents 7. 1.2. The 1960s 262 7. 1. 3. The 1970s 266 7. 1. 4. The 1980s 272 7.2. THEATRE/DRAMA IN THE DOCUMENTS PUBLISHED BY THE GOVERNMENTS 281 7. 2. 1. Theatre/drama as a help for the language curricula 281 7. 2. 2. Educational reforms in the 1960s and 1970s 282 7. 2. 3. The Programmes in the 1980s 284 7.3. THE PUBLISHING POLICY IN THEATRE/DRAMA iN EDUCATION 287 7. 3. 1. Books and Publishing Houses 289 7. 3. 2. Journals and articles 301 CHAPTER 8: ROLE AND TRAINING OF TEACHERS IN THEATRE/DRAMA IN EDUCATION 308 8.1. WHO IS, AND WHO SHOULD BE A THEATRE/DRAMA TEACHER? 312 8. 1. 1. Inspirations, examples and necessity of experiencing 312 8. 1. 2. Theatre/drama teacher & animator and his/her virtues and qualifications 314 8. 1. 3. Idealistic convictions and their critics 318 8. 1. 4. "T - the teacher of theatre/drama's own view" 321 8.2. THE RELATIONSHIP BETWEEN THE PUPILS AND THE TEACHER 325 8. 2. 1. The climate of dialogue 326 8. 2. 2. The work in the group 327 8. 2. 3. The teacher and the pupils working together - 'teacher-in-role' and its development 328 8. 2. 4. The teacher/director of the school theatre 330 8. 2. 5. Teacher/animator as a deviser of projects 331 8.3. TRAiNING OF TEACHERS 333 8. 3. 1. General similar aspects of the teachers' training 333 5 Contents 8. 3. 2. Awareness of the necessity of different approaches to training and some theoretical projects 335 8. 3. 3. Institutional forms of training of theatre/drama's teacher 336 8. 3. 4. In-service courses, seminars and occasional initiatives of dramaltheatre teacher's training 343 8.4. RELATIONSHIP BETWEEN ADULTS (IN DRAMA, THEATRICAL ANIMATION, THEATRICAL EDUCATION) 346 8. 4. 1. Professions' and the mutual relationship between them 346 8. 4. 2. Stimuli, inspirations, examples and influence from contemporary theatre 352 CHAPTER 9: RICHNESS OF METHODOLOGIES AND THEIR COMMON FEATURES 359 9.1. TEACI11NG/LEARI'sTING FROM, IN, THROUGH AND ABOUT THEATRE/DRAMA' 364 9. 1. 1. Teaching/learning FROM theatre/drama 366 9. 1.2. Teaching/learning IN theatre/drama 367 9. 1.3. Teaching/learning THROUGH theatre/drama 369 9.1.4. Teaching/learning ABOUT theatre/drama 371 9.2. THE AXES: INDIVIDUALITY AND GROUP WORK/ACTIVITY! LEARNING IN THEATRE/DRAMA 374 9.2. 1. The axis of individuality 374 9. 2. 2. The axis of group work/activity/learning 375 9.3. THE DOMAINS OF THE CONTENT 378 9.3. 1. Domain of theatre/drama as Art 378 9.3.2. Domain of theatre and life skills 378 9. 3. 3. Domain of human/interpersonallcommunity relationships 379 9. 3. 4. Domain of the variety of human attitudes/behaviour 380 9.4. DOMAINS OF THE AIMS AND EFFECTS 382 CONCLUSION 385 BIBLIOGRAPHY 390 6 Contents A. UNITED KINGDOM 390 B. ITALY 408 C. POLAND 421 LIST OF FIGURES (Volume Two) Figure 1. Books published in Italy 1950-1990. Distribution per domains 294 Figure 2. Books published in Poland 1955-1990. Distribution per domains 295 Figure 3. Books published in UK, Italy and Poland 1955-1990 296 Figure 4. Books published in UK, Italy and Poland 1955-1990 (distribution per years) 297 Figure 5. Books published in the United Kingdom 1930-1990 298 Figure 6. Books published in Italy 1955-1990 299 Figure 7. Books published in Poland 1950-1990 300 Figure 8. Articles published in Italy and Poland 1955-1990 307 Figure 9. Interpretative model 362 Figure 10. 'Heart' of the model 363 Figure 11. Axes of individuality and group work/activity/learning 373 Figure 12. Domains of the content 377 Figure 13. Domains of the aims and effects 381 7 Part B PART B LEADING APPROACHES AND IMPORTANT PHENOMENA IN THE 1980S Part B At the IDEA congress in OPorto in July 1992, the contemporaly active theatre/drama in education practitioners from all the world met and during the general meetings (with key-speeches), group sessions' and workshops emerged an image of theatre/drama world. As I wrote in the Introduction, the theatre/drama approaches in the United Kingdom, Italy and Poland seemed to belong to clearly distinguished onentations. The historical survey in Part A and the historical research preceding its writing, made me clear, that my categorisation (which was a result of my immersion in the theatre/drama world in OPorto) was still valid, but that the reality within each country was more complicated with many different approaches. Also the average age of the participants in OPorto (in my estimation, the majority started their educationallartistic career in the 1960s and 1970s) pushed me to think more precisely about recent theatre/drama approaches as the heritage of a 'golden' era. The research for the Part B confirmed my intuition. The recent, leading approaches in the 1980s, although developing their elements and improving their educational significance, were deep-rooted in the approaches born in the past decades. There were six specialist working groups - panels, and among them those concern with teacher training, theatre/drama and Arts in the curncula, inter-cultural relationships and ex-change.
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