The session started with a warm stretching warm up, Liselle Terret the course lecturer gave quick overviews of the term, assessment & projects. She clearly explained that a key part of this term included a special focus on one area of applied practice through a tutor-supported practical project in education or community set-up. We would divide ourselves into 2 groups. Before we chose she gave a clear brief of each practice

Theatre In Education (TiE) and Mantle of the Expert (MoE): Led by Liselle Terret

Theatre In Education (TiE) and Drama In Education (DiE) (with specific use of Heathcote’s Mantle of the Expert (MoE) / and O’Neill’s Process Drama)  are participatory and educational forms of theatre and drama whereby the the process of engagement becomes a learning tool in themselves. Participant centred and following a series of planned & structured events, a narrative unfolds that often addresses social / political / educational questions developed by the participants.


TiE first gained recognition at The Belgrade Theatre, Coventry touring politicized participatory drama and theatre programmes to schools enabling children to gain agency and to to engage critically with their immediate, political and historical environment as well as having an educational impact upon the children’s learning. Arguably Mantle of the Expert (MoE) had a profound impact upon TiE was coined and developed Dorothy Heathcote and critiqued and further developed by Gavin Bolton (Protective Role) , and then Cecily O’Neill (as Process Drama) . MoE is a participative educational-drama process whereby the participants and facilitator (TiR) multi-role as they develop the fictional narrative. Key to this form of participative drama, the participants become the experts which challenges the static student-teacher dynamic. Students on this module will interrogate these practices with the intent of querying their relevancy  within today’s social, political and education climate taking into account issues of gender, race, class, identity, agency.

She had aso invited Beccy Allen from Half Moon : Acompany that will be working with the (TIE) students Beccy explained that half-moon is theater currently producing and presenting professional theatre for young people, she also gave a brief history of the organization, from foundation to the moment and this included the various organisations they work with like Hospice .

Leselle also explained that theTIE students will need a DBS check since they will be working with children so she invited Lucy Kannenberg who is in charge of DBS in UEL. She explained that it was important to have a DBS filled up and submitted way before our project started and she provided the DBS formed which to be filled and returned to lucy at the HUB

And the second group was to work with Veronica Needa playback theatre

Lecturer’s brief

Playback Theatre is an original form of improvisational theatre in which audience members tell stories from their lives and watch them enacted on the spot. Founded in 1975, Playback Theatre is practiced in hundreds of locations and contexts around the world. You will learn the basic principles; key Playback Theatre performance forms; some history and geography of its spread and applications; and the arc of a performance. We will integrate songs, games, and exercises for voice, body, imagination, spontaneity and ensemble development.

Leselle explained herself with half-moon will be working with the TIE group to devise a project that will be facilitated and performed with a group of school children

And the playback theatre group with the help of Veronica will devise a play back piece to be facilitated and performed in the community





The boy in the Dress  was a novel by David Williams. the project was intended to be used as a pretext for a MoE project that aimed to encourage children to explore the notion of the fluidity and the construction of their own gender, hence become more aware of their own role in the regulation of gender conformity. The boy in the dress was a Drama in Education project for year 5 and 6 which originated as residency in 2011. A group of young people identified themselves as transgender and led to the development of MOE. This then was developed further through delivery at various primary schools by undergraduate students.

Terett uses the children’s novel  with the year 5 children to created performances and engagement which explored gendered feminity in their school. she explains that most recently, the project was facilitated with year 5 class at a South East London. The children got in and out of a number of roles with Terett as the teacher-in-role. This encouraged the children to question notions of gender as the drama requires them to critically reflect upon their own understandings and experiences of gender identity roles. Therefore, it is summed that The boy in the dress project was created to offer a pedagogical space for the children to be able to hold in their minds that Dennis could be any of the children in the classroom. Therefore, they should start transcending the binary values and dare to step outside of the heteronormative matrix if they chose to without fear of recrimination





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