This thesis explores representations of the First World War in English theatre, Theatre in Education (TIE), and Living History between 2014 and 2015. By employing an interdisciplinary approach it evaluates these performance genres in relation to responses sought from Key Stage 3 History pupils. The beginning of the centenary created a cultural outpouring and provided opportunities for secondary schools to include field trips and creative learning about the war. Examination of this commemorative period is contextualised by examining pupils’ interaction with cultural works since 1914, showing that the centenary moment stemmed from a tradition of creatively remembering and teaching the conflict. This perspective highlights long-standing complexities in the relationship between creative practitioners, teachers and education authorities. It also confronts the divide that has grown between some creative practitioners and revisionist historians of the First World War. Revisionist historians’ reassessment of the conduct and necessity of the war has led some to harshly judge cultural works, such as performances, for misleading audiences. Yet little research has been conducted into twenty-first century productions about the war and their reception by school audiences. An investigation of these performances problematizes scholarly notions about how and who has the authority to communicate the First World War to the next generation. Whilst the providers, gatekeepers, and critics of learning through performance are of central consideration, this thesis also values the pupil’s voice. Ten Key Stage 3 cohorts are used as case studies, providing a snapshot of the creative activities and field trips employed by schools in 2014 and 2015. Interviews and questionnaires provide pupils’ feedback on what they thought and how they felt about studying history through performance. Observations of History lessons and performances also remove the debate from the hypothetical to the realities of history teaching. They reveal that pupils’ cultural backgrounds, schooling, and exposure to cultural works shaped their responses to performances about the First World War. Pupils also assigned the performances varying degrees of historical authority, some viewed them as merely entertainment, others as educational sources and several as a mixture of the two. Performances brought immediacy and life to the historical topic and provoked an empathetic response from many pupils. Yet some struggled with the symbolism of theatre and others feared the participation that came with TIE and Living History. Consequently, this thesis explores pupil’s critical, personal and emotional engagement with performances, raising questions about what criteria should be used to evaluate the success of such non-formal learning on the war.

This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response. / Dissertation (MA (Drama))--University of Pretoria, 2010. / Drama / unrestricted

Theatre is a place where all can come together and have an experience regardless of ethnicity, gender, sexuality, or ability. As a theatre maker and teaching artist, how do I create inclusion and augment social awareness by designing and implementing theatrical experiences for a specific audience? In this personal exploration of inclusive theatre practices (Sensory Friendly Theatre, Inclusive Arts Integration, and Multi-Sensory Theatre) I will examine my experience of creating and adapting theatre with and for students with Autism Spectrum Disorder. My process has a three-pronged approach: adapting an established production using a Sensory Friendly model; adapting an arts integration facilitation in an inclusive elementary classroom; and collaboratively creating a sensory-based theatrical experience with other artists and students with cognitive disabilities. Through these experiences, I strive to uncover how developing theatre for this specific audience has challenged me to grow as an artist and activist.

Thesis (MDram (Drama))--Stellenbosch University, 2008. / Theatre for young people (TYP) is the umbrella term for all theatre created by professional actors for the age group 2 to 25. Within this term there is a form or genre that creates theatre for the ages 13 – 18 with the specific purpose of entertaining these audiences rather than educating them through other forms such as Theatre-In-Education. The aims of this study are to firstly establish to what extent this phenomenon exist within the Western Cape and secondly, if it is found lacking to look at the challenges and opportunities that can arise when introducing this form into the market. There are three reasons why this form should be introduced into the Western Cape’s TYP market. Firstly, theatre is more than just an educational tool for younger audiences and young people deserve the same cultural rights as adults. Secondly, many industries already approach young people as a separate market and theatre needs to adopt the same approach. Lastly, theatre for the age group 13 – 18 is an important part of audience development and should be pursued if theatre wants to expand its market base. To establish what the current strengths and weaknesses of the TYP industry in the Western Cape are, an international frame of reference must be created. The government policy and TYP industry structure of four countries, namely Australia, Denmark, England and The Netherlands are used to create a broad framework from which specific TYP companies and festivals within these countries are discussed. Some general challenges facing TYP in these countries are also highlighted and these elements then form the framework for comparison. The same elements within the TYP industry of the Western Cape – government policy, the TYP industry, companies and festivals – are also discussed and then a comparison between the countries and the Western Cape is made. Based on this it becomes clear that the age group 13 – 18 is grossly neglected when it comes to theatre as form of entertainment as TYP companies in the Western Cape focus mainly on children and educational theatre. From this the challenges that face creators of TYP as entertainment within the larger South African society are highlighted and also made applicable to the Western Cape. The definition of theatre in a multicultural society, the economic situation of the country, the general attitude of society towards theatre, the problematic nature of the youth market and funding structures are identified as possible challenges for TYP in the Western Cape. There are, however, also opportunities for TYP as entertainment within the industry. By using the concept of branding and existing structures in the youth market it is possible to raise the presence of TYP as entertainment form. Youth theatre, educational institutes and the current adult festival circuit of the Western Cape are all possible platforms through which the brand of TYP as entertainment can be introduced and work in symbiosss with the current theatre industry.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

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Body movement, hands-on activity, embodiment, social interaction, emotions, and self-reflection allow teaching artists of Barter’s Theatre’s Project REAL to conduct a lesson with an implicit learning experience as the focus. Barter Theatre’s Project REAL exists as a theatre for education program that collaborates with regular classroom teachers on delivering the curriculum through specific theatre exercises in order to connect the material personally to the students’ lives. Theatre tools provide a human experience that enhances learning for the student by use of kinesthetic movement, social learning, emotions and interpersonal skills. To understand the effects of Barter Theatre’s Project REAL, the director and teaching artists collected interviews with teachers, administrators, and students. Teaching artists also conducted pre and post assessments and end of the semester surveys with classes. This study aims to give insight to the results of Project REAL’s pedagogy as well as the strengths and weaknesses of the program.