Editor Claudine Nightingale introduces the Summer 2 issue of D&T.
Welcome to the Summer Term 2 issue of Drama and Theatre. As ever, we're bringing you a lively mix of features, tips and lesson plans to help you in your teaching, but many of our articles this issue are particularly focused on the power of theatre to support and enhance communities. Whether in classrooms, in amateur theatre groups, or through drama as therapy, we have been exploring the ways in which drama can help to strengthen the bonds of community.
Some of you might be in the process of preparing for a student tour over the summer holidays. If that's you, then you might find some useful tips in our article on page 14, in which Alex Thomas talks about his experiences planning summer tours, and offers advice on how to keep costs down.
The theme of performance within the community continues in our feature on amateur theatre (page 16). Ali Warren passionately flies the flag for this strand of performance that is perhaps too-often harshly judged. Also closer to home (to mine, at least!), I visited the Watermill Theatre in our venue focus to report back on the unique offerings of this small theatre that very much punches above its weight, both in terms of creative output and its outreach work in the community. Find out more on page 35.
In our profile on dramatherapist Beau-Jessica Roberts (page 18), we learn about the tangible and significant impact drama can have as a tool for therapy. On page 21, we learn about Second Hand Dance – a disabled-led performing arts company who also place the community at the heart of the work, creating accessible and inclusive performances for young audiences. They talk about how they adapt their shows to make a welcoming space for all, but also discuss the particular challenges of making accessible performances for young audiences today.
Looking more broadly, we consider the benefits of looking internationally for playscript inspiration. We talk to the team at Performing International Plays (page 26), who are campaigning for greater integration of translated international plays on stage and in education. There is so much potential for theatre in translation to convey global stories, told first hand by those in distant communities around the world, that really matter to audiences in our country and schools.
From a more practical standpoint, we hear from a drama teacher who faced the challenges and opportunities of rebuilding the theatre space at his school (page 28). Michael Calderone talks about the need to make your voice heard when it counts to ensure that the drama department's needs are met, while also balancing budgets and desires of other community stakeholders.
Whatever your summer term is looking like this year, I hope it goes smoothly and that the summer break brings opportunities to rest, recuperate, and find inspiration for the next year!