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Concentrated Study in Educational Theatre
The NYU Program in Educational Theatre provides concentrated study in three areas:
I.
II.
III.
Drama Education
Applied Theatre – Community based initiatives
Play Production for Artists and Educators
By concentrated study, we mean areas of specialization in the broad field of educational
theatre in which the program has particular expertise. Potential applicants to NYU, as
well as current students, will find detailed descriptions of each concentration area
enclosed. As well, a recommended reading is included for each section.
We believe you will find these descriptions comprehensive and illuminating in that they
cover the broad terrain of the program’s work. Nonetheless, these areas are not meant to
delimit your focus, but rather they highlight those fields of study where we can offer the
most support and where our reputation has been built.
If you have any questions of how your area of interest fits into our concentrated study, or
if your questions are not answered through the following descriptions, then please contact
the appropriate academic advisors, or make an appointment with the program office to
speak to an advisor over the phone or in person:
Program Office
Administration:
[email protected] Phone: 212.998.5868
Ms. Julia Spanja: [email protected]
BS (ETHR)
Dr. Christina Marín: [email protected]
Mr. Joseph Salvatore: [email protected]
Dr. Nancy Smithner: [email protected]
MA (EDTA)
MA (ETED)
Mr. Joseph Salvatore: [email protected]
Dr. Nancy Smithner: [email protected]
MA (EDTC)
Dr. Christina Marín: [email protected]
Ms. Desiree Hamburger: [email protected]
EdD/ PhD (EDTH/EDTC) Dr. Philip Taylor: [email protected]
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DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PROGRAM IN EDUCATIONAL THEATRE
JOSEPH AND VIOLET PLESS HALL
82 WASHINGTON SQUARE EAST, 223
NEW YORK, NY 10003-6680
TELEPHONE: 212.998.5868
FAX: 212.995.4569
EMAIL: [email protected]
CONCENTRATED STUDY II: Applied
Theatre---Community based initiatives
Applied Theatre refers to the practice of theatre and
drama in non-traditional settings and/or with
marginalized communities. It encompasses theatre
practices which tackle areas of social and cultural
policy such as public health, education, housing,
social welfare, and juvenile and criminal justice.
Applied Theatre is multi-disciplinary and places a
strong emphasis on building links with other
research disciplines and agencies.
The Program in Educational Theatre provides course offerings in Applied Theatre, as
well as opportunities for students to engage in numerous outreach theatre projects. It
offers students the chance to develop their own practical work and skills, and apply these
to projects of their choice. The Program’s Applied Theatre experiences have included
projects about racism and prejudice, domestic violence, queer teens, bullying, youth
suicide and adolescent identity, to name a few. Students of Applied Theatre have
worked in a range of locations – from homes for the elderly, community and recreational
sites, to prison facilities with incarcerated youth offenders. Students who focus on
Applied Theatre become active researchers in the areas of theatre in education, theatre of
the oppressed, theatre in prisons, theatre and development, and theatre in museums and at
other historic or cultural sites.
Graduates hold teaching and senior university posts worldwide; they are teaching artists;
they develop artist in residency applied theatre programs; they write and implement
issue-based curriculum resources; they create ethnodramas and performed ethnographies;
and they lead educational and community outreach programs in urban and rural
landscapes.
At NYU, baccalaureate through doctoral students study how they can create, implement,
evaluate and research Applied Theatre within the community. The program is committed
to developing future leaders and artist-practitioners who study:
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•
•
•
•
the purposes and contribution of Applied Theatre to cultural life
the major scholars and practitioners in the field of Applied Theatre
the making, creating and assessing of Applied Theatre experiences
the application of outreach theatre in diverse contexts
What is Applied Theatre at NYU?
Applied theatre is both a term and a movement that is gathering momentum. The
movement springs from the desire to change or transform human behavior through the
medium of theatre. In his book, Applied Theatre: Creating Transformative Encounters in
the Community, Dr. Philip Taylor offers strategies for using theatre to raise awareness,
propose alternatives, provide healing, and implement community change. As he
demonstrates, applied theatre teaches us to teach others, helps communities deal with
issues and gives voice to the views of the silent.
At NYU, students are empowered to explore opportunities and participate in analyzing
theatre projects within communities of marginalized peoples. With student- initiated
theatre-based projects, students work within a community of their choice while analyzing
and evaluating their own practice. The applied theatre coursework is designed to develop
academic strength in disciplines related to the field and enables students to accomplish
original research.
The course work and community experiences within the Program in Educational Theatre
allows students to see how the theatrical art form is being harnessed to help communities
question aspects of who they are and what they hope to be. Drama and Special
Education, Theatre in Education Practices, Applied Theatre I and II, Youth Theatre in
Education, Seminar in Applied Theatre Research, Methods and Materials of Research,
Storytelling, Theatre of the Oppressed, Creating Theatre with Young People, Theatre
Practices, Creating Meaning through Community Drama, Coping with Conflict and The
Teaching Artist are courses which introduce students to a range of methods that they can
choose to use in future research and assessment in Applied Theatre. These courses aim to
equip students with the skills and resources necessary to engage with research, as well as
develop understandings and insights within the field of Applied Theatre. Here are some
examples of recent applied theatre projects:
•
Three Masters’ students examine a community’s reaction to tragedy after three
University undergraduate students die in three unrelated suicides. Emulating Eve
Ensler’s style of interview guided by open-ended questions, they interview a wide
range of participants to examine how deeply a series of similar painful events can
affect members of a community. They also attempt to discern how far-reaching
the affects of the tragedies extend. They create a performance text revealing the
pain of, and the lessons learned by, community members affected by the
tragedies.
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•
A small group of graduate students work with older people who live in a
residential living community to grapple with the questions that emerge from that
community. Issues to do with growing old, expectations of behavior, and
discrimination towards older citizens emerge in the process. Likewise for the
graduate students, issues to do with devising work, the role of the facilitator in
engaging audiences, the ethical responsibilities of the teaching artists, and how
this work is evaluated in the short and long term are examined as the graduate
students use participatory theatre strategies (such as teacher in role, image and
forum theatre, hot-seating, role on the wall), to engage the participants in dramatic
scenarios as a spring board for thematic and aesthetic exploration.
•
Students in Dublin’s study abroad program conduct interviews for a devised piece
at the local Dublin bar, Cobblestone, which both celebrates and examines local
culture. The patrons attend a performance of this ethnodrama in a recreational
center. NYU students transform the research participants’ words into an eloquent
performance.
•
With the help of undergraduate students, NYC high school students create an
original show that explores the theme of the elements: air, earth, fire and water.
The devised scenes are created organically and spontaneously from the teens and
harnessed by the graduate students, reflecting both literal and metaphoric
interpretations of the elements such as forest fires, immigration, lust, and greed to
express not only what the elements mean to them individually, but also the impact
the elements have on others across the world.
•
In a rehabilitation site for young offenders, a NYU teaching artist asks the inmates
to represent physically the oppressions they have experienced, and then the ways
they have oppressed others. This artist commits to a view that physicalization of
such images can assist the young people to fully probe how they relate to their
world
•
An ethnographic transcript of classroom teachers who were interviewed about
assessment is activated through performance. In doing so, the seemingly in-active
text on the page is brought to life and reveals a progression of how teachers view
assessment. The piece explores the inherent difficulties in assessment-based
education, the concerns and dilemmas held by the classroom teachers and school
administrators, the frustrations borne out of such a situation, and finally, the
questions and possibilities that can move the system forward – a light at the end
of the tunnel.
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Courses with Applied Theatre components:
E17.2090 Theatre in Education Practices
A production course for teachers, recreation leaders, actors, directors and language
specialists which focuses on the creation of theatre projects with educational emphases.
Students survey the history of T.I.E. programs and research, devise, rehearse and present
original T.I.E. programs to be performed on campus.
Students devising innovative uses of
participatory theatre work based on
social issues. Planning becomes a
crucial element as teams brainstorm
the best strategy for deepening
engagement with the issues being
addressed.
Texts that have been used in this courses include:
Boal, A. (2002) Games for Actors and Non-Actors. London: Routledge.
Freire, P. (1972) Pedagogy of the Oppressed. Continuum International Publishing Group,
30th Annv edition (September 1, 2000).
Jackson, T. (1993) Learning through Theatre. London: Routledge.
Rohd, M. (1998) Theatre for Community Conflict and Dialogue: The Hope Is Vital
Training Manual. Heinemann Drama.
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E17.2101, 2102 Applied Theatre I and II
E17.2979 Creating Meaning Through Community Drama
E17.2965 Introduction to Augusto Boal’s Theatre of the Oppressed
An exploration of applied theatre
which includes studies in community
and participatory artforms. Students
experience and investigate a range of
genres in applied theatre, including
community theatre, prison and juvenile
justice theatre, theatre for older people,
theatre for development, theatre of the
oppressed and theatre for development.
Students examine the work of the
pioneering theatre for social change exponent, Augusto Boal, and the various offshoots of
the Theatre of the Oppressed (TO) movement worldwide.
IRELAND
It’s always a pleasure when your homework
entails interviewing Irish people over a
Guinness at the nearby bar, while traditional
Irish music is being performed in the
background. This was just one of the many
experiences students had while studying
abroad in Dublin, Ireland. This three week
adventure in a beautiful country allowed for
an international exploration of the elements
of Applied Theatre.
Whether learning about Dublin’s history
from a cab driver, walking down cobblestone streets, or exploring a student’s own
knowledge in practical workshops, the Study Abroad program in Ireland cultivates a
working environment as students explore the various methodologies and outlets for
Applied Theatre. Conducting interviews for a devised piece at a local Dublin bar, The
Cobblestone, and then having those interviewees in attendance as student researchers
spoke their words during a performance, was just one of the many applications of this
field of study.
Students had the opportunity to work with inspirational people through NYU’s
partnership with both the Abbey Theatre and Trinity College. They learned about the
need to advocate for the arts through Martin Drury’s tour of The Ark, an arts center for
children which he founded, the applications of process drama with Cecily O’Neill, and
Irish dancing with choreographer Camin Collins. They even had an opportunity to meet
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Irish school teachers and exchange common ideas and suggestions. A memorable
experience for many of them was the performance of Blue Flax, a group of women from
Belfast who shared a beautiful performed ethnography based on the troubles existing in
their area, followed by an evening with playwright Conor McPherson.
E17.2053 Exploring Social Issues and Conflict Resolution through Drama
E17.2978 Coping with Conflict: Drama as a Catalyst for Social Awareness
How do we help young people build
positive self-images in a world where
destruction and violence is pervasive?
What constructive solutions can be sought
for challenging life issues? These courses
will examine some of the complex issues
faced by young people and how drama
strategies can open up fruitful
conversation and dialogue.
This course examines the skills teaching artists require for a range of educational,
community and vocational settings. In a city as diverse as New York where many cultural
institutions engage teaching artists, sometimes know as actor teachers, to facilitate theatre
programming in various settings, this course emphasizes those fondational skills applied
theatre practitioners require when collaborating with key stakeholders (schools,
communities, administrators).
Texts that have been used in these courses:
Boal, A. (1995) Rainbow of Desire. London: Routledge
Cohen-Cruz, J. (2005) Local Acts: Community-based Performances In The United States.
Rutgers University Press.
Kaufman, M. (2001) The Laramie Project. New York: Dramatists Play Service.
Taylor, P. (2003) Applied Theatre: Creating Transformative Encounters in the
Community Portsmouth. Heinemann.
Thompson, J. (Ed)(1998) Applied Theatre. Peter Lang.
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E17.2977 Understanding Diversity: Teaching Pluralism
In today’s multicultural society it is more important than ever for educators to be aware
of the complex idenities of the young people they teach. This course explores the
possibilities and problems educational theatre practitioners face as they explore such
issues as ethnicity, sexuality, gender, and disability. Students consider and learn the
langugage of power and privilege and how such can be addressed in multiple contexts.
Texts that have been used include:
Giroux, H. (1992) Border Crossings: Cultural workers and the politics of education.
New York: Routledge.
McLaren, P. (1995) Life in Schools. New York: Longman.
O’Toole, J. & Donelan, K. (1996) Drama, Culture and Empowerment: The IDEA
Dialogues. Brisbane: IDEA Publications.
Manley, A. & O’Neill, C. (1995) Dreamseekers. Portsmouth: Heinemann.
Saldaña, J. (1995) Drama of Color. Portsmouth: Heinemann.
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E17.2075, E17.2076 Youth Theatre in Education
E17.2980, E17.2981 Creating Theatre with Young People
E17.2982 Directing Youth Theatre Productions
E17.2152 Theatre Practices: Problems in Play Production
These courses explore the set of skills the next generation of youth theatre artist require.
Students focus on material to select, adapting that material to multiple audiences,
implementing and evaluating youth theatre in education.
E17.1065 Theory of Creative Drama
E17.1067 Methods of Conducting Creative Drama
These courses are an “on your feet”,
“hands on” exploration of the
philosophies and practices of the
dynamic experiential learning and
teaching methodology that is process
and creative drama. A “learning by
doing” examination, ranging from the
pioneers of classroom drama through
the most recent creative arts praxis of
applied theatre. Students devise and lead activities, classes, and workshops in a practical
exploration of dynamic teaching strategies for young people.
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Students in Theory of Creative Drama and Methods of Conducting Creative Drama serve
as the principal authors of lesson plans for the Program’s outreach initiatives connected
to mainstage productions. In recent years, curriculum guides have been developed for
5xWilder (a collection of one-act plays by Thorton Wilder), A Midsummer Night’s
Dream, The Caucasian Chalk Circle, and Provocative Acts: transfigured and (m)BODY
that include these lessons plans. These lessons and workshops dealing with homophobia,
facades, dreams, love, betrayal, victimization, intolerance, power, and self-image have
been facilitated by Program students in New York City classrooms, NYU Residence
Halls, community organizations, and for students visiting the NYU campus from area
schools and cultural programs.
Texts that have been used for these courses include:
O'Neill, C. (1995) Drama Worlds. Portsmouth, Heinemann.
Neelands, J. (2002) Structuring Drama Work. Cambridge University Press.
Taylor, P. (2000) The Drama Classroom: Action, Reflection, Transformation. London,
RoutledgeFalmer.
Wagner, B.J. (1999) Dorothy Heathcote Drama as a Learning Medium. Portsmouth,
Heinemann.
E17.2171/2172 Shakespeare’s Theatre I and II
A practical approach to presenting Shakespeare on the stage or in the classroom. The
class examines historical and contemporary approaches to the material, and will address
special problems in producing Shakespeare’s play for college, high school and
community theatres. Special emphasis is placed on directorial approaches and actor
coaching.
SHAKESPEARE TO GO
This exciting outreach program for New York City
students was a tremendous success in its first year
with performances of The Taming of the Shrew in
Manhattan and Brooklyn. The traveling troupe of
players represents a great cross section of the
Program in Educational Theatre with grads and
undergrads, classroom teachers and teaching artists,
and professional Theatre for Young Audiences
company members. As the second season began, the
troupe transitioned in new company members and
added a new play, Hamlet, to the repertory. As they
remounted Shrew, they also began developing their new play under the direction of
Zachary Moore. Shakespeare to Go tours plays to schools in all five boroughs of New
York City, providing free performances for thousands of students.
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LOOKING FOR SHAKESPEARE
The Looking for Shakespeare program
invites teen participants to experience the
Bard and adapt him for contemporary
audiences. The actors range from ages 1218. Under the tutelage of an NYU director
and creative team, along with an
enthusiastic group of graduate students,
young people focus their energies into
respecting the art of theatre and appreciate
the hard work that goes into producing a
show.
Texts that have been used in these courses include:
Boyce, C. (1991) Shakespeare A to Z: The Essential Reference to His Plays, His Poems,
His Life & Times, and More. Delta, reissue edition.
Brine, A. & York, M. (2000) A Shakespearean Actor Prepares. Smith & Kraus, first
edition.
E17.2193/2194 Drama in Education I and II
These courses are required in the BS and MA degrees and recommended in the EdD and
PhD programs. They are the foundation graduate courses which provide an overview of
the development of drama education and its relationship to cultural life. Students explore
some of the key terminology in the field, including child drama, creative drama, process
drama, developmental drama, documentary drama, theatre in education, applied theatre.
Students endeavor to position where and how their own work sits within this
terminology. Students are introduced to the key authors and practices in Drama in
Education I.
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Students explore the important research which demonstrates the power of drama in range
of settings. Drama in Education II has a community focus where the critical pedagogy of
Paulo Freire, Augusto Boal, Peter McLaren, Henry Giroux, Patti Lather and others is
introduced. The focus in these courses is on seminar presentations supported by extensive
reading and participatory examples.
PUERTO RICO
Drama in Education I and II in Puerto Rico focuses
on innovative applications of community arts
programs. Students learn mask making, puppetry, and
experiment with bodies and improvisation. They learn
about the contribution of art making to cultural
identity and heritage. Students work in edgy
community venues and work with leading Latino
artists, many of whom have been influenced by the
pioneering praxis of Paulo Freire and Augusto Boal.
Students create art which is presented for local communities. They tour community sites,
Churches and recreational centers, museums and galleries to explore the role community
arts plays in human expression.
Texts that have been used in these courses include:
Boal, A. (1979) Theatre of the Oppressed. London: Pluto Press.
Bolton, G (1979) Towards a Theory of Drama in Education. Harlow: Longman.
Booth, D. (1994) Storydrama. Toronto: Pembroke.
Freire, P. (1970) Pedagogy of the Oppressed. Continuum International Publishing Group,
30th Annv edition (September 1, 2000).
Hornbrook, D. (1998) Education and Dramatic Art. London: Routledge.
Wagner, B.J. (1999) Dorothy Heathcote: Drama as a Learning Medium. Portland, ME:
Calender Island.
O’Neill, C. (1995) Drama Worlds. New Hampshire: Heinemann.
O’Toole, J. (1992) The Process of Drama. London: Routledge.
Saldaña, J. (1995) Drama of Color. Portsmouth: Heinemann.
E17.2077 Methods and Materials of Research in Educational Theatre
This class will explore the diverse research designs available for investigation in
Educational Theatre. This required course in the MA programs is an examination of how
to construct a research and grant proposal, how to collect and analyze data, and the
various ways, such as performed ethnography, in which this research may be represented.
A required course in the MA programs.
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E17.2400 Seminar in Applied Theatre Research
An advanced seminar which examines the key considerations that drive research activity
in applied theatre. Students canvass the territory of Applied Theatre, the purposes of an
Applied Theatre, and the challenges researchers face when designing, implementing and
presenting their Applied Theatre studies. Students create their own applied theatre
research project which can include internships, arts partnerships and grant writing. This
course constitutes the “terminal experience” in the MA Program (EDTC) curriculum. It
is open to students in other masters and doctoral programs interested in applied theatre
research. The pre-requisite for this course is usually E17.2077 Methods and Materials of
Research in Educational Theatre.
Past Applied Theatre Research Projects Include:
“Eleven Times,” the stories of victims of domestic violence.
“Voices,” the narratives of LGBT college students and their stuggles with growing up
and positive identity development.
“Bullies,” an enthnographic study about the lives of middleschool students and how they
interact with and deal with aggressive students in their school.
“No place to go,” narratives of homeless youth with HIV+ mothers.
Texts that have been used in these courses include:
Bogdan, R. & Biklen, S. (2003) Qualitative Research for Education. 3rd or 4th edition.
Boston: Allyn and Bacon.
Bolton, G. (2003) The Dorothy Heathcote Story. Trentham: Stoke on Trent
Ely, M. et. (1991). Doing Qualitative Research: Circle within Circles. London: The
Falmer Press.
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Taylor, P. (1996) (ed.) Researching Drama and Arts Education. London: The Falmer
Press.
Taylor, P. (1998) Redcoats and Patriots. Portsmouth, NH: Heinemann.
E17.2954 Storytelling
This nine-hour intensive explores the art and craft of
storytelling, its place in cultural history and its
application in the classroom. One of the oldest and
purest art forms, storytelling is about direct
communication between teller and audience. There are
no costumes, no sets, and no fourth wall. The audience
and the storyteller are partners in a shared, immediate
experience.
Along with our season of professional storytelling performances at the Provincetown
Playhouse, we are delighted to announce a new course for the Program - Storytelling,
taught by professional storyteller, seasoned teaching artist, and the coordinator of our
storytelling series at the Provincetown Playhouse, Regina Ress. For New York With Love
was the title of a recent storytelling series. As a teaching technique, storytelling has been
used by teachers, preachers…even clowns. Why? Because hidden within story lie lessons
about life, language, and learning. Children often ask: "Was that story true?" “Well,”
answers one storyteller, "It may not be real...it may not have happened exactly the way I
told it, but that doesn't mean it isn't true!" All of the storytellers in our series are both
performers and professional teaching artists and bring their unique understanding of the
interplay between teller (teacher) and listener. They are also, of course, great performers!
Texts that have been used for this course include:
Bailey, S. (1993) Wings to Fly: Bringing Theatre Arts to Students with Special Needs.
Woodbine House.
Barton, B. & Booth, D. (1990) Stories in the Classroom. Heinemann.
Lippman, D. (1995) The Storytelling Coach. August House Publishers.
Mama, R. (1998) Why Goats Smell Bad and Other Stories from Benin. Linnet Books.
Rodriguez, S. (1992) The Special Artists’ Handbook. Seymour Publications.
Wolkstein, D. (1997) The Magic Orange Tree and Other Haitian Folk Tales. Schocken.
Selected Reference List in Applied Theatre
ED THEATRE CONCENTRATION AREAS
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Argyris, C. & Schon, D. (1974) Theory in Practice: Increasing Professional
Effectiveness. San Francisco: Jossey-Bass.
Barone, T. (2001) Teaching eternity: The enduring outcomes of teaching. New York:
Columbia University.
Boal, A. (1992) Games for Actors and Non-Actors. London: Routledge.
Boal, A. (1995) Rainbow of Desire. London: Routledge.
Boal, A. (1979) Theater of the Oppressed. Pluto Press.
Bolton, G. (2003) Dorothy Heathcote’s story: biography of a remarkable drama teacher.
Stoke on Trent: Trentham.
Bolton, G. (1998) Understanding classroom acting. Stoke on Trent: Trentham.
Bolton, G. (1992) New Perspectives on Classroom Drama. England: Simon and Schuster.
Bond, E. (2000) The Hidden Plot: Notes on Theatre and the State. Methuen.
Brook, P. (1968) The Empty Space. Pelican.
Cohen-Cruz, J. (2005) Local Acts: Community-based Performances In The United States.
Rutgers University Press.
Craig, S. (1980) Dreams and Deconstructions. Amber Lane Press.
Davis, D. & Lawrence, C. (1984) Gavin Bolton: Selected Writings. England: Longman.
Deavere Smith, A. (1994) Twilight: Los Angeles, 1992. Anchor.
Denzin, N. & Lincoln, Y. (Eds)(2000) Handbook of Qualitative Research Thousand, 2nd
edition. Oaks: Sage.
Dewey, J. (1948) Experience and education. NY: Macmillan.
Doyle, C. (1993) Raising Curtains on Education: Drama as a site for critical pedagogy.
Westport: Bergin and Garvey.
Doyle, C. (1993) Raising Curtains on Education: Drama as a site for critical pedagogy.
Westport: Bergin and Garvey.
Eagleton, T. (1990) The Ideology of the Aesthetic. Blackwell.
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Eisner, E. (1981). The role of the arts in cognition and curriculum. Phi Delta Kappan, 63
(1), 48-52.
Ely, M., Vinz, R., Downing, M., & Anzul, M. (1997) On Writing Qualitative Research:
Living by words. London: Falmer.
Ely, M., Anzul, M., Friedman, T., Garner, D. & Steinmetz, A.M. (1991) Doing
qualitative research: Circles within circles. NY: Falmer.
Ensler, E. (2000) The Vagina Monologues. Villard.
Goodman, L. & J. De Gay (2000) The Routledge Reader in Politics and Performance.
Routledge.
Grady, S. (2000) Drama and Diversity: a pluralistic perspective for education and
drama. New Hampshire: Heinemann.
Greene, M. (2001) Variations on a Blue Guitar: The Lincoln Center Institute lectures on
Aesthetic Education. New York: Teachers College.
Heathcote, D. & Bolton, G. (1995) Drama for Learning Portsmouth, NH: Heinemann
Heathcote, D. & Bolton, G. (1995) Drama for Learning. Portsmouth, NH: Heinemann.
Hilton, J. (ed) (1992) New Directions in Theatre. Macmillan.
Itzin, C. (1980) Stages In the Revolution. Methuen.
Jackson, T. (1993) Learning through Theatre. London: Routledge.
Johnson, K. (1981) Impro: Improvisation and the Theatre. London: Methuen.
Johnson, L. & O'Neill, C. (Eds.)(1984) Dorothy Heathcote: Collected Writings on
Education and Drama. England: Hutchinson.
Johnson, K. (1981) Impro: Improvisation and the Theatre. London: Methuen.
Johnson, L. & O'Neill, C. (Eds.)(1984) Dorothy Heathcote: Collected Writings on
Education and Drama. England: Hutchinson.
Kaufman, M. (2001) The Laramie Project. New York: Dramatists Play Service.
Langer, S. (1953) Feeling and Form England: Routledge
Landy, R. (1993) Persona and Performance: The Role of Drama, Therapy and Everyday
Life. England: Routledge.
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Manley, A. & O’Neill, C. (Eds)(1997) Dreamseekers. Portsmouth: Heinemann.
Matarasso, F. (1997) Use or Ornament? The Social Impact of Participation in the Arts.
Comedia.
McGrath, J. (1981) A Good Night Out. Methuen.
McLaren, P. L. & C. Lankshear (1994) Politics of Liberation - Paths from Freire.
Routledge.
Mitter, S. (1992) Systems of Rehearsal. Routledge.
Morgan, N. and Saxton, J. (1986). Teaching Drama. Heinemann: London.
Morgan, N. and Saxton, J. (1991). Teaching, Questioning and Learning. Routledge:
London.
Neelands, J. (1992) Learning through Imagined Experience. England: Hodder Headline
Neelands, J. (1984). Making Sense of Drama. Heinemann: London.
Neelands, J. (2000) Structuring Drama Work: A handbook of available forms in theatre
and education Cambridge: Cambridge University Press.
O’Neill, C. (1995) Drama Worlds New. Hampshire: Heinemann.
O'Neill, C. and Lambert, A. (1982). Drama Structures. Hutchinson: London.
O'Toole J. & M. Lepp (eds) (2000) Drama, Adults and Learning - dialogues of
professional, personal and community empowerment. Playlab.
Peter, M. (1995) Making Drama Special: Developing Drama Practice to Meet Special
Educational Needs. London: David Fulton.
Richardson, L. (1994) Writing: a method of inquiry, in Denzin, N. & Lincoln, Y.
Handbook of Qualitative Research. Thousand Oaks: Sage.
Robinson, K. (Ed.)(1980) Exploring Theatre and Education. London: Heinemann.
Ross, M. (Ed.)(1982) The Development of Aesthetic Experience. England: Pergammon.
Saldaña, J. (2005) Ethnodrama: An anthology of Reality Theatre. Walnut Creek, CA:
Altamira.
Samuel. R. et. al. (1985) Theatres of the Left 1880 – 1935. Routledge and Kegan Paul.
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Schechner, R. (1988) Performance Theory. Routledge: London & New York.
Schechner, R. (1993) The Future of Ritual. Routledge: London & New York.
Schön, D. (1983) The Reflective Practitioner. NY: Basic Books.
Stourac, R. & K. McCreery (1986) Theatre as a Weapon. Routledge and Kegan Paul.
Taylor, P. (2003) Applied Theatre: Creating Transformative Encounters in the
Community. Portsmouth, Heinemann.
Taylor, P. (2000) The Drama Classroom: Action, Reflection, Transformation. London:
Falmer.
Taylor, P. (1998) Redcoats and Patriots: Reflective practice in drama and social studies.
Portsmouth, NH: Heinemann.
Taylor, P. (Ed) (1996) Researching drama and arts education: Paradigms and
Possibilities London: Falmer Press.
Thompson, J. (Ed)(1998) Applied Theatre. Peter Lang.
Turner, V. (1974) Dramas, Fields and Metaphors. Cornell University Press: New York.
Turner, V. (1982) From Ritual to Theatre: The Human Seriousness of Play. Performing
Arts Journal Press: New York.
Warren (Ed) (2002) Creating a Theatre in Your Classroom and Community. Captus
University Publications.
Willett, J. (1974) Brecht on Theatre. Methuen.
Williams, R. (1975) Drama in the Dramatised Society, C.U.P.: Cambridge
Useful Journals
Youth Theatre Journal (AATE)
Research in Drama Education (Carfax Publications)
Arts Education Policy Review
DRAMA RESEARCH (National Drama, UK)
NJ: DramaAustralia Journal (DramaAustralia Publications)
DramaMatters (Ohio State University)
Applied Theatre Researcher (www.gu.edu.au/centre/atr)
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