• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month


Extracts from this document...


Theatre-In-Education Marc Goldstein The theatre education industry/movement has seen some rapid changes since its initial developments and establishment in the 1960's. However its origins mainly lie in the early years of the last century. It was the initial establishment of companies such as Bertha Waddell's in Scotland and Esme Church's in the north of England that thoroughly established the main roots of TIE. Mainly the initial aims of these companies was to stimulate, educate and inform young people through encouraging them to participate in enjoyable and imaginary based theatre programmes. Despite early attempts in Britain in the mid 1930's, where a Glasgow Director of education allowed the Bertha Waddell's company to perform in junior schools within school time, the majority of the advances within the movement came after World War Two. Due to the nature and after-effects of the time, many post war Education Authorities felt the need to sponsor drama and live theatre companies to aid in their areas learning processes. ...read more.


Boal had many links with the philosophy of TIE. Throughout his career Boal was engrossed with the political oppression in many South American countries. He sought to use theatre as a medium for confronting this oppression. One of the key areas with which Boal concerns himself is the role of the audience in the theatre experience. He strongly believes that the purpose of 'theatre of the oppressed' is to change the people (spectators), as passive beings into the subjects, actors and transformers of the action. For theatre-in-education the role of the audience is central. Based on Boal's theory the spectator is often used. By using the spectator central to the performance you are effectively giving the audience a voice and are thus stimulating the participants to take charge of their actions and make changes to the piece. In essence, the viewers become the viewed. Another central role is the role of 'the joker' who technically acts as a medium for the performance. He/she can stop or start the performance as and when required and can effectively referee the performance. ...read more.


Its key role, to inform and instruct a specific audience. Indeed, one could best describe TIE as using theatre for the sole purpose of educating. There are of course many strengths and weaknesses to theatre-in-education. Its main weakness lies within the unfortunate fact that it is not yet fully recognised by many local education authorities as having true educational value therefore it is increasingly difficult to allow the movements messages to spread to wider audiences. Furthermore funding is not easily accessible so thus limitations are put on the organisations capabilities. Its strength lies within its flexibility. Conventionally the schools drama curriculum has mostly adult drama therefore TIE establishes a new angle which is more likely to be productive as it uses techniques which allow for the children's imagination to be used to its full potential. Furthermore it often allows for issues to be raised that might not necessarily be easy to cover by traditional teachers. For example, it may highlight racism, homophobia, disability, all issues that traditionally the classroom might shy away from; instead TIE brings it to the forefront and allows for its open debate. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our GCSE Blood Brothers section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related GCSE Blood Brothers essays

  1. Sleepy Hollow (Tim Burton) and The Lost Boys (Joel Schumacher) are fairly recent films, ...

    Alike the beginning, the Sleepy Hollow ending contains a twist alike in the Lost Boys; it is a twist that we now discover that Lady Van Garret is the possessor of the Headless Horseman, in a way, like Max possessing the "Lost Boys."

  2. Theatre in the Community

    In 1982 the Royal Shakespeare Company had moved into the huge concrete edifice of the Barbican in the City of London. The following year, a government- ordered investigation into the RSC (the Pristley report) concluded that counter to government suspicions- the company was efficient but under funded to the tune of �1 million a year.

  1. What is Musical Theatre?

    Both of the songs however use the skills mentioned above. I have learnt throughout the course that is very important to prepare mentally, this enables us to focus efficiently and progress. It also helps us to relate to the songs in which we are studying.

  2. The beautiful lie.

    " Sam, Sam, come here!" David was waving his hand and shouting to Sam, loudly as he was afraid Sam couldn't see him. "David!" he ran towards to his brother. They embraced each other. " You have grown up! Do you remember when I went back home 3 years ago, you were just that tall," David greeted Sam with emotion.

  1. A visit to the old operating theatre and the Herb Garratt is the best ...

    Seeing the operating table showed us that infection could easily be transmitted, as germs would be present in the grooves that were made by the saw being used so hastily. However we did not learn this at the old operating threatre, we had learnt about this before.

  2. Fear and Confusion: Psycho (1960) and Carrie (1976),

    We are then given an extreme close-up of Norman's eye, staring wide into the room; the view we have gives us the thrill of actually being there, watching Marion undress.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work