In this month’s blog, Tom Williams and Libby Bellhouse, who performed at the National Drama Conference, tell us about their journey as members of Vita Nova, an arts charity for those in recovery from drug and alcohol abuse.
“National Drama congratulates all students, centres and teachers who have received their A Level results today, with a massive well done to those who are brave, creative and resilient enough to opt for Drama, despite the last thirteen years of unhelpful Government policies. We salute those visionary state schools, who – like most private schools – …
Our Chair, Geoff Readman, in consultation with the ND Executive, submitted our application to the Council for Subject Associations (CfSA) in June. When we received confirmation of our success the CfSA commented: This is a wonderful recognition of all the much valued work ND has done over a sustained period of time. This award acknowledges our provision …
ND has been awarded the prestigious CfSA Kitemark for Drama. Read More »
This month’s blog is written by Lindsey Broughton who is currently Subject Lead for Drama at High Storrs School, Sheffield.
These sessions are written for colleagues working in settings for children and young people with complex needs, They can be adapted for any specialist setting.
All resources from the ND Advocacy conference can be found here
Barthes belonged to a hugely influential group of intellectuals who took the post-war work of Jacques Lacan and ran with it into the late twentieth century and beyond; these included Deleuze, Kristeva, Foucault, Cixous, Althusser, and Irigaray. Like Barthes they all experienced the cultural shift from structuralism to poststructuralism that Lacan had identified in Freud’s work on the unconscious – and they each tried to get their heads around its implications in their different ways.
This is the first qualitative research study undertaken which discusses the drama aspect of a community led research project based on the history of an informal nineteenth-century colony Bennachie, in the north-east of Scotland.
Stages in the Revolution was first published in 1982 and remains one of the most important studies of the growth of what it describes in a subtitle as ‘political theatre in in Britain since 1968’. Together with 1980’s Dreams and Deconstructions (edited by Sandy Craig) it paints an intimate portrait of important developments in British theatre that held out the promise of escapes from what many of its participants regarded as a sclerotic established theatre that chose to ignore significant changes in the social and political status quo.
The use of drama in lifelong learning is a well-evidenced endeavour, giving the adult learner the opportunity to involve themselves in a liberating, dialogic community.
