Theatre-In-Education :: Drama

Theatre-In-EducationThe theatre gentility industry/ tendency has seen some rapid changessince its sign developments and establishment in the 1960s.However its origins generally lie in the early years of the last century.It was the initial establishment of companies such as Bertha Waddellsin Scotland and Esme Churchs in the north of England that thoroughlyestablished the briny roots of TIE. Mainly the initial aims of thesecompanies was to stimulate, educate and inform young people throughencouraging them to act in enjoyable and imaginary basedtheatre programmes.Despite early attempts in Britain in the mid 1930s, where a GlasgowDirector of education allowed the Bertha Waddells guild to performin junior schools within school sentence, the majority of the advanceswithin the movement came after World War Two. Due to the nature andafter-effects of the time, many come out war Education Authorities mattethe need to sponsor drama and bouncing theatre companies to aid in theirareas le arning processes. One could perhaps differentiate that due to the sheerdevastation of the war many education authorities felt that throughthe use of drama therapy and role mash style interaction that studentswould be able to address their true anxieties and would therefore havea much rewarding time in post war school. Around this time parallelgroups were beginning to form in Birmingham and London. One of thepioneers of these types of groups was Brian Way. Having establishedhis own theatre-in-education accompany in the late 1940s, Brainestablished his companies aims as being, to assist coners in alltypes of schools with methods of approach to drama in education. Thiscompany began to be at the van of schools early experiments,linking children, their education and theatre.This expanded further and as it progressed throughout England wasmainly made up of amateur theatre groups consisting of largelyteachers who aimed to introduce theatre to children. However, the mainexpansion of TIE came when a number of professional theatre companiesbegan the impulse of creating these experiences and took them intoschools.Towards the end of the 1960s the TIE movement was seducen a dynamic push back in the right direction. This was largely due to the new style of instruct method and curriculum delivery that was being implemented acrossBritain. The Plowden Report gave numerous advice on the delivery ofthe school curriculum and a new style of problem-solving to teachthe syllabus was adopted throughout many primary schools. This newproblem-solving style of teaching allowed TIE to flourish, astheatre could be used within schools to give examples of how tosuccessfully problem solve. This largely was done in the style of roleplay situations and stemmed mainly from the teaching of alternativeTheatre-In-Education DramaTheatre-In-EducationThe theatre education industry/movement has seen some rapid changessince its initial developments and establishment in the 1960s.However its origins mainly lie in the early years of the last century.It was the initial establishment of companies such as Bertha Waddellsin Scotland and Esme Churchs in the north of England that thoroughlyestablished the main roots of TIE. Mainly the initial aims of thesecompanies was to stimulate, educate and inform young people throughencouraging them to participate in enjoyable and imaginary basedtheatre programmes.Despite early attempts in Britain in the mid 1930s, where a GlasgowDirector of education allowed the Bertha Waddells company to performin junior schools within school time, the majority of the advanceswithin the movement came after World War Two. Due to the nature andafter-effects of the time, many post war Education Authorities feltthe need to sponsor drama and live theatre companies to aid in theirareas learning processes. One could perhaps say that due to the sheerdevastation of the war many education authorities felt that throughthe use of drama therapy and role play style interaction that studentswould be able to address their true anxieties and would therefore havea more rewarding time in post war school. Around this time parallelgroups were beginning to form in Birmingham and London. One of thepioneers of these types of groups was Brian Way. Having establishedhis own theatre-in-education company in the late 1940s, Brainestablished his companies aims as being, to assist teachers in alltypes of schools with methods of approach to drama in education. Thiscompany began to be at the forefront of schools early experiments,linking children, their education and theatre.This expanded further and as it progressed throughout England wasmainly made up of amateur theatre groups consisting of largelyteachers who aimed to introduce theatre to children. However, the mainexpansion of TIE came when a number of professional theatre companiesbegan the notion of creating these experiences and took them intoschools.Towards the end of the 1960s the TIE movement was given a dynamicpush in the right direction. This was largely due to the new style ofteaching and curriculum delivery that was being implemented acrossBritain. The Plowden Report gave numerous advice on the delivery ofthe school curriculum and a new style of problem-solving to teachthe syllabus was adopted throughout many primary schools. This newproblem-solving style of teaching allowed TIE to flourish, astheatre could be used within schools to give examples of how tosuccessfully problem solve. This largely was done in the style of roleplay situations and stemmed mainly from the teaching of alternative