By David Hornbrook
To at the present time, schooling and Dramatic paintings continues to be the single absolutely labored critique of drama schooling in colleges. Provocative and iconoclastic, this new version brings the argument updated and locates the author's proposals for a curriculum in response to the making, appearing and appraisal of dramas securely within the evolving tradition of colleges. the 1st component of the publication strains the origins and fortunes of drama in colleges within the context of fixing political occasions and argues that by way of neglecting the customs and practices of the theatre, drama-in-education has usually stored from the scholars it professes to empower, the very wisdom and figuring out beneficial for them to take command in their topic. half examines the developmental and pedagogic claims of drama-in-education. Theories of data and that means and assumptions approximately faculties drama's strength to set up an ethical and social schedule, are all referred to as to account. ultimately, schooling and Dramatic paintings proposes a multiculturally-based, theoretical constitution for the educating of drama which attracts the theatre and the school room jointly and gives academics the basis for a wide and balanced drama curriculum with its personal unique physique of information and abilities.
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Extra info for Education and Dramatic Art 2nd Edition
34 Looking closely, the first section, ‘What is to be evaluated’, surely reflects Caldwell Cook’s concern with ‘right conduct’, by grading the degree of student compliance with the structures imposed by the teacher —punctuality, tidiness and following instructions. The second section, ‘What is to be assessed’, incorporates this hidden agenda of acquiescence (a higher score is awarded to the boy who has submitted himself to the activity sufficiently energetically) and attempts, once again, to grapple with drama-in-education’s long-standing preoccupation with the expression of ‘true feelings’.
For, like Reeve and Muggleton, Heathcote and Bolton offered a wisdom that claimed its origins in a deep spiritual truth and a unifying vision of humanity which absolved their followers from further moral or ideological speculation. The dangers of the self-approving system which drama-in-education engendered for itself during the 1980s, and of which Heathcote and Bolton were the unchallenged ambassadors, are obvious. The intense personalising of practice, combined with a mistrust of disinterested 26 THE PLAYERS: WITNESS AND REVELATION analysis, meant that it became almost impossible to challenge the premises upon which that practice was built.
The comprehensive school was deemed to have made a significant contribution to the ‘pop and drug’ youth culture of the 1960s and 1970s, while attempts on the part of teachers in the same schools to devise new strategies for the delivery of education were ridiculed as absurd and irresponsible. 15 The frustrated rage of petit-bourgeois aspiration surfaces everywhere in the Black Papers, relentlessly pitting itself against the evils of a utopian intellectualism. Resisting the ‘anarchy and permissivism’ of the comprehensive were the good old solid ‘common-sense’ values of the grammar school, with its familiar (if only partially accurate) images of discipline, formal teaching, and academic achievement.