Training drama teachers: a perspective from England

In England, drama is embedded into the National Curriculum as a part of the programmes of study for the subject of English. This means that all children aged between 5 - 16 in state funded schools have an entitlement to be taught some aspects of the subject. While the manifestation of drama in primary schools is diverse, in a great many schools for students aged between 11 – 19, drama and theatre art is taught as a discrete subject in the same way that the visual arts and music are. Students may opt for public examination courses in the subject at ages 16 and 18. In order to satisfy the specifications laid down for such examinations many schools recognise the need for specialist teachers and indeed specialist teaching rooms and equipment. This chapter outlines how drama is taught in secondary schools in England (there being subtle variations in the education systems in the other countries that make up the United Kingdom) and the theories that underpin drama’s place in the curriculum as a subject in its own right and as a vehicle for delivering other aspects of the prescribed curriculum are discussed. The paper goes on to review the way in which drama is taught articulates with the requirements and current initiatives laid down by the government. Given this context, the chapter moves on to explore what specialist subject and pedagogical knowledge secondary school drama teachers need. Furthermore, consideration is made of the tensions that may be seen to exist between the way drama teachers perceive their own identity as subject specialists and the restrictions and demands placed upon them by the education system within which they work. An insight into the backgrounds of those who become drama teachers in England is provided and the reasons for choosing such a career and the expectations and concerns that underpin their training are identified and analysed.

The role of drama in the teaching of speaking and listening as the basis for social capital

This paper explores how the concept of 'social capital' relates to the teaching of speaking and listening. The argument draws on Bourdieu's notion that a common language is an illusion but posits that an understanding of the grammar of speech can be productive in the development of both an understanding of what constitutes effective speech and the development of competence in speaking. It is argued that applying structuralist notions of written grammar is an inadequate approach to understanding speech acts or enhancing the creative use of speech. An analysis is made of how typical features of speech relate to dramatic dialogue and how the meaning of what is said is contingent upon aural and visual signifiers. On this basis a competent speaker is seen as being one who produces expressions appropriate for a range of situations by intentionally employing such signifiers. The paper draws on research into the way drama teachers make explicit reference to and use of semiotics and dramatic effectiveness in order to improve students' performance and by so doing empower them to increase their social capital. Ultimately, it is concluded that helping students identify, analyse and employ the aural, visual and verbal grammar of spoken English is not an adjunct to the subject of drama, but an intrinsic part of understanding the art form. What is called for is a re-appraisal by drama teachers of their own understanding of concepts relating to speech acts in order to enhance this area of their work.

State and society in the English countryside: the rural community movement 1918-1939

This paper assesses the relationship between state and society in interwar rural England, focusing on the hitherto neglected role of the Rural Community Councils (RCCs). The rise of statutory social provision in the early twentieth century created new challenges and opportunities for voluntaryism, and the rural community movement was in part a response. The paper examines the early development of the movement, arguing that a crucial role was played by a close-knit group of academics and local government officials. While largely eschewing party politics, they shared a commitment to citizenship, democracy and the promotion of rural culture; many of them had been close associates of Sir Horace Plunkett. The RCCs engaged in a wide range of activities, including advisory work, adult education, local history, village hall provision, support for rural industries and an ambivalent engagement with parish councils. The paper concludes with an assessment of the achievements of the rural community movement, arguing that it was constrained by its financial dependence on voluntary contributions.

Narrativising the facts: acting in screen and stage docudrama

This article presents findings and seeks to establish the theoretical markers that indicate the growing importance of fact-based drama in screen and theatre performance to the wider Anglophone culture. During the final decade of the twentieth century and the opening one of the twenty-first, television docudrama and documentary theatre have grown in visibility and importance in the UK, providing key responses to social, cultural and political change over the millennial period. Actors were the prime focus for the enquiry principally because so little research has been done into the special demands that fact-based performance makes on them. The main emphasis in actor training (in the UK at any rate) is, as it always has been, on preparation for fictional drama. Preparation in acting schools is also heavily geared towards stage performance. Our thesis was that performers called upon to play the roles of real people, in whatever medium, have added responsibilities both towards history and towards real individuals and their families. Actors must engage with ethical questions whether they like it or not, and we found them keenly aware of this. In the course of the research, we conducted 30 interviews with a selection of actors ranging from the experienced to the recently-trained. We also interviewed a few industry professionals and actor trainers. Once the interviews started it was clear that actors themselves made little or no distinction between how they set about their work for television and film. The essential disciplines for work in front of the camera, they told us, are the same whether the camera is electronic or photographic. Some adjustments become necessary, of course in the multi-camera TV studio. But much serious drama for the screen is made on film anyway. We found it was also the case that young actors now tend to get their first paid employment before a camera rather than on a stage. The screen-before-stage tendency, along with the fundamental re-shaping that has gone on in the British theatre since at least the early 1980s, had implications for actor training. We have also found that theatre work still tends to be most valued by actors. For all the actors we interviewed, theatre was what they liked doing best because it was there they could practice and develop their skills, there they could work most collectively towards performance, and there they could more directly experience audience feedback in the real time of the stage play. The current world of television has been especially constrained in regard to rehearsal time in comparison to theatre (and, to a lesser extent, film). This has also affected actors’ valuation of their work. Theatre is, and is not, the most important medium in which they find work. Theatre is most important spiritually and intellectually, because in theatre is collaborative, intensive, and involving; theatre is not as important in financial and career terms, because it is not as lucrative and not as visible to a large public as acting for the screen. Many actors took the view that, for all the industrial differences that do affect them and inevitably interest the academic, acting for the visible media of theatre, film and television involved fundamentally the same process with slightly different emphases.

Natural effusions: Mrs J. Howorth’s English translation of Albrecht von Haller’s Die Alpen

Albrecht von Haller's Die Alpen [The Alps] was an immensely popular piece of early eighteenth-century poetry, yet it took more than half a century to be translated into English. In this article I examine Mrs J. Howorth's prose rendering of it in her translated collection The Poems of Baron Haller (1794) and analyse how the translation itself reflects late-eighteenth-century scientific, political and aesthetic concerns, notably through the influence of Linnaeus and Jean-Jacques Rousseau. Secondly, I explore how Howorth constructed a public image of herself as a female consumer and producer of botanical literature, and argue that her translation constitutes an early example of British women's increasing engagement in science through the activity of translation.

'Thou glorious kingdome, thou chiefe of empires': Persia in seventeenth-century travel literature

This article discusses a series of texts by or about travellers to Safavid Persia in the early seventeenth century, and in particular the literature surrounding the Sherley brothers. It looks at the ways in which, in order to encourage support for the voyages they described, English travel writers emphasised the potential for closer Anglo-Persian relations. In doing so, such narratives took advantage of a developing awareness of sectarian division within Islam in order to differentiate Persia from the Ottoman Empire. The article then examines how The Travailes of the Three English Brothers (1607) by Day, Rowley and Wilkins, built on the possibilities suggested by the travel writings, and specifically their recognition of Islamic sectarian division, to develop an idealised model of how relations between Persia and England might function. More broadly, these texts demonstrate travellers’ interest in looking for potential correlation between Christian and Muslim identities during this period.

The Haptic Aesthetic in Samuel Beckett's Drama

In their sparse and isolated spaces, Samuel Beckett's figures imagine the touch of a lost love or dream of the comfort and care that the hands of a dear one might bring. Applying philosophical writings that feature sensation, particularly touch, this study examines how Beckett's later work for stage and screen dramatizes moments of contact between self and self, self and world, and self and other. With implications for how gender and ethics can be approached within Beckett's aesthetic, this study explores the employment of haptic imagery as an alternative to certain dominant codes of visual representation.