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Views expressed in these articles are not necessarily those of New Era Academy or its Board of Directors
Like many of this Journal’s readers, I am a long time advocate of the huge benefit and pleasure gained through the reading and reciting of poetry. It is still such an under-rated and under-used medium, particularly within education. The writer and broadcaster, Joan Bakewell, wrote recently in the Sunday Telegraph Magazine about the reading of poetry being “a perfect antidote to the credit crunch” and how it could increase “the internal pleasures of thoughtfulness and contemplation”. Of course, as Speech and Drama teachers, we are more aware than most, of the benefits to be gained in this area. Poetry can stimulate creativity and imagination and also extend and develop the understanding of themes, imagery, rhythm, cadences, syntax, etc. However the performance and recitation of poems demand even wider and more challenging skills. All of a sudden, the Government appear to have woken up to the fact that children are very rarely given the opportunity to learn poems by heart and then recite them in a meaningful way. So, this has to be good news..... I was delighted when during last year I received details about the BBC’s Off By Heart competition. A nationwide competition organised to encourage children between the ages of 7 and 11years old to learn by heart and recite poetry. It was described as a way to encourage children “to discover the joys of learning and reciting poetry, whatever their ‘performance’ level” and giving them the opportunity “to discover and celebrate the richness of the spoken word and their own creative energies”. I managed to persuade the Head of the Preparatory School in which I teach to agree to our school’s participation in this competition. So set about organising our internal competition. I was keen to encourage as many children as possible to take up the challenge and pleasure of learning and performing poetry. I was keen to enable children who do not participate in my Speech and Drama lessons, and therefore do not have the opportunity to perform and recite poems. Participation was voluntary, but a large proportion of the children in Years 5 and 6 entered, but it was particularly gratifying that ALL the children in Years 3 and 4 entered. I feel this reflected quite largely on the attitude of the Class Teachers..... perhaps this was a cynical personal thought, but an interesting observation! However, a pleasing total of 147 children entered the competition and spoke their poem by heart in front of various audiences. This was a triumph in itself.
(Molly Shaw-Downie, winner (centre) with finalists Evie Wateridge and Roma Creedon) The BBC offered a selection of fifteen poems from which competitors had to choose one to learn and perform. The poems in the main were traditional, and generally rather long, bearing in mind that the competition was aimed at Primary School children. They ranged from “The Alligator” by Grace Nichols to “The Walrus and The Carpenter” by Lewis Carroll. There was a useful web-site with downloadable copies of the poems, and supporting notes for teachers. These supporting notes included ideas for lesson plans using the poems, and guidance as to how and where to link these plans with National Curriculum and NLS. The notes also included some suggestions for vocal and performing techniques, which were obviously designed for, and would be helpful to classroom teachers. For the non-specialist these were well designed and helpful guidelines, giving a new stimulus and support to curriculum development and encouraging wider performance through school assemblies. I think it was a project that was excellently conceived, as it gave children and teachers who would not necessarily or normally be exposed to poetry recitation the opportunity to tackle some challenging, stimulating work. Anything to encourage wider exposure of poetry has to be a good thing, especially as a learning tool in the classroom, and to further performance profile within a school. However, how sad that the BBC did not think to engage the opinion and help of experts in the field ... that is us... Speech and Drama teachers - and most especially members of the STSD! I decided to select a choice of two poems for each of the four year groups, and run our part of the competition in various stages. Initially the children made their selection and learnt the poems at home; in Year 4, the class teachers were particularly supportive and ran some group learning sessions for their classes. Using the downloadable “Off By Heart” logo, I designed a certificate, which we presented to every child who took part in the competition. The next stage was a “performance” to their class, from which the class teacher and I selected between four and six finalists to compete against the other class winners within the Year cohort. This was then followed by a further “performance” by the Year Group finalists. The winners of the Year Groups then competed in a School Final in a full School Assembly held in the large school hall. The school’s winner was 8 year old Molly Shaw-Downie, from Year 4, with her expressive performance of Edward Lear’s “The Owl And The Pussy Cat”. Molly had to beat off strong competition from the other finalists, but I felt her performance was imaginative, creative and a real audience pleaser! (I have to admit here, that she has been attending Speech and Drama lessons for two years.....!)
Gemma, Claudia, Alice and Charlie - Year 5 Finalists Molly was then invited to attend one of the BBC’s twelve Regional Workshops, where she so impressed the panel of judges with her mature, expressive performance that she was named as the winner for the Region. The next round of the competition was judged by a further panel of experts who watched the VT recordings made of all the winners of the Regional Heats. This was to select 15 finalists who would then compete in the grand finale for the title of UK Poetry Recital Champion, which will be filmed by the BBC. Unfortunately, Molly was not among the final 15, but everyone at our school was really proud of her fantastic achievement, and the audience of parents and friends enjoyed her lovely recitation during our Springburst Concert at the end of term in March. It was therefore appropriate that she was awarded the school’s annual Verse Speaking Cup. I usually award this to someone who has achieved a high standard of poetry speaking in a Speech and Drama examination. It is heartening when a national body, such as the BBC undertake to heighten the awareness of the enjoyment and benefits of learning and performing poetry by heart, not only by running a competition but by giving the subject exposure through the media of television. Should they decide to run the competition again, I do hope they will publicise it more widely, and give teachers plenty of time to incorporate it into their planning, and also call on the help and advice of the experts in the STSD!
Linda Cardigan
ANALYSIS OF IAPS SPEECH AND DRAMA QUESTIONNAIRE - September 2007
As a long time advocate and practitioner of Speech and Drama I was keen to find out how many of our IAPS Preparatory Schools offered Speech and Drama as an activity with a qualified teacher. In my role as IAPS coordinator for Drama I took the opportunity to send out a survey and I am most grateful to all those of you who assisted my investigation by completing my questionnaire last year.
Figure 1 The choice of syllabus varied when entering pupils for Grade Examinations, the 74 schools indicated that they used between them a range of the main Examination Boards; LAMDA, TrinityGuildhall, New Era Academy and Poetry Vanguard. Surprisingly only one school used LCM. The English Speaking Board examinations were used in several schools where the teacher took larger groups of children, and were also used by English teachers to support speaking and listening in the English curriculum. Out of these 74 schools, 54 confirmed that the choice of Examination Board had either been inherited from the previous teacher or chosen by the school.
Figure 2 On closer scrutiny, and giving thought to the evidence, I find these results both disappointing and worrying. I think it raises a number of questions: · Is there a shortage of well qualified teachers? · Why are a large proportion of Speech and Drama teachers not given the freedom to choose the syllabus taught? · Are the Examination Boards offering what the schools and teachers require through their syllabi? · Why do too many of our schools appear not to recognise the value of Speech and Drama? The question relating to the availability of enough well qualified teachers is one that sadly is not just limited to one subject area, and one to which there is no clear cut answer. With regard to specialist Speech and Drama Teachers most are well qualified by having gained one or more of the Licentiate Diplomas awarded by those examination boards already mentioned, many also possess Honours Degrees in English, Drama and relevant subjects, also PCCE’s and Teaching Certificates. The Society of Teachers of Speech and Drama is an International organisation which monitors and maintains standards within the teaching of the subject and they have a very strict code of entry to their membership, including verification of all qualifications prior to full membership. The Society holds regular professional development days, workshops and conferences; it also has a student membership, and is both supportive and encouraging to trainee teachers. In some instances those who do not manage to make a living in theatre and performing will diversify their talents into the teaching of the subject they love. There are also a number of retired performers who become teachers of Speech and Drama passing on a wealth of practical skills and knowledge from their own experience. Unfortunately, the peripatetic nature of most Speech and Drama teaching positions means that the teacher may need to seek more than one location in which to teach. It is certainly not a well paid profession, and teachers generally lack the security of a contract, etc. Many have to set themselves up as self-employed. However, in my experience, all the Speech and Drama teachers I meet are dedicated, hard working and passionate about what they do. Most believe that the subject gives students a unique personal and creative opportunity. I was saddened by the number of responders who admitted that the choice of syllabus they worked with was made by someone else, either a predecessor or the school. Although, it is imperative that the needs of the children are put first during a change-over of teacher, surely in due course the teacher should be given the responsibility of choosing the most appropriate syllabus for the pupils in their care; this may even mean the use of more than one syllabus. I am convinced that this particular problem is connected to the attitude in many schools to Speech and Drama as a subject, and therefore not seeking or valuing the opinion of the specialist in the subject. There seems to be an indication that in some way Speech and Drama is not considered to be a “proper” subject and therefore, sadly, Teachers of Speech and Drama appear to be treated in a “second class citizen” manner by school management eams and in some cases by other staff. This does not help the profile of the subject or the practitioner. All the Examination Boards spend a huge amount of time and effort writing, reviewing and moderating their syllabi. They either employ or consult experts from education and theatre in order to offer a range of challenging disciplines for the teacher and candidate to design their own programme relevant to their individual needs. Most teachers are looking for a wide range of choice to engage and develop their candidates’ creativity, confidence and technique. Teachers should be aware that most Examination Boards offer much more than just examinations in the speaking of prose and verse. The choice available now will usually include acting, mime, musical theatre, improvisation, recital, Shakespeare, interview technique, and public speaking. There has been a move over a number of years from the traditional, but now dated term, Elocution, and even the current term Speech and Drama, is gradually being replaced by the up to date terms Performance, Voice and Communication. As in all areas of education the terms and practices evolve out of necessity and demand, to this end Speech and Drama is no different to other subject areas. I cannot stress how disappointing and worrying I feel the apparent lack of value being given to this subject and its specialist teachers to be. I struggle to understand why Speech and Drama is still treated as the poor relation in our schools. Surely, Speech and Drama teachers should be given the same recognised status as peripatetic music teachers, yet many teachers still feel like the poor relation, being squeezed into a small unsuitable room, or being told they can only teach at lunchtime or after school. I cannot believe that the senior management in our schools does not recognize and understand that Speech and Drama provides our children with skills for life; enhancing their communication, presentation, creativity, and self expression, and therefore offering a fully rounded education. I feel that in some schools Head Teachers and Directors of Studies are missing an opportunity to add value to the holistic education they seek to offer their pupils. I would contend that Speech and Drama is a life skill. Lessons offer experiences which are fun, accessible and challenging. Children of all abilities can participate in a range of rich and varied experiences within the safety of small supervised groups in their school environment, led by a dedicated, well qualified practitioner. Within those schools who do value Speech and Drama there is positive evidence that the children who are lucky enough to have the opportunity to attend Speech and Drama lessons definitely gain in personal confidence, not only when performing but in their general communication. They also have great fun learning and experimenting with new techniques, most children love their Speech and Drama lessons and look forward to their slot each week. It is beneficial that all children work on an individually designed personal programme for which they share the responsibility in choosing and agreeing with the guidance of their teacher. This is irrespective of the size of the class, although normally Speech and Drama is either taught individually or in small groups, which of course is of further benefit to the pupil. This means that children of all abilities can be catered for, even when working together in a mixed ability group and it also means that differentiation is quite straight forward for the teacher to set up. Thus less able pupils can participate and compete, and more able pupils can be stretched. So in line with the “Government’s Every Child Counts” schools who are providing Speech and Drama lessons will be meeting the Government’s “personalised learning” requirements and also providing an “enrichment programme” for pupils. On a personal note, I believe most ardently that today more than at any other time our speech needs to be quantifiable in order to retain standards. Unfortunately our standard of speech nationally has become a casualty of the “dress down” culture. However it is possible, through Speech and Drama lessons to assist pupils to produce clear, distinct speech. The ability to communicate and make oneself clearly understood is imperative in our ever changing world. Head Teachers should acknowledge and recognize that Speech and Drama lessons offer the opportunity for pupils to develop personally, emotionally and intellectually. These lessons therefore provide a way of preparing our pupils for the opportunities, challenges, responsibilities and experiences they will face in their lives. So, in conclusion, I would like to set two challenges. The first challenge is to those schools who already include Speech and Drama lessons either within the school day or as an activity, to please recognise the immense value of both the Teacher and the subject and give both their proper status and respect within your schools. The second challenge is to the Head Teachers of schools who do not provide Speech and Drama at all, please, in the light of this article consider including the subject for your pupils. Start by finding out more about what is on offer by contacting all or any of the Examination Boards, or you could, if you are really brave, contact the author of this article, she would be delighted to help you! Linda Cardigan
The Case For : Speech and Drama - April 2007 Recently as part of my work for IAPS, I circulated a questionnaire about the provision and teaching of Speech and Drama in our schools. Following this, I was at a meeting which included teachers of English and or Drama from a range of schools and several of us fell into discussion about this questionnaire. Opinions were, as you would expect, varied but one practitioner was absolutely adamant that preparation for Speech and Drama exams (in particular) took away the immeasurable qualities such as originality, charisma and thrill from the children’s work. This teacher concluded that Speech and Drama provision is unnecessary to support English and Drama within our curriculum. The gauntlet having been thrown at my feet I obviously felt provoked to respond to such a bold statement! I am aware that most of the readers of this article will have no problem with identifying with most of the contents written here. However, it may serve as a reminder for some of us as to why we carry out our work. I am a dedicated advocate of the benefits that Speech and Drama lessons offer pupils as well as being a long standing Speech and Drama practitioner. I would contend that Speech and Drama is a life skill. Lessons offer experiences which are fun, accessible and challenging. Children of all abilities can participate in a range of rich and varied experiences within the safety of small supervised groups in their school environment. Children who are lucky enough to have the opportunity to attend Speech and Drama lessons definitely gain in personal confidence, not only when performing but in their general communication. They also have great fun learning and experimenting with new techniques, most children love their Speech and Drama lessons and look forward to their slot each week. The range of disciplines on offer from all the major Exam Boards including New Era, in which pupils can participate and study can provide many benefits in preparation for their future. The courses offered in our syllabus and the syllabi of the other Boards can be used or adapted whether the pupil wishes to actually take an exam or not. It has to be understood that Speech and Drama does not exist just for taking exams, it serves other beneficial purposes too. All children work on an individually designed personal programme for which they share the responsibility in choosing and agreeing under the guidance of their teacher. This would be irrespective of the size of the class, normally Speech and Drama is either taught individually or in small groups, which of course is of enormous benefit to the pupil. This means that children of all abilities can be catered for, even when working together in a mixed ability group, and it also means that differentiation is quite straight forward for the teacher to set up. Thus less able pupils can participate and compete, and more able pupils can be stretched. So in line with the “Government’s Every Child Counts” schools who are providing Speech and Drama lessons will be meeting the Government’s “personalised learning” requirements and also providing an “enrichment programme” for pupils. Indeed as National Curriculum does not currently document Drama as either a separate Core or Foundation subject but prescribes Drama activities within the English document’ Speech and Drama lessons serve to extend the range and quality of Drama a school can offer. The inclusion of Speech and Drama lessons also enables the teacher to prepare and enter pupils for classes for local Festivals thus providing pupils with wider experiences, and with greater competition. This can help pupils appreciate a sense of identity and pride in their contribution to the school, it also creates local profile for the school too! The school can also benefit from Speech and Drama as an activity by allowing the pupils to perform their pieces at Concerts or Assemblies. This provides an opportunity to benefit the profile of the subject, the school and the performers. As already mentioned children with special or specific learning difficulties can benefit enormously from Speech and Drama lessons, their individual programme can be taken at an appropriate pace. The great sense of achievement for these children is an enormous confidence booster. From my personal experience I would recommend Speech and Drama as part of any remedial timetable. Of course, no article in support of Speech and Drama would be complete without reference to elocution. In these days of “dumbing-down”, unfortunately our standard of speech seems to have become a casualty (to expand on that point I think I will need to write another article!) However, Speech and Drama does offer an opportunity to try and ensure the production of clear, distinct speech. Most Speech and Drama practitioners expend a huge amount of energy on encouraging improvement of pupils’ articulation, diction and voice production. Speech and Drama lessons still offer support and help to pupils with specific speech formation or speech development problems; although this is an important part of a teacher’s work it is only a part of the tapestry that Speech and Drama lessons can provide for students. Most Speech and Drama syllabi offer a wide range of disciplines, including some not generally covered by other areas of the curriculum. All of these disciplines are both relevant and educative for the pupil; disciplines such as Interview Technique and Public Speaking serve to enhance the pupil’s confidence in communication and presentation skills, whilst also equipping them with key skills they will require throughout life. Any Speech and Drama syllabus through active performance and underpinned by basic theoretical teaching helps pupils to produce clear, distinct speech with an understanding of expression, phrasing, breathing, etc. New Era offers a separate Verse Speaking syllabi which gives students the opportunity to explore poetry and poets in greater depth and aids their understanding of poetic form, rhythm, etc. Most Boards offer many opportunities to perform and study Shakespeare. All of which serves to support pupils’ English Language and Literature education. Within each syllabus there is the opportunity to explore further background reading and to stimulate research skills (the library or the internet both are acceptable these days). Through investigation many pupils develop new interests, new ways of thinking, perhaps a zest for self-enrichment and hopefully they develop a love of literature and drama from a range of sources and cultures. Working on the Acting, Improvisation and Mime sections of a syllabus enhances physical awareness and will encourage the development of creativity, empathy and character whilst teaching basic stage and performance techniques. This also gives some pupils the opportunity to participate in activities they might not be given in the classroom. Most of the major Exam Boards offer opportunities to study Reading, Bible Reading, Recital, Spoken English and English as a Second Language, and all have or are in the process of introducing Musical Theatre to their syllabi. All these disciplines can be studied at a range of standards, starting with Preliminary and Introductory levels extending up through a grading system which will cover Junior, Intermediate and Senior levels followed by a range of Diplomas, many of which are Degree and Higher Degree equivalent. Working with others is another valuable skill that can be taught and exploited through Speech and Drama. The examination opportunities offered by the Exam Boards are not only for individual participation. All the Examination Boards offer grades in Acting, Improvisation and Mime for Duologues and Groups of varying sizes. Choral Verse can be a technically challenging and enjoyable activity for a larger group of children, and works well with a full class, as does an acted scene, mime or improvisation. Speech and Drama examinations are always (or should always) be optional. It is understood that taking examinations causes anxiety and pressure for students (and teachers too!); but do we not live in a society and have an education system that requires assessment and evaluation at almost all levels through examination? It could be argued that these examinations are additional useful preparation. Indeed, there is evidence of the excellent grounding Speech and Drama gives those students who study Drama or Theatre Studies for GCSE or A1 and A2 Level. In my own experience, children are generally competitive, and particularly those in independent schools! A successful result in a Speech and Drama examination can serve to raise the self esteem and confidence of a pupil. Like New Era all the major Exam Boards appoint their highly qualified examiners carefully. All examiner training is professional, thorough and regularly updated so that high standards are maintained. All the Exam Boards have a system to regularly monitor and moderate their examiners. Generally, examiners are very approachable, well qualified practitioners who really want the student to achieve to the best of their ability. The tricky issue of assessment of any type of Drama has been an on going area of discussion for as long as I can remember. Inevitably, when assessing or judging a subjective art form there is a small element of personal preference. However, all the Exam Boards set out their marking criteria very clearly, and examiners generally adhere to these broad criteria. It is beneficial for students to be examined by an outside practitioner who can make an objective assessment of the standard of work. All Exam Boards provide a written feedback which will usually be both encouraging and informing. This feedback is beneficial as it provides both the teacher and student with information as to areas that might need improvement or which need more thorough work. New Era Academy is in fact the only Exam Board to provide their reports on the day, which means that the student receives immediate feedback, which is both helpful and relevant. New Era feels this is a very important part of their ethos. The other Boards send their reports out once they have been moderated. LAMDA, Trinity-Guildhall and LCM are all Boards who are QCA accredited, at this present time New Era are in negotiations with the QCA to have some of the higher grades, medals and diplomas accredited. Therefore, their Medals and Diplomas qualify for UCAS points, which is a bonus for students applying for University places. Evidence of gaining Speech and Drama grades in the past is vital to the c.v.’s of students who wish to train to work or perform in the theatre or other media related careers. I am saddened to learn that my colleague feels Speech and Drama lessons and examinations detract from a performer’s originality, charisma and thrill, and I obviously do not agree. Speech and Drama through its very nature provides the opportunity for originality of thought and creativity, it encourages the development of charisma, and certainly provides a thrill factor for most partakers. On a personal note, I believe most ardently that today more than at any other time our speech needs to be quantifiable in order to retain standards. The ability to communicate and make oneself clearly understood is imperative in our ever changing world. Through Speech and Drama lessons it is possible for pupils to develop personally, emotionally, intellectually, socially, spiritually, morally, culturally, mentally and physically (the list is endless!). This therefore provides an ideal way of preparing our young people for the opportunities, challenges, responsibilities and experiences of adult life. In conclusion, I would contend that the benefits of Speech and Drama speak for themselves! Speech and Drama provides the opportunity for personal enjoyment and fulfilment, it also extends and encourages academic achievement. Speech and Drama is a life skill! Linda Cardigan “Give us a snog then, Romeo ........” - October 2006 Oh dear, time for me to jump on my soap box again! Like most of us, I was delighted to learn of the Royal Shakespeare Company’s demand that the Department of Education need to overhaul the teaching of Shakespeare to prevent pupils shunning the Bard for life. The RSC feel that, currently as particularly in secondary education teenagers are forced to study scenes in isolation instead of whole works. Rarely do they have a chance to act out the plays and therefore teaching standards are failing a new generation. Maria Evans, the RSC’s Director of Learning writing recently in The Times Educational Supplement fears “a generation of children are growing up loathing Shakespeare because lessons are ‘boring’ and his plays broken into bite-size chunks.” This is a worrying claim, we, as professionals, know and understand the problems connected with teaching Shakespeare. I am passionate in my belief that any pupil’s first introduction to Shakespeare is a vital and pivotal one; it is from this point that the pupil forms an early opinion of the Bard, and it is crucial that it should be a positive experience. Many teachers expend a huge amount of time, energy and planning on their teaching of Shakespeare so that it is accessible and enjoyable for their pupils, but sadly this appears not to be the norm. This problem could be caused by a number of factors, not least the restrictions imposed by the Department of Education in KS2 and KS3. There is no doubt a knock-on from pressure on time-tabling and the emphasis on accountability and assessment faced by our already over-stretched teachers. Or is it indeed, caused by something more worrying? Is it in fact part of some undercover plan to eventually cull Shakespeare from our educational syllabus completely, perhaps the Department of Education are planning an undercover Shakespearean Coup? Currently Shakespeare is the only compulsory author set down by National Curriculum, yet despite being studied by every young person in the country it would appear that “many leave education determined never to come into contact with him again” according to Maria Evans. She goes on to say, “stop your average young person in the street and ask them what they think about Shakespeare and you can guarantee that ‘boring’ will be a fairly common response. I am sure that many of you, like me, have experienced similar attitudes towards even the bare mention of Shakespeare. Sometimes I feel it is a knee-jerk reaction, perhaps brought about by peer pressure; Shakespeare is just not viewed as ‘cool’! The Shakespearean actor, Chuk Iwuji suggests there is an “idea that Shakespeare belongs to a certain class or a certain type of people”. However, I am sure some of you will agree that there is great joy in taking on the challenge and indeed helping young people to change their attitude through energetic teaching and practical performance of Shakespeare – no-one is saying it is an easy task! Simon Wrigley, chairman of the National Association for the Teaching of English says, “Shakespeare seems to have been hijacked by testing regimes to the extent that children cannot see it as relevant to their lives. Because of a lack of opportunity to experience live performances, Shakespeare remains alien to many children and, unfortunately, a burden rather than a joy.” Director of Education at The Globe, Patrick Spottiswoode, has made a plea to the Government for “more money to enable teachers to learn a more lively and imaginative approach to teaching Shakespeare.” Fiona Banks also from the Globe agreed “the Government need to make money available to teacher training in the subject so teachers could reach curriculum targets.” The Department of Education deny that Shakespeare is being taught in a boring way and insisted that “sufficient money is spent ensuring that teachers of all subject areas have the necessary skills”. How worrying it is to hear that according to the examination board, Edexel, many sixth formers could not spell the name Shakespeare in a paper entitled “Shakespeare in context”. Or to hear that many pupils are studying cartoon versions of the plays which reduce his writing to simplistic language and jokes. Alarmingly a version of “Romeo and Juliet” begins, “reading Shakespeare can be a real headache…..” and then reduces the classic balcony scene to the immortal line, “Give us a snog then”! One would be tempted to laugh if watching an improvised scene using colloquial dialogue – but bear in mind, this is the version these pupils are studying at KS3! Dr Bethan Marshall, senior lecturer in English at Kings College, University of London, shares the concerns of many of us about the testing regime for KS3, she says, “this is the pupil’s first statutory encounter and they are assessed in a stupid and un-engaging way”. Maria Evans agrees, and contends that, “pupils are required to study just two scenes of a play, served up in sanitised slices and therefore without the wider context” I am sure you, like me, feel deeply saddened by these disturbing facts, and of course, there is the thought, “never in my class”..... We just must not accept this deterioration, we, in our capacity as Teachers of Drama are in a position to do something about the understanding, enjoyment and practical involvement pupils can experience when studying Shakespeare. Indeed I think we have a responsibility to do so. What can we do? It is heartening that last year the Qualifications and Curriculum Authority initiated English 21, now renamed Taking English Forward, which concluded that Shakespeare should remain a mandatory part of the National Curriculum, but also agreed that a debate should continue, and suggested that this should be led by the RSC, who should investigate innovative and successful ways to teach Shakespeare. We should support this initiative by the RSC in every way we are able. The company are launching a major national campaign to look at the way Shakespeare is taught, studied and assessed in schools. This is excellent news! They are aiming to encourage better training and support for teachers using performance texts; they want to create opportunities for pupils to explore plays through theatre-based approaches; they want to ensure that young people access at least one live Shakespeare play performance during their schooling (personally I would like to enable them to see more than one); and they want to look at alternative ways of assessing pupils’ understanding of Shakespeare’s plays. It is so important to recognise that exploring these plays through performance gives pupils a far better understanding of the characters feelings, the relationships between the characters, the action and the plot. I often use the words of my own dear teacher, “Shakespeare wrote these words for performance, not just to be read”, I think it is a statement that bears repeating. There are a great many resources available to help teachers plan lively and meaningful drama, including the teaching of Shakespeare. Many of us have our own well tried and successful techniques which we should share with those training. We need to affirm our excellent practitioners and give confidence to those who are newly qualified. There are many other courses available if you look for them, including those run by The National Theatre, Globe Education and RADA to name a few. For those of you who really like a challenge there are a range of post-graduate courses run by the Shakespeare Institute. Take time to look on the Internet, there is a surprising range available. Of course, all the well known Speech and Drama Boards include plenty of opportunity for performance Shakespeare in their syllabi too. There are several outstanding companies who will bring performance Shakespeare into your school, like Scott Eck’s Shakespeare and Company, who gives the children the most wonderful hands-on introduction to a range of Shakespeare’s plays. The RSC have launched several supportive courses for teachers, go to their web-site and download their “Short Courses for Teachers 06/07. The Shakespeare Birthplace Trust run “Living Shakespeare Courses” which are designed to support the RSC’s current programme. If you ask any successful pupil, or even actors and directors, they will readily tell you that they developed their love of Shakespeare through having an energetic, enthusiastic teacher, who really believed in what they were teaching. So we must not shirk our responsibility, we are not only teachers, but custodians of our literary heritage for the next generation. Linda Cardigan
Resources: The Times Educational Supplement, 15.9.06 Graeme Paton Opinion (Platform) 15.9.06 Maria Evans The Daily Mail 16.9.06 Laura Clark BBC News website (Education) RSC Website O, Wherefore Art Thou, Sanity? - February 2006 I am sure that I cannot be alone in feeling utterly dismayed by the possibility of further Government handcuffs being placed on teachers in this country. This time teachers of Drama are the targeted recipients. The National Assembly for Wales has drawn up draft guidelines which have been launched for consultation in Wales for the “appropriate” teaching of Drama. If accepted in Wales, then the Qualifications and Curriculum Authority will consider whether to adopt these guidelines in England. It is alleged that all four qualifications, curriculum and assessment authorities in the UK were consulted during the drawing up of these guidelines. The drafting of these guidelines follows the recommendation for “a review of drama teaching” by the 2004 Clywch Inquiry into allegations of child abuse at Rhydfelen School, Pontypridd. Abuse of a student is clearly and wholly unacceptable, but imposing prescriptive measures on teachers of creative subjects is surely not the answer and I think it is important to keep a sense of perspective when dealing with the “whole picture”. I would contend that draconian restrictions would be counter-productive. Drama in the classroom develops important life skills; it offers students the opportunity to gain confidence, experiment, learn about themselves, and to consider others. It is also fun, educational, challenging and thought provoking, when conducted in a safe environment. As an experienced Drama teacher, I feel insulted by the implications of these guidelines, and I am sure that I am not alone. “Drama teachers should be able to provide a proper justification for what they do, based on the best interests of the learner.” What on earth is it that they think we all do? Have they been into a school in the last few years? (Or ever?) Surely professional, vocational teachers of any subject, let alone drama, plan and teach “based on the best interests of the learner”? The patronising tone of these guidelines continues; “Drama teachers need to consider carefully what gestures and movements are appropriate to communicate the emotion or idea required in the play or improvisation and what gestures and movements are acceptable” Have they consulted any Drama teachers? What do they think we do? Are we such insensitive morons that we never give a thought to our students? That we are incapable of thinking, or being flexible, or adapting work? It needs to be understood that the majority of Drama teachers spend a huge amount of time researching texts, games, prose, poems, monologues, duologues, etc. and then adapting, re-writing, re-thinking or re-working material appropriately for the wide ranging aptitude and ability of their students. Shakespeare has famously provided many, many generations of actors and scholars with rich, challenging and stimulating texts which are full of emotion, passion and even violence. As Drama teachers we have to encourage our students to interpret, understand and communicate the full, range and force of these emotions. However, these guidelines suggest that, “In most cases, a peck on the cheek or an embrace can communicate the required emotion.” In some age groups that would of course be appropriate, granted. But consider for a moment how the importance and intensity of the relationships between Romeo and Juliet, Antony and Cleopatra or Othello and Desdemona could be expressed by a peck on the cheek. Dominic Drumgoole, artistic director of Shakespeare’s Globe Theatre warns teachers to beware of sanitising productions, “It shields children from something they don’t need to be shielded from. Shakespeare teaches children an important part of human emotion.” A kissing embargo on “Romeo and Juliet” has captured the imagination of the news media who have enjoyed the opportunity to sprinkle witty Shakespearian by-lines over their pages. Margaret Higgins of the National Association for the Teaching of Drama argues, “You can’t cut scenes like the kiss in Romeo and Juliet. It’s a crucial moment. If it isn’t fit subject matter, perhaps they should put Eastenders on after the watershed.” She makes a good point; students are exposed to a huge tapestry of emotions, language, nudity and sex (both heterosexual and homosexual) through film, television and the other media now available to them. It would be both naïve and patronising of teachers not to recognise this; I am not suggesting that this should be automatically condoned, but it has to be acknowledged. To be of value, Drama has to be taught in the context of the student’s environment whilst taking account of their age and ability. These proposed guidelines insist that teachers of Drama should be “ .... very sensitive.” Hello? Have I slipped into a parallel universe? Drama and sensitivity have to go hand in hand, as does teaching and sensitivity. I am rendered speechless by the insensitivity of such a statement. The point I particularly want to make is that Drama teachers must be allowed the flexibility to educate and hopefully inspire students allowing them to make best use of their abilities. Drama teachers should be allowed to provide enjoyable, accessible and challenging Drama, offering their students as many rich and varied experiences and opportunities as they can within the safety of a broad educational framework.
Linda Cardigan
References: The Manchester Evening News Friday 17th February, 2006 Times Education Supplement (Jamie Last) Friday 17th February, 2006 The Daily Telegraph (John Clare) Friday 17th February, 2006 The Daily Mail (Laura Clark) Friday 17th February, 2006
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