Geoff Readman gives us some insight into the newly launched National Plan for Drama and Theatre Education.
The promotion of drama and theatre practice that meets the needs of all children and young people is the central tenet of this document. The plan conveys the issues and concerns that are facing teachers and learners in SEND, Early Years, Primary, Secondary, Higher Education and Alternative Education contexts. It does not dwell on familiar and ongoing dilemmas, such as syllabus content, examination board requirements or assessment procedures. The recommendations and proposals emphasise the importance of policies that reflect flexibility, progression and coherence.
The plan should prove a valuable strategy in raising awareness and understanding across the whole sector, providing policy makers with a coherent framework for learning with which to inform their decision-making. There is a certainly a need for clarity about when, why and how learners experience drama and theatre during their mandatory school experience. This is long overdue, as little attention has been given to how each phase of provision connects and contributes to the entirety of young people's life experience.
The key principles will no doubt be welcomed by teachers and practitioners alike:
- Drama should be a discrete subject in all primary, secondary, SEND and alternative education settings
- Every learner should experience drama taught by teachers with relevant training
- Live theatre is an entitlement
- The drama curriculum and theatre education repertoire should reflect the cultural, social and economic identity of the UK population.
The plan, produced by the Drama and Theatre Education Alliance, results from extensive consultation with associations and networks of drama teachers, theatre practitioners and HE lecturers. It does not set out to provide answers; its purpose is to provide a resource that supports purposeful dialogue and discussion. The three appendixes valuably provide information, examples of practice and statistical research evidence that celebrate learning about and through drama and theatre education.
The plan valuably connects each phase of education with the opportunities offered by the creative industries, emphasising the importance of working together. Sadly, reduced funding and reductive policies are currently forcing colleagues to adopt defensive positions. Drama and theatre-making are both social, collaborative art forms. This plan can support policies that offer all young people opportunities to participate in life-long journeys that will challenge, celebrate and transform. This is surely a goal we can all aspire to?