This paper is based on an inquiry carried out among a small group of children between the ages of 10 and 12 years, who, in the framework of an art-workshop, attended two theatrical performances of the same subject, Homer's Odyssey, but of quite different directorial approaches: the first performance had a narrative character following the basic…

Theatre for Development (TfD) is a special kind of Theatre practice that creates a platform for members of a specific community to respond to, and actively participate in issues relating to their social development through an engaging process of play and acting. The sole essence of this form of theatre is to sensitize, radicalize and conscientize…

Education to Theatricality as pedagogical and artistic research is experienced by almost twenty years in Italy in laboratories and projects organized in collaboration with universities, schools, theaters, educational centers, cultural centers, educational and social services, associations. Education to Theatricality is a science that includes…

In 1975 a new definition of disability, challenging the conventional medical model, was proposed by the Union of the Physically Impaired Against Segregation (UPIAS) and the Disability Alliance. Subsequently extended to cover all impairments, this definition considers disability to be the "disadvantage or restriction caused by a contemporary…

This article summarises the ways in which Image Theatre, a practice originally developed by Augusto Boal which continues to be developed in the hands of applied theatre practitioners and critical arts educators worldwide, can be used as a pedagogical and dramaturgical system of decolonisation at the level of communities and individuals. Through…

In 2005-2009, the author researched the theatre-making practices of young people in selected black townships near Cape Town, South Africa. Township theatre groups comprised secondary school learners and out-of-school youth who join together to learn about and make theatre, perform and watch each other. These theatre practitioners do not describe…

The Theatre Company Blah Blah Blah (the Blahs) have been working in youth centres since 1985 and over that time the Blahs have experimented with ways to make theatre for young people in this environment. A youth centre can be a hostile place to take a piece of theatre. Many of the youth centres the Blahs have visited have been in areas of social…

Act, Sing, Play (ASP) offered music and drama tuition to Year 2 pupils. The aim of the programme was to evaluate whether music workshops had a bigger impact than drama workshops in terms of pupils' maths and literacy attainment. The evaluation was based on the hypothesis that participation in high-quality music instruction promotes educational…

Introduction: Recent research suggests that effective interprofessional communication and collaboration can positively influence patient satisfaction and outcomes. Health professional communication skills do not necessarily improve over time but can improve with formal communication skills training (CST). This article describes the development,…

Effective communication skills are considered essential to a physician's professional competence. Thus, Finnish medical schools include communication skills training in their curricula. Today it is essential to ensure that students graduate with the interpersonal communication competence (ICC) necessary to succeed in their profession. Experiential…

This article arose out of my involvement in an undergraduate drama module at the School of Education, University of KwaZulu-Natal, where I made use of workshop theatre methodologies to explore how second-year drama students construct knowledge and develop sociocultural understandings of critical issues in society. The workshop theatre project…

In this pilot project, drama was used to situate genetic testing in a social and cultural context--that of the family. The drama was used to stimulate discussion about social issues relating to genetic testing, such as who has the right to know the results of the test and whether participants would want to know their "genetic future". A…

This collection of three articles represents the "Points and Practices" section of this month's issue of "Research in Drama Education." The first article, "'Fitting the Bill' for 'Helping Them.' A Response to 'Integrated Popular Theatre Approach in Africa' and 'Commissioned Theatre Projects on Human Rights in…

This chapter describes the methodology of the Theater of the Oppressed as developed by Augusto Boal along with examples of its application.

Offers impressions and reflections engendered by a trip to Reykjavic on similarities and differences in youth drama and theater in Iceland and the United States. Describes classes in creative drama, plays for young audiences, teachers, actors, directors, and the ASSITEJ/Iceland. (PRA)