nd@nationaldrama.org.uk

Humanizing Education with Dramatic Inquiry provides a comprehensive rationale for why and how dramatic inquiry can be used by any teacher to humanize classroom communities and the subject areas being explored with students.

Brian Edmiston and Iona Towler-Evans re-evaluate the radical humanizing dramatic enquiry pedagogy of British educator Dorothy Heathcote, as developed by the authors in their own teaching using her three approaches: Process Drama, Mantle of the Expert, and the Commission Model. Through scholarly yet practical analysis of extended examples drawn from their own classroom teaching, the volume demonstrates how teachers can collaborate with students of all ages, dispositions, presumed abilities, and cultural backgrounds to transform classroom life into a richly humanising, curious, inquiring, imaginative community.

The Art Gallery on Stage is the first book to consider the representation of the art gallery on the contemporary British stage and to discuss how playwrights have begun to regard it as inspiration, location, focus or theme in an ever-more intense game of cross-fertilization.

The study analyses the impact on dramatic form and theatrical presentation of what has been a paradigmatic shift in the way art galleries and museums display their collections and how these are perceived, establishing a hitherto unexplored connection between modes of exhibiting and modes of representation. It traces a trajectory from plays that were initially performed in traditional theatres in accordance with a naturalistic play structure to plays that favour of a radical reconfiguration of visual representation. Indeed, since the beginning of the new millennium, playwrights and theatre-makers have increasingly experimented with new dramatic forms and site-specific venues, while forging collaborations with art makers and curators.

Feminist Theatre Then & Now celebrates 50 Years of women theatre makers in the UK and Ireland and their struggle to make their voices heard, have their work produced professionally, and promote social justice. Here, the pioneers and leading lights of the newly energised feminist theatre movement continue to fight for an equitable, diverse and inclusive theatre which speaks for all. In 30+ essays, covering three generations, the interviews and essays in this book give important insight into the lived experience of women working in theatre and what it takes to rise in an industry where race, gender, class and parenthood can be serious obstacles to success.

Political theatre, like any kind of political action, can only be judged in relation to the political moment in which it tries to intervene. Theatre of the Oppressed (TO) was created to fight against dictatorship and an extremely centralized conception of politics. How does it function now, in a time of social media and so-called participatory democracies?

Providing an in-depth account of the political and cultural context in which TO emerged, this book asks: How do contemporary understandings of concepts like oppression, representation, participation, and emancipation shape TO today? Highlighting the pitfalls of reducing oppression to one-to-one relationships, the book proposes a version of Forum Theatre dramaturgy that portrays oppression as a defining structure of societies. The author also shares specific examples of movements and other organisations that use Theatre of the Oppressed to construct themselves.

Through the publication of this book, Irish and Kitchen (with the help of many experienced contributors from a range of contexts) have attempted to thoroughly address important contemporary questions and concerns about the place of a 400-year-old white male poet and playwright in compulsory education and, perhaps more importantly, why today’s young people should care about his work.