Seóna Ní Bhriain

June 2012

Review of theatrical presentations of curriculum plays for second-level school audiences

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CONTENTS

EXECUTIVE SUMMARY 4

1 INTRODUCTION 61.1 Purpose of the review 61.2 Context of the review 6

2 METHODOLOGY 72.1 Overview of the review process 72.2 Advisory Group 72.3 Visits to models of practice 82.4 Desk research 82.5 Discussion paper and stakeholder submissions 82.6 Meetings and focus groups 82.7 Forum discussion and workshop 9

3 CURRENT POLICY AND PROVISION 103.1 Arts-in-Education Framework 103.2 Arts Council provision for young people and theatre 103.2.1 Young People, Children and Education (YPCE) 113.2.2 Approach to the funding and development of theatre 113.3 Recent and emerging initiatives in Ireland’s arts-in-education sector 123.3.1 Theatre for Young Audiences 123.3.2 Encountering the Arts 123.4 Second-level education and the curriculum 133.4.1 Overview of second-level education and the curriculum 133.4.2 Drama as a subject at second-level 133.4.3 Prescribed material, suggested material and choice 143.4.4 Key skills 153.4.5 Literacy and Numeracy for Learning and Life 16

4 CURRENT PRACTICES 174.1 Full professional production of a play on the curriculum 174.1.1 Touring company presenting prescribed plays on the Irish syllabus 174.1.2 Touring company presenting prescribed plays on the English syllabus 174.1.3 Productions by companies based in the UK 184.1.4 Once-off productions by Arts Council funded organisations 184.2 Workshop-style presentations of Shakespeare plays for school audiences 214.3 Semi-professional presentations involving young people as theatre makers 224.3.1 Professional theatre company working with a young ensemble 224.3.2 Youth theatre presenting plays on the curriculum 224.3.3 Third Level institutions, school plays and other contexts 224.4 Activities that enhance and support a production 234.5 Relevant practice 244.5.1 Theatre as a Resource and similar models 244.5.2 NAYD Young Critics Programme 264.5.3 Educational theatre companies 274.5.4 Continuing Professional Development (CPD) for teachers 27

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4.6 Online resources and digital technology 284.6.1 Resource materials online 284.6.2 Initial teacher education and continuing professional development online 294.6.3 Workshop presentations and performances online 294.6.4 Digital recordings of full theatrical presentations 30

5 STAKEHOLDER RESPONSES 315.1 General issues/observations 315.1.1 Audience experience 315.1.2 Not one model 315.1.3 Timing and logistics 325.1.4 Relationships matter 325.1.5 Defence and criticism of a traditional approach 325.2 Issues/observations from theatre and arts practitioners 335.2.1 Selected extracts 335.2.2 Artistic and educational aims 345.2.3 Resourcing 345.2.4 Presenting to young audiences 355.2.5 Marketing, communication and feedback 365.2.6 Venues 365.3 Issues /observations from teachers 365.3.1 Expectation that presentations of curriculum plays will be available 375.3.2 Workshop-style presentations 375.3.3 Factors influencing school trips to the theatre 385.3.4 Introducing students to theatre in a variety of forms 385.3.5 Continuing Professional Development 385.3.6 Resources accompanying a theatrical presentation 385.3.7 Live theatre as a way of overcoming language difficulties 395.4 Issues /observations from students 395.4.1 Value of a professional performance for young people when studying a play 395.4.2 Choice and audience engagement 405.4.3 A creative approach and the teacher’s role 405.4.4 The Leaving Certificate and critical engagement 415.5 Issues/observations from partners in education 425.5.1 National Council for Curriculum and Assessment (NCCA) 425.5.2 DES Post-Primary Inspectors of English 42

6 ANALYSIS OF KEY EMERGENT ISSUES 456.1 Challenges 456.1.1 Lack of commitment and coordination between arts and education at national level 456.1.2 Increasing ambition, diminishing resources, and digital technology 456.1.3 The context of a high stakes exam 466.1.4 Making the compulsory compulsive 466.1.5 Lack of coordination between artistic planning and the development and circulation 47 of prescribed lists 6.2 Opportunities 476.2.1 Arts-in-education momentum 476.2.2 Shared aims and principles underpinning the work of the formal education sector 48 and the arts sector in terms of young people’s experience 6.2.3 Junior cycle short courses and transition units 48

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APPENDICESAppendixA: AdvisoryGroup 57AppendixB: Listofperformancesattended 58AppendixC: References:publications,documentsandwebsites 59AppendixD: Discussionpaperandcallforsubmissions 62AppendixE: Listofformalsubmissionsreceived 71AppendixF: Listofmeetings,conversationsandemails 72AppendixG: YoungCriticsfocusgroupparticipants,13April2012 73AppendixH: Forumparticipantsandoutline,21April2012 74AppendixI: Suggesteddramaresourcesandplays,Juniorcycle 77AppendixJ1: PrescribedListsforLeavingCertificateEnglish,2012 78AppendixJ2: PrescribedListsforLeavingCertificateEnglish,2013 88AppendixJ3: PrescribedListsforLeavingCertificateEnglish,2014 98AppendixJ4: AmendmentstotheIrishLanguageLeavingCertificateSyllabus2012–2014 107

7 RECOMMENDATIONS 507.1 Provide funding opportunities for theatre artists and companies presenting 51 high-quality work for second-level school audiences 7.2 Pilot a National Performing Arts Learning Service (PALS) 527.3 Incentivise initiatives that connect schools with theatre (and other art forms) 54 through digital technology 7.4 Pilot a local performing arts-in-education partnership scheme 557.5 Present these proposals to the Department of Education and Skills (DES) and 56 Department of Arts, Heritage and the Gaeltacht (DAHG)

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EXECUTIVE SUMMARY

ThisreportsetsoutthechallengesandopportunitiesfacingtheArtsCouncilwhenconsideringhowbesttoaddresstheprovisionofqualitytheatricalpresentationsofprescribedcurriculumplaysforsecond-levelschoolaudiences.

Section 1framesthereportinthecontextofIreland’scurrentfinancialdifficultiesandtheneedtobalancetheseconstraintswiththeresponsibilitytofosteryoungpeople’sparticipationinculturallifeandthearts,andtoprovidethemwithaneducationthatenablesthemtoreachtheirfullpotential.

Section 2detailsthemethodologyofthereviewprocess,whichincludedtheestablishmentofanAdvisoryGroup;deskresearch;gatheringsubmissionsfromarangeofstakeholdersintheartsandeducationsectors,includingyoungpeople;andaforumdiscussionwithacross-sectionofthesegroups.

Section 3outlinescurrentpolicyandprovision,drawingattentiontoArtsCouncilpoliciesrelevanttoarts-in-educationandaudienceengagementwiththeatre,andrelateddevelopmentswithintheartssector.Thissectionalsoprovidesanoverviewofthecurrentschoolcurriculuminrelationtodrama/theatre,prescribedplays,andrelevantstrategicdevelopmentsintheDepartmentofEducationandSkills(DES)andNationalCouncilforCurriculumandAssessment(NCCA).Whiledrama/theatreisnotcurrentlyasubjectinitsownrightformoststudents,itisintegraltotheEnglishsyllabus.Playsarenotcurrentlyprescribedatjuniorcycle,andtheNCCA’snewframeworkforthislevelprovidesschoolswithincreasingflexibilityacrosssubjectareas.TheprescribedlistswhichformpartoftheEnglishandIrishlanguagesyllabusesatseniorcyclearerevisedannuallyandprovidesomeflexibilityandchoiceforteachersandstudents.Thenationalstrategy,Literacy and Numeracy for Learning and Life(DES,2011)willimpactoncurriculumdevelopmentsoverthecomingyears.

Section 4outlinesthecurrentpracticesoftheatrecompaniespresentingplayswhichtieinwiththeschoolcurriculum.Theserangefromfull-lengthpresentationsofplaysontheprescribedliststoworkshop-stylepresentationsofkeymomentsinthoseplays;theprovisionofdigitalandonlineresources;andprogrammeswhichconnectsecond-levelschoolaudienceswithprofessionaltheatreinamannerwhichsupportsotheraspectsofthecurriculum.Inseveralcases,theatrecompaniesplantheirartisticprogrammestodeliberatelytargetschoolaudiences(e.g.,SecondAge,Fíbín),whileotherpubliclyfundedorganisationshavepresentedplaysappearingontheprescribedlistswithoutalwaysbeingawareoftheconnection(e.g.,Druid,PanPan,DublinTheatreFestival).

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Section 5describestheinputfromvariousstakeholdersgatheredoverthecourseofthereviewincludingtheatreandartspractitioners,teachers,andstudents.ItconcludeswithanoutlineofthesubmissionsmadebytheNCCAandtheDESPost-PrimaryInspectorsofEnglishaspartofthereviewprocess.

Section 6presentsananalysisofthechallengesandopportunitiesemergingfromthereview.Thelackofacoordinatedapproachatnationalpolicyleveltofacilitatingarts-in-educationexperienceshaspresentedaseriousdifficulty.However,theArts-in-EducationChartercurrentlybeingdevelopedbytheDepartmentofArts,HeritageandtheGaeltachtandtheDepartmentofEducationandSkillssuggeststhereisacommitmentbythecurrentMinisterstoaddressthisissue.Manyoftheprinciplesunderpinningtheschoolcurriculumandbestpracticeinarts-in-educationaresharedandopportunitiestomaketheseconnectionsmoreexplicitareapparent.Digitaltechnologieshavethepotentialtoprovidedynamicandcost-effectiveaccesspointstolivetheatreforstudents.ThereisalsopotentialfortheArtsCouncilandtheNCCAtodevelopcurriculummodulestoconnectschoolswithlocalprofessionalartsperformancesandprogrammes.TransitionyearunitsandshortcoursesproposedinA Framework for Junior Cycle(2011)offerflexibilityinthisregard.

Section 7proposesanumberofrecommendationsregardinghowtheArtsCouncilmightapproachtheprovisionofqualitypresentationsofcurriculumplays.Targetedinitiativesareproposedtosupportyoungpeople’sengagementwithprofessionaltheatreinamannerwhichtiesinwithvariousaspectsofthecurriculum,includingthepresentationofprescribedplays.APerformingArtsLearningService(PALS)isproposedtoconnectschoolaudienceswiththeartisticprogrammesofprofessionalartsorganisationsinamannerwhichwillensureamorecoordinateduseofexpertiseandpublicresources.Schemestopromotelocalarts-in-educationpartnershipsbetweenperformingartsorganisations,schoolsandotherpartners;andtoconnectschoolswiththeatreandotherartformsthroughdigitaltechnologyareproposed.TheCouncilisurgedtoensureadequateprovisionoftheatreforcurrentsecond-levelaudiencesismaintainedintheshorttermthroughexistingfundingmechanismswhilethesepilotinitiativesaredeveloped.TheCouncilisencouragedtosharethereportandrecommendationswiththeDepartmentofEducationandSkills,theNationalCouncilforCurriculumandAssessmentandtheDepartmentofArts,HeritageandtheGaeltachtwithaviewtobuildingonthepotentialofferedbytheArts-in-EducationChartercurrentlybeingdevelopedandagreeingjointactions.

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1 INTRODUCTION

1.1 Purposeofthereview

ThepurposeofthisreviewistoassisttheArtsCouncilinconsideringhowbest,incurrentcircumstances,toaddresstheprovisionofqualitytheatricalpresentationsofprescribedcurriculumplaysforsecond-levelschoolaudiences.HowmighttheArtsCouncilensurethatsecond-levelstudentsinIrelandhavetheopportunitytoengageinameaningfulwaywiththeatreinthecontextoftheplaystheyarestudyingatschool?Whatmodelscurrentlyexistormightbedevelopedwithregardtothisparticularareaofprovision?

1.2 Contextofthereview

ThereviewhastakenplaceatatimewhentheArtsCouncil,alongwithothernationalagenciesandgovernmentdepartments,facesdifficultchoicesduetoreducedavailableresources.Recentcutstoarangeofartsorganisations,includingtheatrecompaniespresentingworkforschoolaudiences,threatentohaveadisproportionateimpactontheaccesstoprofessionaltheatreofover350,000youngpeopleinIrelandcurrentlyinsecond-leveleducation.1

Overall,theArtsCouncilbudgethasdiminishedbymorethantwentypercentoverthepastfouryearsfrom85millionEurosin2008to63millionin2012.Thebudgetfortheatre,excludingTheAbbey,hasbeenreducedbymorethanfortypercentfromjustover11millionin2008to6.3millionin2012.TheAbbey’sfundinghasbeenreducedfrom10millionin2008to7.1millionin2012.YoungPeople,Children,andEducation(YPCE)hasseenamodestallocationof3.7millionreducedto3millionoverthoseyears.BothTheatreandYPCEreceiveotherfundingamountsundertheArtsCounciltouringscheme,andthroughsupportsmadeavailabletovenues,festivals,andlocalarts.

TheneedtoprovideatapolicylevelforopportunitiesforyoungpeopletoengagewithqualityartsexperiencesisrecognisedbytheArtsCouncil.2ThereisanobligationontheState,enshrinedintheUNConventionontheRightsoftheChild,toprotectandpromoteyoungpeople’srighttoparticipateinartsandculture,aswellastoprovidethemwithaneducationthatenablesthemtodeveloptheirpersonality,talentsandabilitiestotheirfullestpotential.3TherecommendationsinthisreportseektoassisttheArtsCouncilinaddressingtheseresponsibilitiesinthecontextofcurrentfinancialconstraints.

1KeyStatistics2010/2011publishedbytheDepartmentofEducationandSkills,updatedinMarch2012andavailableontheDepartment’swebsite,showthattherewere356,107youngpeopleat729secondlevelschoolsinthe2010/2011academicyear.2 Developing the Arts in Ireland, Arts Council Strategic Overview 2011-2013, Arts Council, p.9 3 UN Convention on the Rights of the Child, Articles 29 and 31

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2 METHODOLOGY

2.1 Overviewofthereviewprocess

Arisingfromthereviewbrief,anddiscussionswithArtsCouncilstaffandmembersoftheAdvisoryGroupappointedtooverseetheprocess,theoverallgoalsofthisreviewwereagreedasfollows:

• toexamineexistingmodelsofpractice,i.e.,themannerinwhichprofessionalartsorganisationsandtheatrepractitionerscurrentlypresentplaysontheschoolcurriculum;

•tosolicitinputfromadiverserangeofstakeholdergroupsabouttheirexperiences;

• toidentifyanyproblemsandissuesarising,aswellascurrentresourcesandopportunities;

• andtoproposepotentialstrategiesthroughwhichtheArtsCouncilmightcontinuetosupportthisareaofwork.

Anumberof‘expert’viewshaveinformedthereviewprocess,includingstudents,teachers,theatreprofessionals,arts-in-educationprofessionals,andrepresentativesofgroupswithresponsibilityforshapingandimplementingpolicyintheeducationsector.Qualityinputfromalimitedbutdiverserangeofstakeholdershasbeenprioritisedoverlarger-scaleresearch.Forexample,acomprehensivesurveyandmap-pingoftheexperienceofallstudentsandteachersacrossIrelandwasnotcarriedout.

2.2 AdvisoryGroup

TheAdvisoryGroupwasanexpertgroupmadeupofsevenmembers,includingrepresentativesfromtheartsandeducationsectors.ThemembersofthegrouparelistedinAppendixA.

TheAdvisoryGroupmetinFebruary2012toidentifykeyissuesofrelevancetothereview.Thegroupassistedinshapingadiscussionpaperandcollatingadistributionlistofinterestedpartiestocontactinrelationtothereview.

Follow-upwascarriedoutwithindividualAdvisoryGroupmembersbyemailandphone.Inparticular,throughoutthecourseofthereview,AdvisoryGroupChair,Dr.MichaelFinneran,providedongoingadviceandassistance.

SixofthesevenAdvisoryGroupmembersparticipatedinaforumdiscussionandworkshopon21April.Theirinputattheforumeventisintegratedwithotherfeedbackfromthatprocess.

MembersoftheAdvisoryGroupprovidedfurtherfeedbackintheprocessoffinalisingthisreport.

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2.3 Visitstomodelsofpractice

Duringthecourseofthisreview,severaltheatrecompaniesweretouringinIrelandwithpresentationsofplaysontheschoolcurriculum.AlistofperformancesattendedisincludedinAppendixB.Thecallforsubmissionsdetailedbelowprovidedanopportunityforthosecompanies,alongwithotherswhoseproductionsdidnotcoincidewiththereview,tooutlinetheirmodelsofpractice.Deskresearchoninternationalmodelsofpracticewascarriedout.Inaddition,asitevisitwasmadetotheRoyalShakespeareCompanyinStratford-upon-Avon.

2.4 Deskresearch

Deskresearchincludedanexaminationofrelevantpolicies,programmesandresearchundertakenbytheArtsCouncil,theDepartmentofEducationandSkills(DES),andTheNationalCouncilforCurriculumandAssessment(NCCA).TheNCCACurriculum Onlineresource,togetherwithresearchandreportsoncurriculumdevelopmentaccessiblethroughtheNCCAwebsite,providedaclearandhelpfulindicationofthecurrentcurriculumatsecond-levelandproposeddevelopments.Thewebsitesofanumberofartsorganisations,includingcompaniesbasedoverseasprovidedaninsightintonationalandinternationalmodelsofpractice.AlistofallmaterialreferencedoverthecourseofthereviewisincludedinAppendixC.

2.5 Discussionpaperandstakeholdersubmissions

WiththeassistanceoftheAdvisoryGroup,adiscussionpaperwasdevelopedanddistributedtoarangeofstakeholdersacrosstheartsandeducationsectors,alongwithacallforsubmissions.Groupscontactedincluded:artsorganisations;localauthorityartsoffices;theNCCA;theDESInspectorate;StateExaminationsCommission(SEC);highereducationinstitutesinvolvedinteachereducation;educationcentres;theProfessionalDevelopmentSupportServiceforTeachers(PDST);andthesupportserviceforIrishlanguageteachers(an tSeirbhís Tacaíochta Dara Leibhéal don Ghaeilge).ThediscussionpaperisincludedinAppendixD.

Nineteensubmissionswerereceived,thelistofwhichisincludedinAppendixE.ThecontentfromthesesubmissionshasinformedSections4and5ofthisreport.

2.6 Meetingsandfocusgroups

Inadditiontotheformalwrittensubmissionsreceived,anumberofone-to-onemeetings,conversationsandfollow-upemailswithdifferentstakeholderstookplace.AlistoftheseinputsisincludedinAppendixF,andthefeedbackisincorporatedintoSections4,5and6ofthisreport.

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AfocusgroupwasheldwithsixteenyoungpeoplefromacrossIrelandparticipatingintheNationalAssociationofYouthDrama(NAYD)YoungCriticsprogramme.ParticipantsarelistedinAppendixGandtheirfeedbackisincorporatedintoSection5ofthereport.

AnonlinefocusgroupwasinitiatedthroughTheIrishNationalOrganisationofTeachersofEnglish(INOTE).Informationonthereviewprocesswasdistributedtoover740INOTEmembers.Teacherswhorespondedprovidedinputbysendingawrittensubmissionand/orattendingtheforumeventonSaturday21April(see2.7below).

AtargetedeffortwasalsomadetosolicittheinputofIrishlanguageteachersthroughtheIrishLanguageSupportServiceforteachers(An tSeirbhís Tacaíochta Dara Leibhéal don Ghaeilge).InformationaboutthereviewwassentinIrishtoseveralteachersidentifiedbythesupportservice.Whiletheseteacherswerenotabletoparticipateintheprocess,arepresentativefromthesupportserviceprovidedinputbyphoneandemailandattendedtheforumon21April(seebelow).

2.7 Forumdiscussionandworkshop

AforumdiscussionandworkshopwasheldonSaturday21April.ArangeofstakeholdersattendedincludingrepresentativesfromtheArtsCouncil,theDESInspectorate,NCCA,NAYD,AssociationforDramainEducationinIreland(ADEI),ProfessionalDevelopmentServiceforTeachers(PDST),an tSeirbhís Tacaíochta Dara Leibhéal don Ghaeilge,highereducationinstitutes,teachers,artspractitioners,andsecond-levelschoolstudents.PleaseseeAppendixHforanoutlineofthedayandfulllistofparticipants.

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3 CURRENT POLICY AND PROVISION

3.1 Arts-in-EducationFramework

Theatricalpresentationsofprescribedcurriculumplaysareaddressedinthisreportwithinthebroaderframeworkofarts-in-educationpolicyandprovision.4

ThecurrentArtsCouncilstrategy,Developing the Arts in Ireland 2011–2013buildsonpreviousplansandhas a dual focus on supporting artists and arts organisations and on seeking to increase public engagement and participation in the arts.Thedocumentincludesacommitmenttobuildonthe2008ReportoftheSpecialCommitteeonArtsandEducation,Points of Alignment.

Points of Alignmentidentifiesanumberofneedsandactionsofrelevancetothisreview,suchas:

Theneedforpolicyandstructurestobesodesignedastosecurethecommitmentandsupportofeducationandartspolicy-makersandfundersnationally,whileensuringthatlocalmodelsofpartnershipandprovisionarefacilitated,resourcedandlookedtowhennationalpolicyisbeingreviewed.ParticularattentiontobepaidtoexistingandevolvingstructuresandresourcessuchasVocationalEducationCommittees,educationcentresandlocalauthorityartsdepartmentswhich,actingindependentlyorinconsortwithothers,mayprovideorganisationalsolutionsanddeliverysystemsthatareappropriatetolocalcircumstancewhileconsistentwithnationalpolicyandguidelines.

Thelegitimateexpectationthatprimaryandpost-primaryschoolsaddress,andarefundedtoaddress,theartsaspartofa‘whole-school’planandpolicyhasitsequivalentintheexpectationthatpublicly-fundedartsorganisationsneedtoaddressarts-ineducation,and/orthewidereducationagenda,explicitlyandinapolicy-basedfashionthatformspartoftheirclaimonthepublicpurse.(4.6)5

TherecommendationsandactionsdevelopedinPoints of Alignment requireadualcommitmentbytheDepartmentofArtsandtheDepartmentofEducationtobeactedupon.Todate,theserecommendationshavenotbeenimplemented,dueinparttoincreasingfinancialconstraintsacrossallgovernmentbudgets.However,anArts-in-EducationChartercurrentlybeingdevelopedbybothdepartmentssuggeststhereismomentumtobuildontheprinciplessetoutintheSpecialCommittee’sreport.

3.2 ArtsCouncilprovisionforyoungpeopleandtheatre

TheArtsCouncilcurrentlyprovidesfundingtoarangeofartsorganisations,venues,festivals,localauthorities,andindividualartistsandpractitionerscreatingworkwith,

4Arts-in-educationreferstotheinterventionsbyartistsandartsorganisationsintothelifeandlearningofyoungpeople,viavisits,residencies,projectsetc.Suchinterventionscanoccurwithinoroutsideoftheschoolbuilding/timetable.Itmightbesaidthattheartistiscentraltothemediationofarts-in-educationexperiences,andthatresponsibilityforthisfieldofendeavourfallsmoreonartspolicy-makersandproviders.Artseducationontheotherhandisunderstoodastheeducationofayoungperson’sartisticandaestheticintelligenceandresponsibilityforitlieswithinprimaryandpost-primarycurriculumprovision.Itmightbesaidthattheteacheriscentraltothemediationoftheartseducationofayoungpersonandtheremitforthislieswitheducationpolicy-makersandproviders.5 Points of Alignment, The Report of the Special Committee on the Arts and Education,p.20,21(ArtsCouncil,2008)

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forandbyyoungpeopleinandoutofschool.TheartspracticeareaofdirectrelevancetothisreviewisYoungPeople,Children,andEducation.However,theArtsCouncil’sapproachtofundinganddevelopingtheatre,itspolicyontouring,artsaudiences,andsupportsandinitiativesacrossfestivals,venuesandlocalartsarealsorelevanttotheconsiderationofhowtheatreisaccessedbyschoolaudiences.

3.2.1 Young People, Children and Education (YPCE)ArtsCouncilfundingearmarkedforYoungPeople,Children,andEducation(YPCE)isdisbursedacrossarangeofartsorganisationsandindividualartistscreatingworkspecificallyforandwithchildrenandyoungpeople.Arangeoffundingmechanisms,includingrecurringannualfunding,non-recurringprogrammesupport,andproject-basedinitiatives–someofwhicharefinancedinconjunctionwithpartneragencies–facilitateworkwithinthesector.Theworkincludesarangeofartforms,includingtheatre,andtargetschildrenandyoungpeoplefrom0–23yearsofage,inandoutofschool.

Inadditiontodirectfundingtoorganisations,theCouncilhasdevelopedethicalpracticeguidelinesforartistsandartsorganisationsworkingwithchildrenandyoungpeopleaswellasArtists~Schools Guidelines(2006)toencouragebestpracticeindeliveringarts-in-educationprogrammes.OtherresourcetoolsincludeanArts-in- Education Directory(2007)andaresearchdigest,Arts, Education and Other Learning Settings(2008).

3.2.2 Approach to the funding and development of theatreSupporting the production and presentation of theatre – A new approach (2010),outlinestheArtsCouncil’sdetailedobjectivesandstrategiesintheatre.Acoreobjectivelistedis

toenablethecreation,presentationanddisseminationofexcellent,engagingworkwhichconnectswithaudiences…(p.3)

TheArtsCouncilhasmovedtowardsfacilitatingpartnershipsthroughwhichawiderrangeofhighqualityprofessionalartisticworkcanbecreatedandpresented,whilenarrowingthenumberoftheatrecompaniesinreceiptofcorefunding.Companieswhichcontinuetobesupportedwithcorefundingarerequiredtomeetalistofmeasurableoutcomes,whichincludetheexpectationthatcompaniesofferprogrammes for audience enhancement/engagement(p.5).

Meanwhile,project-based,touringandresource-sharinginitiativesencourageartsorganisationsincludingvenues,festivalsandnetworkstosupporttheworkofindividualtheatreartistsandcompaniesnotinreceiptofcorefunding.Artistawardssuchasthetheatreartist-in-residenceaward,provideopportunitiesfortheatreartiststodeveloptheirpracticeandto support the delivery of programmes intended to enhance audience engagement with professional theatre.(p.6)

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3.3 RecentandemerginginitiativesinIreland’s arts-in-educationsector

3.3.1 Theatre for Young AudiencesTheatreforYoungAudiences(TYA),whichcomprisesadiversityofpractices,hasbecomeanincreasinglycohesiveareaofworkinIrelandoverthepastfewyears.Thishasbeenfacilitatedbytheemergenceofamembership-basedstructureTYAIreland.TheorganisationiscomprisedofcompaniesacrosstheislandofIreland,withinternationallinksthroughAssitej,theinternationalassociationoftheatresforchildrenandyoungpeople.Thisnetworkprovidesaforumfordiscussionandskills-sharingacrossthesector,facilitatedspecificallythroughTYAIreland’sannualGatheringevent,throughwhichmembersexamineissuesofsharedrelevance.Atthetimeofwritingthisreport,onlyoneofthecurrentmembercompaniesrepresentedbyTYAIrelandofferspresentationsofprescribedcurriculumplaystosecond-levelschoolaudiences(Fíbín,whichpresentsplaysontheIrishlanguagecurriculum).However,anumberofprofes-sionaltheatrecompaniesandindividualtheatreartistswithintheTYAnetworkdeliverprogrammesandperformancesforsecond-levelschoolstudentswhichtieinwithotherareasofthecurriculum.ManyofthecompaniesinvolvedinTYAIrelandreceivesomeleveloffundingfromtheArtsCouncilandinitiativesofTYAIrelandhavealsoreceivedmodestsupportthroughtheSmallFestivalsSchemeandtheTravelandTrainingAward.

3.3.2 Encountering the ArtsFollowingthepublicationofPoints of Alignment(2008),anumberofeventstookplaceinwhichmembersoftheartsandeducationcommunitiescametogethertodiscusshowtherecommendationsandactionsemergingfromthatreportmightbeimplemented.6AdevelopmentarisingfromtheseinitiativesisaninformalEncountering the Artsworkinggroupwhichismadeupofrepresentativesfromartsorganisations,culturalinstitutionsandeducationalbodies.Thegrouphasbeengainingmomentumasalobbyinggroupinthebroadareaofartsandeducationandrepresentsthewillamongmanymembersoftheartsandeducationsectorstoensuregreatercoordinationinthisarea,andtoseekgreaterpolicycohesionatnationallevel.RecentadvocacyhasfocussedontheproposedDES/DAHGArts-in-EducationCharter.InformationontheeventsleadingtotheformationoftheworkinggroupisincludedinthereportfromtheEncountering the Artsconference,whichtookplaceinNovember,2010.7

3.4 Second-leveleducationandthecurriculum

3.4.1 Overview of second-level education and the curriculumTherearemorethan350,000youngpeopleinsecond-leveleducationinIreland.Theyfollowanationalcurriculum,whichisdeterminedbytheMinisterforEducationandSkills.TheMinisterisadvisedbytheNationalCouncilforCurriculumandAssessment(NCCA).Thecurriculumisimplementedbyteachersacrossthe729

6Creating Conversations,colloquiumledbyMaryImmaculateCollegeinJanuary2010;Art-Youth-Culture FYI,consultationwithyoungpeopleledbytheArtsCouncilwithsupportfromtheEuropeanCommissioninMarch2010;andEncountering the Arts,ledbyasteeringgroupcomprisingacross-sectionofinterestedpartiesinNovember2010.7Barnard,I.Encountering the Arts, A Report on the Encountering the Arts Conference.The Irish Museum of Modern Art 5 November 2010,Dublin2011http://www.artscouncil.ie/Publications/Encountering_the_Arts_Final_ReportMarch2011.pdf

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second-levelschools(includingsecondary,vocational,communityandcomprehensiveschools)inthecountry,overseenbytheDepartmentofEducationandSkills.

Second-leveleducationcomprisestwocycles–juniorcycleandseniorcycle.AnoptionalTransitionYear(TY)isofferedaspartoftheseniorcycle.AccordingtotheNCCA,approximately75%ofschoolscurrentlyoffertheTYprogramme,andinmostcases,theyearisoptionalforstudents.

3.4.2 Drama as a subject at second-levelStudentsenteringsecond-leveleducationhaveusuallyhadsomeexperienceofdramaintheirprimaryschoolyears.Processdrama–whichfocusesondramatoexplorefeelings,knowledgeandideasleadingtounderstanding–hasbeenpartoftheprimarycurriculumsince1999.

Formoststudents,dramaortheatreisnotasubjectinitsownrightatsecond-level.However,English,whichisacoresubjectatjuniorandseniorcycle,includesaspectsofdramaandtheatrestudies.Moststudentswillhavesomeexposuretodramaand/ordramatictextsastheypreparefortheirJuniorCertificateandLeavingCertificateEnglishexaminations,takenatapproximatelyages15and18respectively.TheopportunitytostudydramatictextsalsofeaturesontheIrishlanguagesyllabus.

InTransitionYear,schoolsareencouragedtoprovideopportunitiesforstudentsto

developanawarenessandappreciationofvisualart,music,dance,drama,photography,etc.Criticalreading,viewing,listeningandexposuretothelivingartsareworthpromoting.

DESTransitionYearGuidelinesforSchools

SchoolshavetheoptiontodevelopandofferdramaortheatremodulesasTransitionUnits,alongwithothercustomisedprogrammesofstudy.

Thenewframeworkforjuniorcycle,whichwillbeintroducedforstudentsenteringsecond-leveleducationin2014,willallowasimilarapproach,anditappearsthatschoolsandpartnerorganisationswillhavetheoptiontodeveloptheirownshortcoursesinarangeofareas,includingtheatre/drama.Aspartofthenewframework,theNCCAplanstodevelopanumberofexemplaryshortcourseswhichschoolscanchoosetodeliver.Oneofthesewillbeacoursein‘artisticperformance’.8

Currently,theLeavingCertificateAppliedcourse,whichisofferedasanalternativetotheLeavingCertificate(Established)course,andisdesignedforstudentsnotplanningtoenterhighereducationdirectlyafterschool,offersartseducationmodules,includingdrama.

Theabsenceoftheoptionoftheatre/dramaasasubjectinitsownrightformoststudentswasidentifiedasadrawbackintheIrisheducationsystembyavarietyofstakeholdersprovidinginputtothisreview.

8ThecurrentstatusofshortcoursesaspartoftheframeworkforjuniorcyclewasconfirmedinconversationwithJohnHalbert,NCCArepresentative,aspartofthereviewprocess.

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3.4.3 Prescribed material, suggested material and choiceAtjuniorcycle,thecurrentEnglishsyllabusincludesopportunitiesforstudentstoparticipateindramaactivitiesinclass,aswellasstudyingdramatictexts.TherearenoprescribedtextsfortheJuniorCertificateEnglishexamination.IndeedtheTeacherGuidelinesstate,Creative, integrated English teaching can provide a rich context for classroom work, easing the stress and resentment frequently occasioned by limited and prescribed courses(JuniorCertificateEnglishGuidelinesforTeachers,p.1).Theguidelinesforteachersincludesuggestedtexts,andthelistofplaysanddramaresourcesisincludedinAppendixI.

Atseniorcycle,prescribedtextsfortheLeavingCertificate(Established)Englishexam-inationareannouncedanddisseminatedtoallschoolsannuallyinadvanceofstudentsbeginningthetwo-yearprogrammeleadingtotheexam.Forexample,thelistoftextswhichwillbeexaminedintheLeavingCertificatein2014waspublishedearlyin2012.Studentschooseonetexttostudyonitsown(sometimesreferredtoasthe‘singletext’)fromalistofaboutninetexts.Inaddition,studentschoosethreetextstostudyinacomparativemannerfromalongerlist(approximately40textsinrecentyears).Inthecaseofthecomparativetexts,studentsarerequiredtostudytheirthreechosentextsaccordingtoprescribedcomparativemodes,suchasculturalcontext,themeorissue.

ThesettextsfromwhichstudentsandteachersmaychooseincludeplaysbyShakespeareandotherplaywrights,includingIrishplaywrights,alongsidenovelsand(inthecaseofthetextsforcomparativestudy)films.HigherlevelstudentsmuststudyatleastoneShakespeareplay.ThesubmissionfromtheDepartmentofEducationandSkillsPost-PrimaryInspectorsofEnglishinformingthisreviewemphasisesthechoicesavailableforteachersandstudents,andtherollingnatureofthe‘prescribed’material.

TheJuniorCertificateEnglishcourseisanopencourse.Consequently,therearenoprescribedplayswhichstudentsmuststudy.InthecontextofLeavingCertificateEnglish,whilehigherlevelcandidatesmuststudyShakespeare,therearealwaysatleasttwoShakespeareanplaysfromwhichtheymaychoose.Beyondthis,whiletheDepartmentofEducationandSkillsdoesissueacircularlettereachyearsettingoutprescribedmaterialtobestudied,thiscomprisesalistofawiderangeoftextsfromwhichteachersmaychooseinordertofulfiltherequirementsofthesyllabusandtosuitthecontextoftheirstudents.Thislistdoesincludeanumberofplays,butitislefttoindividualteacherstochoosewhetherthesewillorwillnotbeincludedintheselectedtextsfortheirstudents.9

Theelementofchoiceforteachersisimportantasitmeansthereisnosingleplaythateverystudentinthecountrymuststudyinagivenyear.However,asallhigherlevelstudentsmuststudyShakespearefortheLeavingCertificate,eitherasasingleorcomparativetext,andShakespeareisalsooptionalatordinarylevel,theShake-speareplaywhichappearsonboththesingleandcomparativelisttendstobethelargestcommonreferencepointforstudentsacrossdifferentschools.10

9SubmissionfromtheDepartmentofEducationandSkillsPost-PrimaryInspectorsofEnglish,aspartofthereviewprocess.10ThereisusuallyoneShakespeareplayonthelistoftextswhichmaybestudiedontheirown.Thisplayalsoappearsonthelistoftextswhichmaybestudiedinacomparativemanner,alongwithoneortwoadditionalShakespeareplays.

15

PleaseseeAppendixJ1,J2andJ3forthePrescribedListsfor2012,2013and2014.

TheIrishlanguagesyllabusalsoincludesprescribedmaterialatseniorcycle,butagainthereisscopeforchoiceandteachers/studentsmaychoosenottostudyaplayatall.RecentamendmentstotheIrishlanguageLeavingCertificatesyllabus,includinginformationonprescribedplaysfor2012–2014,areincludedinAppendixJ4.

3.4.4 Key skillsThereisanincreasingemphasisatsecond-levelonkeyskills,whichareexpectedtobeintegratedacrossthecurriculum.Thecoincidencebetweenthesekeyskillsandthosewhichyoungpeoplelearnbyparticipatingindramaandtheatreactivitiesisstriking.TheNCCAwebsitestates

Aswellaslearningknowledge,learnersneedtodevelopskillstocreatenewknowledgeandtodealwithandnavigatetheirwaythroughthisnewworld.Therearefiveskillsidentifiedascentraltoteachingandlearningacrossthecurriculumatseniorcycle.Theseare:criticalandcreativethinking,communicating,informationprocessing,beingpersonallyeffectiveandworkingwithothers.Aslearnersdevelopcompetenceineachofthefiveskillsinanintegratedwaytheyalsodevelopcompetenceinlearninghowtolearn…Inorderthatlearnersbenefitfromtheirinteractionwiththekeyskills,itisimportantthattheywouldencounterthemfrequentlyandinanintegratedwayrightacrossthecurriculum.11

Similarly,eachsyllabusatjuniorandseniorcycleoutlinestheskillsandcompetenciesstudentsareexpectedtodevelop,andthereisalotofflexibilityinhowteachersmightassiststudentstodeveloptheseskills.Theseniorcyclesyllabusispresentedheretodrawfurtherattentiontothecontextinwhichprescribedmaterialisexpectedtobestudied.Richengagementwiththeatreanddramaisclearlycompatiblewiththeapproachtolearningasoutlinedinthesyllabus.ExtractsfromtheLeavingCertificateEnglishsyllabus,whichbuildsontheJuniorCertificatesyllabus,areincludedbelow.

• Theterm‘language’includesverbalandvisualformsofcommunication.Inthissyllabustheroleofthemedia,filmandtheatricalexperiencewillbesignificant.Developingstudents’powersofdiscriminationandinterpretativeabilitiesinrelationtothesemediaandtheencouragementofperformanceandofcreativeproductionswillbeintegralelementsofthissyllabus.(LeavingCertificateEnglishSyllabus,p.4.)

• TheAestheticUseofLanguage–Studentsshouldencounterawiderangeoftextsinavarietyofliterarygenresforpersonalrecreationandaestheticpleasure.Thiswouldincludeengagingwithfiction,drama,essay,poetryandfilminanimaginative,responsiveandcriticalmanner.

• Studentsshouldbeableto:• Developappropriatestancesforreadingand/orviewinginallliterarygenres.

Thismeansstudentsshouldapproachdramascriptsfromatheatricalperspective,viewfilmsascomplexamalgamsofimagesandwordsandreadpoetryconsciousofitsspecificmodeofusinglanguageasanartisticmedium.

• Engageininterpretativeperformanceoftexts.

11http://www.ncca.ie/en/Curriculum_and_Assessment/Post-Primary_Education/Senior_Cycle/KeySkills/Alsoseethefullpublication,Senior Cycle Key Skills Framework,NCCA,2009

16

• Developanawarenessoftheirownresponses,affective,imaginative,andintellectual,toaesthetictexts.Exploretheseresponsesrelativetothetextsread,generateandjustifymeaningsandbuildcoherentinterpretations.

LeavingCertificateEnglishSyllabus,p.14

3.4.5 Literacy and Numeracy for Learning and LifeTheintroductionofthegovernment’snewstrategy,Literacy and Numeracy for Learning and Life – the National Strategy to Improve Literacy and Numeracy among Children and Young People,(DepartmentofEducationandSkills,2011)willimpactonthesecond-levelcurriculuminthecomingyears.Thestrategydescribesliteracyasfollows

Traditionallywehavethoughtaboutliteracyastheskillsofreadingandwriting;buttodayourunderstandingofliteracyencompassesmuchmorethanthat.Literacyincludesthecapacitytoread,understandandcriticallyappreciatevariousformsofcommunicationincludingspokenlanguage,printedtext,broadcastmedia,anddigitalmedia.Throughoutthisdocument,whenwereferto“literacy”wemeanthisbroaderunderstandingoftheskill,includingspeakingandlistening,aswellascommunicationusingnotonlytraditionalwritingandprintbutalsodigitalmedia.

Literacy and Numeracy for Learning and Life,p.8)

Thereisclearevidencetosuggestthatbyengaginginhighqualityartsexperiences,studentsaremorelikelytodevelopboththecoreandhigherlevelliteracyskillswhichtheyneedtosucceedatschool.12Whiletheplaceoftheatreandotherartformswithintheoverallstrategyisnotexplicit(unlikeotherareassuchasdigitalmedia)thereisnonethelessspacewithinthestrategy’sworkingdefinitionofliteracytopromoteaconnectionwiththearts.Fortheatreandotherartspractitionersconcernedwithprovidingqualityartsexperiencesforyoungpeopleinschool,andfortheArtsCouncilwhenadvocatingfortheseexperiences,theliteracyandcommunicationskillswhichyoungpeopledevelopthroughengagingmeaningfullywiththearts,whetherasmakers,viewersorlisteners,maybeworthemphasisinggiventhepolicyframe-worksetoutinLiteracy and Numeracy for Learning and Life.

12Bamford,A.(2006)The wow factor: global research compendium on the impact of the arts in education,Germany:WaxmannVerlagGmbH

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4 CURRENT PRACTICES

AnumberofdistinctthoughrelatedmodelsofpracticecurrentlyexistinIrelandwhenprofessionaltheatrecompaniespresentplaysontheschoolcurriculum.

4.1 Fullprofessionalproductionofaplayonthecurriculum

4.1.1 Touring company presenting prescribed plays on the Irish syllabus FíbínisanIrishlanguagetheatrecompanyinreceiptofArtsCouncilfundingwhichpresentsplaysontheIrishlanguagesyllabus.Thecompanyrecognisesthatformanyyoungpeople,Irishtextsonthesyllabusareverydifficulttounderstand,andasaresulttheplaysarehighlyvisualanduselargepuppetsandarangeofcomicandtheatricaldevicestoengagetheaudience.Inadditiontotheissueoflanguage,Fíbínhasfoundthatitisoftendifficultforyoungpeopletoconnectwiththeoverallcontentandhistoricalcontextoftheplays,andthecompanyaimstomakeproductionsofahighartisticstandardthatareenjoyableandrelevantforstudents.InresponsetoresearchandplanningwithIrishlanguageteachers,thecompanyhaspresentedtheplaysAn TriailandAnCearrbhachMacCábaaswellasaversionofthestoryFiche Bliain ag Fás.

4.1.2 Touring company presenting prescribed plays on the English syllabusThereiscurrentlyoneprofessionalcompanyinIrelandofferingfull-lengthproductionsofprescribedplaysontheEnglishsyllabusinaregularanddeliberatefashion.Thiscompany,SecondAge,describestheirmodelofpracticeasfollows

SecondAgepresentsdramasprimarilyfromtheLeavingCertificatesyllabustoaudiencesthroughoutthecountry.Theproductionsmountedarefullyprofessionalandpresentedintraditionaltheatrespaces,andnotinschoolsorothereducationalsettings.Thisisanimportantpointforus.Allowingstudentstoexperiencetheatreoutsideofaschoolcontextwillchangethenatureoftheirengagementwiththeplay.Aperformanceschedulethatallowsteachersandstudentstheoptiontoeitherattendduringschooltimeoroutsideofschooltimeisprovided.Audiencesatoureveningperformancesareoftenamixofageneralnon-schoolaudienceandstudentaudiences.Feedbackfromteacherstellsusthatthismixofaudiencealsoplaysasignificantroleintheirstudents’engagementwiththeplay.Studentsnotonlyexperiencetheproductionthatisbeingstaged,butcanalsowitnessandobservehowanon-schoolsaudiencebehavesatthetheatre.

Whendesigningandplanningourprogrammeofeventswebroadlyspeakingworkaccordingtothefollowingpriorities1. ProducetheLeavingCertificateShakespeare/singletextdrama.Theproduction isfocusedon

1.1. Deliveringthehighestpossibleprofessionalstandards.1.2. Placingthetextatthecentreofthework.Clarityisthenumberoneobjective.1.3. Makingtheproductionaswidelyavailableaspossiblesothatstudents

regardlessoftheirgeographicallocationhavetheopportunitytoexperience theplay.

2. Producea2ndnon-Shakespeareproduction3. Provideresourceandancillaryactivitiestostudentsandteachersthroughpost- showquestionandanswersessions,podcasts,andresourcenotesavailable fordownloadfromthewebsite.4.Provideactortrainingtohelpimprovethestandardofactorsworkinginverse.13

13WrittensubmissionfromSecondAgeTheatreCo.aspartofthereviewprocess.

18

Duringthisreview,thecompanywastouringwithaproductionofMacbethdirectedbyDavidHoran.ThetourwasfundedinpartbytheArtsCouncil’sTouringandDisseminationofWorkScheme.Thetourvisitedeightregionalvenuesandreachedanaudienceofapproximately20,000students/teachers.

Initssubmissiontothereviewprocess,thecompanynotedthatthetouringgrantsithasreceived,whichhavebeeninadditiontoaseparateArtsCouncilgrantitreceiveduntilrecentlyasaRegularlyFundedOrganisation,havemadetheproductionsfeasible.Theyfurtherobserved

Thetouringgrantshavebeenenormouslybeneficial,facilitatingsomeofthebestworkwehavecreated:Philadelphia Here I Come(2007),Dancing at Lughnasa(2010)andourmostrecenttourofMacbeth(2012).14

TheprimarysourceofincomeforSecondAgeisboxofficesales.Thesubmissionstates

Withoutthelargevolumeofsales,itwouldnotbepossibletomountproductionsatthescaleandprofessionalqualitythatweachieve.15

4.1.3 Productions by companies based in the UKAnotherproductionofMacbethofferedbyaUK-basedcompany,Icarus,touredinIrelandatthesametimeasSecondAge’sproductionin2012.IntheabsenceofanIrish-basedprofessionaltouringcompanyproducingplaysonthecurriculum,oracoherentmodelofprovisioninthisarea,itispossibleintheshort-termthatUK-basedtouringcompaniesofferingproductionsofShakespeareplaysmightfillthegapinthemarket.Itisalsopossiblethatanincreasingnumberofadhoclocalprofessionalandamateurproductionsmayemergeinrecognitionoftheviablemarketforthiskindofwork.TheArtsCouncilwouldhavenoroleinassuringthequalityofworkpresentedbycompaniesnotinreceiptofArtsCouncilfunding.

ItisalsoworthnotingthatsomeexceptionalworkwhichhappenstobeonthecurriculuminIrelandispresentedbyworldclassproductionhousesandvenuesintheUK.Inoccasionalcircumstances,Irishschoolgroupsmayvisitatheatreoverseasaspartofaschooltrip,suchastheNationalTheatreinLondonortheRoyalShake-speareCompanyinStratford-upon-Avon.Increasingly,thedigitaloffersbythesecompaniesinprovidingfilmedversionsofplaysandotherresourcesprovidesthepotentialtomaketheseproductionsmoreaccessibletoIrishschoolaudiences.ThispracticeisdescribedinSection4.6below.

4.1.4 Once-off productions by Arts Council funded organisationsFromtimetotime,artsorganisationsinreceiptofArtsCouncilfundinghavestagedplaysontheschoolcurriculumaspartoftheiroverallprogramme.Insomecases,theseorganisationshavemadeadeliberateefforttoattractandengageschoolaudiences.Inothercases,therehasbeennodirectengagementwithschools.

TheAbbeyhasproducedplayswhichhaveappearedassuggestedorprescribedtextsontheschoolcurriculum.TheAbbeywebsiteincludessomeoftheresourcematerialgeneratedasanaspectofthoseandotherproductionswhichremainavailablefor

14Ibid.15Ibid.

19

download.Thechoicetopresenttheseworksisnotdrivenbythecurriculum.Rather,theAbbey’sartisticprogrammeisdesignedtofurtheritsmissionto create a world-class theatre that actively engages with and reflects Irish societyandtheireducationandoutreachworkrespondstoandbuildsonthatprogramme.16

ThedetailedsubmissiontothisreviewprocessbyPhilKingston,EducationandCommunityManagerattheAbbey,includesthefollowingnoteaboutAbbeyprogramming

Whileit’snottheAbbey’spolicytoprogramcurriculumbasedplaysasamatterofcourse,somehaveappeared(e.g.‘RomeoandJuliet’)becausetheyhavecoincidedwiththetheatre’swidervisionofits‘conversationwiththenation’.IftheAbbeyweregivenaroundfouryearsnoticeofwhatwasgoingtobeprescribedthenthosetextscouldbepartofthatvisionandmaybehavemorechanceofbeingincluded.17

Thispointstoalogisticaldifficultyaroundtiming,whichisdiscussedinSection6.1.5ofthisreport.

SomeoftheeducationalprogrammesandworkshopseithercurrentlyorpreviouslyrunbyTheAbbey,andinparticulartheTheatreasaResourceprogrammedescribedinSection4.5.1below,offerexamplesofhowanartisticprogrammemightbepresentedinawaythatsupportsandenhancestheschoolcurriculum,regardlessofthespecificplayorplaysstudentsmightbestudying.

Duringthecourseofthisreview,twoofthemajortheatrecompaniesinreceiptofregularfundingfromtheArtsCouncil–PanPanandDruid–presentedplays–ontheprescribedlistsfortheLeavingCertificateEnglishexaminationin2012.PanPanstagedaproductionofHenrikIbsen’sA Doll HouseinDublin’sSmockAlleyTheatreinApril2012.StudentscouldchoosetostudyA Doll Houseasasingleorcomparativetextin2012.TomMurphy’sA Whistle in the DarkranaspartofDruid’sDruidMurphycycleinlateMayandJune2012,withthreeperformancesintheweekbeforetheLeavingCertificateEnglishexams.A Whistle in the Darkisoneofthetextswhichstudentscouldstudyinacomparativemanner.

InneithercasewerethecompaniesawarethattheseplayswereontheprescribedlistsfortheLeavingCertificatein2012.Thetimingoftheseproductionssoclosetotheexamswasnotidealforaschoolsaudience(typicallyschoolswillvisitproductionsinfifthyear18,soforexample,thetoursofMacbethinspring2012arepopularbecauseMacbethappearsontheprescribedlistfor2013)butnonetheless,themissedopportunityisstriking.

Druidhasruneducationprogrammeswithschools,andwhilethesehavenotbeenaconsistentfeatureofthecompany’swork,theyarereportedtohavebeenengagingandrewardingfortheyoungpeopleandtheatreartistsinvolved.Moredetailsonthecompany’sengagementwithschoolaudiencesareincludedinSection4.5.1below.

16WrittensubmissionfromPhilKingston,CommunityandEducationManager,TheAbbey.17Ibid.18Fifthyearreferstothefifthofsixyearsinsecond-leveleducation.TheLeavingCertificateexaminationistakenattheendofthesixthandfinalyear.

20

TheDublinTheatreFestival(DTF)hasprogrammedproductionsofplaysthathaveappearedonthecurriculum.Forexample,PanPan’sThe Rehearsal,Playing the Dane,aninterpretationofHamlet,wasprogrammedin2010andwasprescribedfor2012.Thistimingwaspotentiallyidealforstudentsentering5thYearin2010.TheNationalAssociationofYouthDrama(NAYD),whichorganisestheYoungCriticsprogrammeinassociationwiththeFestival,broughtyoungpeopletothisperformance.However,therewasnotargetedmarketingtoschoolaudiences,andaccordingtoPanPanandDTF,thecurriculumdidnotfactorintheirartisticplanning.In2011,theFestivalprogrammedaninternationalcompanytoperformOthello,C’est Qui?Othelloisonthelistofprescribedtextsfor2014,althoughthislistwasnotavailableuntilearly2012.

Whilethesespecificexamplesemergedoverthecourseofthereview,itislikelythatthereareothercompaniesorvenueswhohavepresentedorareplanningtopresentworkthatisonthecurriculum,withoutnecessarilybeingawarethatithasaparticularrelevanceforsecond-levelstudents.AsubmissionfromCianO’Brien,ArtisticDirectorofProjectArtsCentre,inrelationtothisreview,noted

OneofthestrandsofprogramminginwhichIhopetoengageovermytimehereatProjectArtsCentreistore-engageouraudienceswithcanonicaltexts.Topresentthisworkinanewlightandtoencourageyoungartiststousethisworkasaspringboardtodevelopnewwaysofstagingthesetexts.19

Healsoobserved

Partofthechallengewiththepresentationofworkforsecond-levelstudents(inmyopinion)whichhasgoneoninthepastisthatsomeoftheproductionstheyareseeingareconservativeandmerelystagetheplay,ratherthanofferinsightsintothedramaturgybehindtheplays.Forexample,therearemanywaysofstagingaShakespeareplay,ofdeconstructingthetext,presentingitinanewcontextwhichcanbringclearmeaningtoplayswhichareoftendenseanddifficulttoread.20

ItisworthnotingthattheapproachsuggestedbyO’Brien,anddemonstratedbyPanPaninproductionssuchasA Doll House,The Rehearsal – Playing the Dane,andMacbeth 7,sharessomeattributeswiththeworkshoppresentationmodeldetailedinSection4.2below.

Generally,membersofthetheatrecommunitywhoprovidedinputtothisreviewfelttheschoolcurriculumshouldnotdictateanartisticprogramme.However,theyrecognisedthatartsorganisationscoulddomoretoengagewithschoolswhentheirartisticplansalignwithplaysonthecurriculum,orwithotheraspectsofthecurriculummorebroadly.Representativesfromtheartsorganisationsreferencedinthissectionsuggestedtheywerewillingandinterestedtoactivelyengagewithschoolaudiences,butthatthiswouldrequirebringinginappropriateexpertise.

Alloftheartsorganisationsprovidinginputtothisreviewrecognisedthatengagingwithyoungpeopleinandoutofschoolisvaluable.However,thisareaofworkhasnotbeenprioritisedwhereitisnotconsideredcentraltothemissionofanorganisation.

19WrittensubmissionfromCianO’Brien,ArtisticDirectorofProjectArtsCentre,aspartofthereviewprocess.20Ibid.

21

4.2 Workshop-stylepresentationsofShakespeareplays forschoolaudiences

Inrecentyears,anumberoftheatrecompanieshavebeguntoofferworkshop-stylepresentationsofShakespeareplays,whichareeitherprescribedfortheLeavingCertificateorsuggestedatJuniorCertificatelevel.CycloneRepertoryoffersamenuofShakespeare‘Sessions’toschools.Duringthecourseofthisreview,‘Sessions’basedonRomeo and Juliet, The Merchant of Venice, Hamlet,andMacbeth werepresentedbythecompany.

ThesubmissionfromCycloneRepertorystates

TheCycloneapproachtoShakespeare’splays,whichincludesinteraction,participationanddiscussion,invitesthelearnersintoactiveengagementwithShakespeare’sworldandhelpsthemtomakesenseofcomplexlanguageandthemesinapost-modernpresentationthatisenjoyableandaidsthelearnerinmakingconnectionsbetweentextandperformance.ThiswasaptlycommentedonbyTracyIrish,RoyalShakespeareCompany’sEducationalBranchDirector,as:A three-dimensional essay of Shakespeare’s plays.21

Indescribingthecompany’sartisticand/oreducationalaims,Cyclonenotes

AsignificantfactorinaidinglearnerexperienceandappreciationofShakespearereliesonhowitistransmitted.Forexample,isitthemodernlearner-centredmodeofinteraction(invitingthelearnertoparticipate)?Orisittheold-fashioneddogmaticformofpresentation,keepingthelearneratadistancefromthepresenter(i.e.asaperformerwhodoesnotconnectwiththeaudienceorasateacherimpartingknowledge)?Ourapproachistheformer,learner-centredform.Withthisinmindourartisticandeducationalaimsare:

• Toinspireinlearnersanenthusiasmandenjoymentofthetheatricalexperience• Enablelearnerunderstandingofchallengingtexts• Enhancingandstimulatinglearnerunderstandingofcentralthemesby

promotinglearnerconnectionsbetweenthetextsandtheirownpersonalexperiences

• Invitinglearnerinteraction,participationanddiscussionduringperformanceinordertoestablishalessdogmaticeducationandtheatricalmodel22

Inchoosingtodescribeyoungpeopleas‘learners’asopposedto‘students’thecompanyemphasisesthat

Alearnerisapersonwhoisanactiveparticipantandcontributorrathertheoldorderversionofalearner(akastudent)whoisseenassomeonewhoisexpectedtofollowinstructionswithoutquestioning,absorbtheinformationlikeaspongeandregurgitateitonexampapers.23

Similarly,theapproachofTheatreRoyalinWaterfordtopresentingShakespeareplaysis

21WrittensubmissionfromCycloneRepertoryaspartofthereviewprocess.22Ibid.23Ibid.

22

…selectiveandinterrogativeratherthanastagingofthefullplay.Tothatendourpracticehasbeentoselectanumberofkeyscenesintheplayinconsultationwithteachersandtoanimatetheseinliveperformanceinterpolatedwithaveryfocussedcommentaryaroundtheme,characterandcontextbothtextualandtheatrical…Thehousestylethatwehavedevelopedistostagethescenessimplyandeconomicallywithsomekeypiecesoffurnitureandpropsandplaceallthisinastageenvironmentheightenedbytheuseofstrongtheatrelightingandutilisingtherestored18thcenturybackwallofourtheatreasadramaticbackdroptotheaction…Weopenupthewholespacesotheaudiencecanseethemechanicsofthestageandbyplacingandutilisingcostumerails,proptablesandhavingthestagemanagementcompletewiththeirlaptopsonstagewecreatethelaboratorystyleatmosphereofanadvancedrehearsalintowhichtheaudiencehavebeendropped.24

4.3 Semi-professionalpresentationsinvolvingyoung peopleastheatremakers

4.3.1 Professional theatre company working with a young ensembleIntheirsubmissiontothereviewprocess,RedKettledescribedhowtheirproductionofRomeo and Julietattractedaschoolaudience.TheproductionincludedacastofyoungactorswhohadbeeninvolvedwiththecompanyforanumberofyearsthroughtheLittleRedKettleprogramme.Whilethepotentialconnectionwiththecurriculumwasnotthedrivingfactorinselectingtheplay,thecompanyrecognisedtheopportunityforconnectingwithschools,andofferedaprogrammeofworkshopsledbymembersofthecreativeteam,whichtiedinwiththeproduction.

4.3.2 Youth theatre presenting plays on the curriculumClareYouthTheatre,aninitiativeoftheClareArtsOfficeandamemberoftheNationalAssociationforYouthDrama(NAYD),hasdevelopedandstagedadaptationsofplaysonthecurriculum.Duringthecourseofthisreview,membersofClareYouthTheatrepresentedextractsfromDancing at Lughnasa,SiveandThe Lonesome West,allresearchedandadaptedbytheyoungmembersofthecast.Inthepast,theyouththeatrehasstagedanadaptationofTo Kill a Mocking Birdand,Searching for ShakespearedescribedbyArtisticDirector,EleanorFeely,as

areworkinginamodernidiomofseveralofShakespeare’smasterpieces,Hamlet,King Learetc.,againallresearchedbytheyoungpeoplethemselvesandcreatedinconjunctionwithmyselfasdirector.25

Youngpeopleinvolvedintheseproductionsbroughtposterstotheirschoolsandhelpedtomarkettheproductionstotheirpeersthroughwordofmouth,buttherewasnodirectengagementwithteachers.

4.3.3 Third Level institutions, school plays and other contextsWhileanumberofalternativemodelsofpresentingplaysonthecurriculumexist,includingschoolplays,productionsbystudentsinthird-levelinstitutions,andamateurproductions,theexaminationofthesemodelsisbeyondthescopeofthisreview.

24WrittensubmissionfromBenBarnes,ArtisticDirectorofTheatreRoyal,aspartofthereviewprocesss.25EmailfromEleanorFeely,ArtisticDirectorofClareYouthTheatre.

23

However,itisworthnotingthatthird-levelinstitutionsinparticularrepresentanimportantresourceintermsofbothteacherandactortraining,withthepotentialtodrivesignificantinitiativesinthemannerinwhichtheatreprofessionalsandteachersdeveloptheskillstodeliversuccessfularts-in-educationprogrammes,whichtieinwiththecurriculum.

4.4 Activitiesthatenhanceandsupportaproduction

Toagreaterorlesserextent,companiesofferingpresentationsofplaysonthecurriculummayincluderesourcematerialandotheractivitiestoenhancestudentandteacherengagementwiththeplay.

AsnotedinSection4.1.2above,SecondAgeprovidesresourceandancillaryactivitiestostudentsandteachersthroughpost-showquestionandanswersessions,podcasts,andresourcenotesavailablefordownloadfromthewebsite.Discussionswiththecompanyconfirmedthattheseareconsideredvaluablebutnotessentialtothetheatreexperienceandalackoffundingwascitedasareasonsuchprogrammeshavenotbeenfurtherdeveloped.Further,timeconstraintsforschools,andthedemandsonacastandcrewmountingeightperformancesinaweek,leavelittletimeforenhancementactivities.Finally,itisthecompany’sviewthatmanyofthehighcalibreactorswhomtheywishtoattracttoperforminproductionsmaynotbeinterestedinparticipatingineducationalactivitiestoassistyoungaudiencesintheirappreciationandanalysisofaperformanceorproduction.26

Regardlessoftheseobservations,SecondAge,initsmostrecenttourofMacbeth,demonstratedexcellentuseofsomesuchresources.Asmallnumberofquestionandanswersessionswithmembersofthecreativeteamwerescheduled,andthesewererecordedandmadeavailableasaudiofilesonline.Thecompany’sFacebookpageprovidedaforumforstudentstoaskquestionsofthecreativeteamandreadtheirresponses.Thesefairlylow-costexercisesprovideda‘wayin’totheproductionprocess,accessibletostudentsandteachersintheirowntime.

Thereappearstobesomereluctanceamongmembersofthetheatrecommunitytospendlimitedresourcesproducingeducationalnotesforstudents,whichpotentiallyreplicateotheravailablematerialandarenotconsideredcentraltoacompany’sartisticwork.However,companiesengagedinrehearsinganddevelopingaproductionofaplayofferauniqueinsightintotherichnessofthatprocess,thedifficultiesencountered,thechoicesmade,theinterpretationsexplored,abandonedanddiscoveredaspartofthecollaborativetheatre-makingprocess.Providingstudentsandteacherswithawindowintothatprocesshasthepotentialtogreatlyenrichyoungpeople’sexperienceasaudiencemembers.Inthisway,thecreativechoicesmadeinaproductioncanbecomeopportunitiesforconstructiveandcriticalengagement,andthetheatreexperiencebecomessituatedwithinavibrantprocessofpossibleinterpretations.Thesetypesofactivitiesarecompatiblenotonlywiththeaimsoftheschoolcurriculumforyoungpeopleaslearners,butwiththeArtsCouncil’sconcernwithyoungpeople’spersonalresponseaspartofanyqualityartsexperience.

26MeetingwithAlanStanfordandLindaKeatingofSecondAge.

24

IntheUK,companiessuchastheRoyalShakespeareCompanyinStratford-upon-AvonandTheGlobeinLondonprovideawidemenuofopportunitiesforteachersandstudentstoengagewithproductionsinanin-depthwaythroughworkshops,seminars,talksandtailoredperformances.Theseprogrammestargetingschoolaudiencesareexplicitintheirconnectionswiththecurriculum,detailingthekeyskillsthatworkshopswillhelpstudentstoexploreanddemonstratinganin-depthknowledgeoftheeduca-tionaloutcomessoughtbyteachersandstudents.AppendixCincludesthewebsitesofoverseastheatrecompaniesvisitedinthecourseofthisreviewwhichdemonstrateexpertiseintailoringprogrammesforlocalschoolaudiences.Itisworthnotingthatwhilesimilarmethodologiesinpresentingtheatretoyoungaudiencesapplyacrossdifferentinternationalcontexts,thelanguageusedtodescribetheskillslearnedtendstobetailoredtomeettheparticularterminologyusedintherelevantschoolcurriculum.Describingatheatreprogrammeinthelanguageoftherelevantcurriculumdoesnotdiminishtherichnessanduniquenessoftheworkofferedbyartsorganisations.

RelevantpracticesinIrelanddetailedinSection4.5below,andonlineresourcesdescribedinSection4.6,providefurtherinformationonthisareaofwork.

4.5 Relevantpractice

TheAbbey’sTheatreasaResource(TAR)programme,NAYD’sYoungCriticsprogramme,andotherapproachestoengagingyoungpeoplewiththeatreinandoutofschoolofferrichmethodologiesandapproachesthatcouldbeappliedtostudents’experienceofcurriculumplays.

4.5.1 Theatre as a Resource and similar modelsTheAbbeyhasrunanumberofeducationandoutreachinitiativesofvariousscalesandlevelsofambitionovertheyears.ThesubmissiontothisreviewbyPhilKingston,CommunityandEducationManagerattheAbbey,provideddetailsonsomeoftheseinitiatives,andinparticularonthecompany’sTheatreasaResource(TAR)programme.TARwasgrantaidedthroughtheDESprogramme,DeliveringEqualityofOpportunityinSchools(DEIS),andaimedtogiveschoolsindisadvantagedareasaccesstoamainstageproduction.TransitionYearstudentsandtheirparentsattwentyschoolswereinitiallyinvolved,andtheprogrammevariedfromyeartoyearinresponsetoavailablefunding,theAbbey’sartisticprogrammeinagivenyear,andthelessonslearnedfromtheongoingimplementationoftheinitiative.Buildingaroundasingleproductiononthemainstage,elementsoftheTARprogrammeincludedmeetingswithschoolpersonnel,resourcepacks,trainingofteachersandpre-showworkshopswhichincludedactorsperformingascenefromtheplay.ThelatterwerereportedbyKingstonasbeingparticularlysuccessful

…thispresentationofpureperformancewasverypopularwithbothstudentsandtheirparents.ThishasreinforcedaprincipleoftheAbbey’sthatweinvolvesomeelementofperformanceinouroutreachwork,feelingthereisnobetterintroductiontotheatreshortofparticipantsperformingthemselves.27

27WrittensubmissionfromPhilKingson,CommunityandEducationManagerattheAbbey,aspartofthereviewprocess.

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KingstonidentifiedacombinationofelementsasdeterminingtheeffectivenessofTAR.Theseincludedgivingstudentstheopportunitytoengagedirectlywiththeprocessofmakingtheatre,combinedwiththeopportunitytoexperienceliveperformance.Heobservedthatwhereteachersataschoolwerecommittedtotheprocess,thebenefitsforthestudentswerefargreater.Healsonoted

…AstheAbbey’sprogrammingwasn’tinlinewithprescribedtextsitwasusefultoremindstudentshowpatternsofmeaninginourworkwerereflectedinworkstheyalreadyknew.ThisisaverybasicpedagogicpracticebutIthinkhelpedremindfacilitatorsoftheacademiccontextinwhichthestudentswereoperating.28

Kingstonalsocommentedonthevalueof

preparingstudentsfortheritualoftheatre-going,bothbyintroducingtheplayandthemeaningbehindtheprotocolofbeinganaudience.Thishaslittletodowithwantingpeopletobehave(thoughtheirco-operationisnecessary)andmuchmoretodowithexploringbeforehandthepowerofacollectiveexperience.Asallwork-shopsarealsocollectiveexperiencesthisisastraight-forwardlevelofawarenesstoaddtoapre-showsession.

DEISfundingwaswithdrawnafterthreeyears,buttheprogrammewascontinuedforafurtheryearwithasmallnumberofschools.Kingstonreports

ThefourthandlastprojectonMacbeth(2010)tookplaceafterexternalfundingstoppedandsowehadtoreduceitsambitionaccordingly.Pickingthebestwecouldfrompreviousapproachesweheld• AweekendworkshopforteacherswithAndreaAinsworth,theAbbey’svoice

coach,formertutoratTrinityCollege’sactingcourseandfrequentcollaboratoroneducationprojects.

• Aresourcepackanalysingtheplay,introducingShakespeareandpreparingthestudentsforthepre-showworkshopwiththestudents

• Involvedactorsfromtheproductioninthedeliveryoftheworkshop–wewereluckythattheleads,AidanKellyandEileenWalsh,wereenthusiasticaboutthissortofworkandtheyreallycaughtthestudentsattention.29

Inresponsetothisreview,DruidhighlightedthesuccessfuleducationprogrammewhichtheyrantocoincidewiththeirproductionofThe Silver Tassiein2010.Onthatoccasion,DruidcollaboratedwiththeHeadofEducationfromOxfordPlayhousetorunworkshopsintwentyschoolsleadinguptotheproduction.Facilitatorsconductedworkshopstogetherwithmembersofthecreativeteam.Allmembersofthecastparticipated,anddifferentactorsvisiteddifferentschools.Accordingtothecompany,thefeedbackwasverypositivefromyoungpeople,teachersandtheactors,whoappreciatedtheopportunitytoengagewithyoungpeoplethroughtheworkshops.30ProjectArtsCentre,initssubmissiontothisreview,statedthatwhileProjectdoesnotcurrentlyhaveanofficialeducationprogramme,thecentre

…hasalongrelationshipwithcertainschoolgroupswhocometoseeworkpresented

28Ibid.29Ibid.30ConversationwithTimSmith,GeneralManageratDruid.

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atthecentre.Theworkwepresentisrarelyonthecurriculum.Onegoodexampleofalong-termrelationshipiswithMountTempleSchool,whoseparentsfundraisefortheirTransitionYearstudentstoattendperformancesatProjectArtsCentre–thestudentsthenpay5Eurofortickets.Wealsoorganisetalks,workshopsandtoursforthestudentseachyear.31

Theseprogrammespointtothepotentialfortheatrecompaniesandvenuestoaddvaluetotheirartisticprogrammesbyprovidingopportunitiesforschoolaudiencestoengagewiththeatreinameaningfulway.Thevalueoftheseprogrammesappearstoberecognisedbytheteachersandschoolsinvolvedwhocommittointegratingqualitytheatreexperiencesintotheschoolcurriculum.However,thewithdrawaloffinancialsupportfromtheDESindeliveringinitiativessuchasthesehasbeenmetwithdismaybytheatrepractitionersworkinginthisarea.

4.5.2 NAYD Young Critics ProgrammeTheNationalAssociationforYouthDrama(NAYD)YoungCriticsprogrammeoffersanopportunityformembersofyouththeatresacrossthecountrytoseeprofessionalperformingartsproductionsandtoparticipateinrelatedworkshopsandpaneldiscussions.TheYoungCriticsdeveloptheirownskillsastheatrecriticsandhavetheopportunitytosharetheirresponsestotheplaystheyhaveseenwiththeatreprofessionals,membersofthetheatre-goingpublicandtheirpeers.PartnershipswiththeDublinTheatreFestival,TheAbbeyandCorkMidsummerFestivalensureyoungpeople’saccesstoworldclassproductionsandbringavaluableyouthperspectivetothecritiqueoftheprogrammesonoffer.32Whiletheprogrammetakesplaceentirelyinanout-of-schoolcontext,thisapproachtodevelopingyoungpeople’scriticalskillsinthecontextofprofessionaltheatreperformancesrepresentsanexampleofgoodpractice,whichisrelevanttotheskillsstudentsareexpectedtodevelopatschool.

ExamplesofproductionstheYoungCriticshaveseen,inthecontextofafacilitatedprogrammeofworkshopsandrelatedpresentations,arelistedbelow.Ineachyear,agroupofapproximately16youngpeopleparticipateandviewallofthelistedproductions.

2011Othello C’est Qui–DublinTheatreFestivalJuno and the Paycock–Abbey/NationalTheatreofGreatBritainI Heart Alice Heart I–ProjectCube/HotfortheatreNo Romance–PeacockLay me Down Softly–Project/WexfordArtsCentre

2010Macbeth–TheAbbeyLes Liasons Dangereuses–TheGateThe Rehearsal, Playing the Dane–PanPanDeciembre–ProjectCube,DublinTheatreFestivalPhaedra–RoughMagic

31WrittensubmissionfromCianO’Brien,ArtisticDirectorofProjectArtsCentre.32SimilarYoungCriticsinitiativeshavebeendevelopedbyculturalinstitutions,galleriesandfestivalsinthevisualarts,withacross-overtotheperformingarts,butNAYD’sprogrammeisreferencedhereasitisofclosestrelevancetothisreview.

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4.5.3 Educational theatre companiesTherearetwocompaniesinIreland(TEAMandGraffiti)withatrackrecordofconsistentlypresentingplaystosecond-levelschoolaudiences,whicharenotprescribedonthecurriculum.Theirprogrammesmakeclearconnectionswithotherareas,andoftenmultipleareasofthecurriculum,beitinEnglish,SPHE(Social,PoliticalandHealthEducation)orothers.Whilethe‘educationaltheatre’modelwillnotbeexploredinanydepthhere,itisworthnotingthatthesecompanieshavesignificantexpertiseinpresentingprofessionaltheatretosecond-levelaudiences.Inthecompany’ssubmissiontothisreviewprocess,Graffiti’smissionisdescribedasfollows

TheprimarypurposeofGraffitiTheatreCompanyistoprovideahighqualityeducationaltheatre/dramaexperiencetoyoungpeople.Tothisend,weengagewithmanyspecialistartistsinacreativeprocesswhichhonoursthecreativityofthewholeteam.Weseektoplaceattheheartofeachprogrammeofworkaninnovativepieceoftheatrewhichisspecificallydesignedtomediatetheexperiencebetweentheartworkanditsparticularaudience.AllGraffiti’swork–centraleducationaltheatre,youththeatreandoutreachdrama–isinformedbyaphilosophywhichvalidatestheaesthetic,personalandsocialexperienceofyoungpeople.33

SimilartothecaseofTheAbbey’sTheatreasaResourceprogramme,GraffitiandTEAMformerlyreceivedfundingfromtheDESthroughtheDEISprogrammebutthisgranthasbeenwithdrawn.

ThewithdrawalofDEISfundingfortheatrecompaniesservingsecond-levelschoolsrepresentsaconsiderableset-backinprovidinginclusiveopportunitiesforyoungpeopletoparticipateinqualityartsexperiences,aswellasthreateningtheoverallsustainabilityoftheseinitiatives.ThesubmissionsfromtheDESEnglishInspectorateandtheNCCAinformingthisreviewprocesssuggestthatstudents’accesstoqualitytheatreexperiencesisanimportantaspectofdeliveringtheEnglishsyllabus,wherepossible.Ensuringthatthesepossibilitiesexistandarenotlargelydeterminedbyyoungpeople’ssocio-economicconditionsisarealchallenge.

4.5.4 Continuing Professional Development (CPD) for teachers ProfessionaltheatreartistsandcompaniescurrentlyplayalimitedroleintheprovisionofContinuingProfessionalDevelopmentforteachers.TheAbbeyhasfacilitatedworkshopsforteachersaspartofitseducationprogrammes.OfparticularrelevancetothisreviewareworkshopsledbyAndreaAinsworth,VoiceDirectoratTheAbbey,inconjunctionwiththeProfessionalDevelopmentServiceforTeachers(PDST),whichfocusonclosereadingsofsmallsectionsofShakespearetexts.Theapproachoftheseworkshopsistosupportteachersascreativepeople,toenablethemtoexploresmallsectionsoftextinthewayanensembleofactorsmight,andthenadaptthesetechniquesfortheirownclassrooms.ThesearesimilartoworkshopsrunbytheRoyalShakespeareCompanyintheUK.Theapproachemphasiseshowlanguageislinkedtoexperience,andusesspeakingandlisteningexercisestoexplorethemeaningofdramatictexts.TheseinterventionsareconsideredtobevaluablebythePDSTandtheIrishNationalOrganisationofTeachersofEnglish.

33WrittensubmissionfromEmelieFitzgibbon,ArtisticDirectorofGraffitiTheatreCompany,aspartofthereviewprocess.

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HighereducationinstitutionsinvolvedinteachereducationplayanimportantroleinensuringEnglishandIrishteachersareequippedwiththeskillstofacilitatedynamicexplorationsofdramatictextsintheirclassrooms.Theworkofhighereducationinstitutionshasnotbeenexaminedindetailaspartofthisreview.However,giventhedominantroleoftheteacherinshapingyoungpeople’sexperienceoftheplaysontheircurriculum,bothintheclassroomand–wheretheopportunityexists–asaudiencemembers,thesignificanceofteachereducation,initialandcontinuing,shouldnotbeunderestimated.Itshouldalsobenotedthatteachersinotherrelevantsubjectareasrequireappropriatetrainingiftheyaretoincorporatedramaintothedeliveryofthekeyskillsandprinciplesofthecurriculum.

Similarly,teachersandothereducationspecialistshaveanimportantroletoplayinassistingtheatrepractitionerstodevelopexcellentprogrammesforschools.Theatrecompaniesworkinginthisareaplacevalueontheinputandfeedbackreceivedfromschoolsandteachersinthedesignandevaluationoftheirprogrammes.Theatreartistswishingtoengagewithschoolaudiences,andindeedwithyoungaudiencesoutsideofschool,requiretheopportunitytodevelopthenecessaryskillsduringtheirinitialandcontinuingtraining.

4.6 Onlineresourcesanddigitaltechnology

Increasingly,artsorganisations,includingtheatrecompanies,aremakinguseoftheInternetanddigitaltechnologytoconnectwithaudiences.Theuseofthesemediaisofparticularsignificancewhenconsideringschoolaudiencesasitprovidesthepotentialforawidenumberofschoolstoaccessresourcesandprogrammesthatmightotherwisebedifficultforthemtoreach.Further,initiativesinvolvingdigitalmediahavethepotentialtotieinwiththeincreasingfocusondigitalliteracyaspartoftheDESstrategy,Literacy and Numeracy for Learning and Life.Whilethe‘live’elementoftheatreisundoubtedlyimpactedbydigitalmediation,theincreasinguseofthesetechnologiesforgeneralaudiencessuggestsarecognitionbytheatrepractitionersthatexposingmorepeopletoadigitalexperienceoftheatreservestobuildratherthandiminishaudiencesforlivetheatre.

4.6.1 Resource materials onlineAsmentionedabove,SecondAgemadeexcellentuseofdigitaltechnologyaspartofits2012Macbethtourbyrecordingaudiointerviewswithmembersofthecreativeteamandmakingtheseavailableforallstudentsandteachersonline.34Inaddition,thecompany’spresenceonFacebookprovidedstudentswithanopportunitytoaskquestionsinrelationtotheproductionandforthecreativeteamtosharetheirresponses.

TheAbbey’swebsiteincludesresourcematerialfrompreviousproductions.Someoftheserelatespecificallytotheproductioninquestion(e.g.,transcribeddiariesandinterviewswithmembersofthecreativeteam),andothersproviderichdramamethodologies,developedbyexpertpractitioners,forteachersandstudentsto

34SecondAgeTheatreCompany;AudiointerviewswithmembersofthecreativeteamaspartofMacbeth,directedbyDavidHoran,2012:www.soundcloud.com/secondage

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explorethetextatthecentreoftheproduction.PlayswhichhaveappearedonthecurriculuminrecentyearsandforwhichtheAbbeyhascreatedresourcesincludeA Doll’s House,HamletandThe Playboy of the Western World.Someoftheseresourcescanbeofusetoanygroupofstudentsexploringaplay,irrespectiveofwhethertheyhaveseenorwillseeaparticularproduction.35

OnlineresourcescreatedbyinternationaltheatrecompaniesarealsoaccessibletoIrishschoolaudiences.Forexample,TheGlobeTheatre’sPlayingShakespeareprogrammehasanextensiveonlineresourcedesignedtotieinwiththecurriculuminUKschools,butadaptabletoothercontexts.36Similarly,theRoyalShakespeareCompany’sResource Bankcontainsarangeofresourcematerial,includingsuggestedactivities,videosofkeyscenesandanexplorationofrelevantthemes,forseveralShakespeareplays.37PleaseseeAppendixCforalistofrelevantonlineresources.

WhiletheInternetmakesitpossibletoaccessinformationandresourcesgeneratedbyinternationalcompanies,onlineresourcessuchasthesearelikelytobemostbeneficialwhenusedinconjunctionwitharelatedlivetheatreexperience.Further,theteacherplaysacrucialroleindeterminingwhetherandhowtomakebestuseoftheresourcestogeneratedynamicclassroomactivities.

4.6.2 Initial teacher education and continuing professional development online

In addition to classroom resources available to teachers online, the development of distance learning modules provides further possibilities for teachers to develop their skills in how they introduce students to plays at school. The Royal Shakespeare Company has partnered with the University of Warwick to deliver the Teaching Shakespeare38programme,whichcomprisesarangeofaccreditedcoursesandteacherresources,someofwhichcanbecarriedoutentirelyonline.

ThedevelopmentofonlineteachereducationresourcesrelatedtoIrishtheatre,developedbyahighereducationinstituteinpartnershipwithaleadingtheatrecompanyorcompaniesinIrelandcouldbeavaluablenationalresourceinthisarea.Inaddition,suchaninitiativecouldpotentiallygenerateinternationalinterestinIrishtheatrefromteachersofEnglishinothercountries.

4.6.3 Workshop presentations and performances onlineAtthetimeofwritingthisreview,TheRoyalShakespeareCompanywaspreparingforaproductionofI, Cinna,aone-manshowwrittenanddirectedbyTimCrouch,specificallyforyoungpeopleaged11+.TheplayfocusesontheexperiencesofthecharacterCinna,thepoetinShakespeare’sJulius Caesar.Afilmedversionoftheproductionwastobemadeavailableto3,000schoolsintheUKononedateaspartofaliveinteractivewebcast,followedbyalivequestionandanswersessionwiththewriteranddirector.Severaltheatrepractitionersandeducatorsprovidinginputtothisreviewprocessreferencedtheincreasingpossibilitiesofconnectingrehearsalroomsorperformanceswithclassroomsthroughwhiteboardtechnology.Thereappearstobegreatpotentialinthisarea.

35Abbeytheatreresourcepacks:http://www.abbeytheatre.ie/engage_and_learn/resource_packs/36GlobeTheatre’sPlaying Shakespeare:http://www.playingshakespeare.org.uk/37RoyalShakespeareCompany(RSC)ResourceBank:http://www.rsc.org.uk/education/resources/bank/38RSCandUniversityofWarwick’sTeaching Shakespeare:http://www.teachingshakespeare.ac.uk/

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4.6.4 Digital recordings of full theatrical presentationsIn2007,aDVDBoxSetofDruidSynge(Druid’sstagingofallsixofSynge’splaysonthesameday)wasmadeavailabletoeveryschoolinIrelandwiththesupportofthethenDepartmentofArtsSportandTourism.Similarly,DVDsofShakespeareplaysareavailablefromcompaniesintheUK.Whileafilmedversionofaplaywillnotreplicatealivetheatreexperience,itnonethelessprovidesaninsightintoproductionsthatanaudiencehasnothadtheopportunitytosee.Watchingafilmedversionoflivetheatreisnotequivalenttoexperiencingalivetheatreevent.However,theseresourcesmaybeusefulaspartofamenuofactivities.Forexample,thepresentationofvideorecordingsofkeyscenesfromaprescribedplaymightbecombinedwiththeuseofdramamethodologiesintheclassroom,andattendanceataliveperformanceofadifferentplay,toprovideaworthwhileexperienceforstudents.

5 STAKEHOLDER RESPONSES

Overthecourseofthisreview,awiderangeofstakeholderresponseswerereceivedthroughformalsubmissions,meetings,conversations,focusgroupsandtheforumdiscussionandworkshopon21April.Theresponsesareorganisedbelowinitiallyasgeneralobservationsacrossallgroupsfollowedbyspecificobservationsbydifferentstakeholdergroups,includingtheatrepractitioners,teachersandstudents.Finally,submissionsfromsomeoftheArtsCouncil’skeypartnerswitharemitindevelopingandimplementingeducationpolicy–theNCCAandtheDESEnglishInspectorate–areincludedinSection5.5.

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5.1 Generalissues/observations

5.1.1 Audience experienceMoststakeholdersagreedthatinthecaseoffull-lengthpresentationsofcurriculumplays,amixedaudience,includinggeneralmembersofthetheatre-goingpublicandschoolstudents,isideal.Also,moststakeholdersrecognisedthatwhenstudentschoosetogotoaproductionratherthanfeeling‘forcedtogo’theyaremorecommittedtotheexperience.Itwassuggestedbyyoungpeople,teachersandtheatrepractitionersthatthequalityoftheexperienceforyoungpeople(andforeveryone)iscompromisedwhentheaudienceismadeupentirelyofschoolgroups,includingstudentswhodon’twanttobethere.However,therewasalsoarecognitionthatforbothvenuesandschools,itmakessensefinanciallyandlogisticallytoprogrammespecificallyforschoolaudiences.Ifyoungpeopleareexperiencingtheatrewithagroupoftheirpeersfromtheirownschoolandotherschools,andiftheaudienceincludesyoungpeoplewhoarenotparticularlyinterestedingoingtothetheatre,thenstrategiestoensuretheirinterestandengagementbecomeallthemoreimportant.Forthesereasons,workshop-stylepresentationswereseenaspositive,aswellaspre-performanceworkshopsorresourcesthatenhancestudents’under-standingandengagement.

When teenage audiences are engaged intimately and personally with the theatre- event in a way which is designed to engage them at that moment, then they are a wonderful audience. I think that what can be underestimated – particularly by venue managements – is the hormone factor!! If schools are packed in together then the drama is in the audience and not on the stage!!

EmelieFitzgibbon,GraffitiTheatreCo.

Seeing Macbeth with my school was really distracting because everyone was messing and I couldn’t concentrate on the play.

NAYDYoungCritic,18

I was in to see Macbeth on Wednesday for the matinee… Can I be first to apologise for my peers idiotic behaviour and congratulate the company on a fantastic show.

FeedbacksentbyastudenttoSecondAgethroughsocialmedia

5.1.2 Not one modelTheresponsessuggestthatthevariousmodelsofpresentingtheatreforyoungaudiencesarevaluable,andthereisnosinglepracticewhichcanbeidentifiedasthe‘right’one.Eventheatrepractitionerswhofeltpassionatelyabouttheirownparticular

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modelofpresentingplaysrecognisedthatideallystudentswouldbeexposedtoavarietyofexperiences.Forexample,ifresourcingwerenotanissue,itwassuggestedthataworkshoppresentationmightworkwellasyoungpeoplebegintostudyaplay,andthenafull-lengthproductionmightworkwellattheend.Inallcases,attentiontoboththequalityofthetheatrepresentedandthequalityofengagementfortheaudienceisimportant.

5.1.3 Timing and logisticsTimingandlogisticswereaconcernforallstakeholdergroups.Acompanymaynotknowwhattheprescribedplayswillbeatthetimeofdevelopinganartisticplan.Similarly,thetimingandannouncementbyartsorganisationsofproductionswhichhappentobeplaysonthecurriculumisnotalwaysidealforteachersoryoungpeople.Teachersbringingschoolgroupstoplaysoutsideofschoolareunderpressurefortime.Timetablingcanalsomakeitdifficultforteacherstoengageindramaactivitieswithintheclassroom.Maintaininganunderstandingoftheselogisticsandthemechanicsofprogramminginawaythatwillenableandincentiviseschoolstoattendtheatreperformancesisatime-consumingandessentialaspectofthework.

5.1.4 Relationships matterAtalllevelsofengagementbetweenartistsorartsorganisationsandschools,whetherthisinvolvesanin-depthcustomisedarts-in-educationinitiativewhichhasbeenplannedbytheschooltogetherwithartists,orisapre-packagedprogrammemadeavailabletoawidenumberofschools,relationshipsmatter.

Acrossallmodelsandpractices,thereisaneedforabasicrelationshipbetweenacontactattheschoolandacontactrepresentingthecompanyorartsorganisationtoensurethereisanawarenessofparticularneedsandclarityofexpectations.Keyindividualsattheschool,whethertheEnglishteacher,HomeSchoolLiaisonteacher,JuniorCertificateStudiesProgramme(JCSP)Coordinator,orother,areinstrumentalinmakingsureaprogrammehappens.Therecognitionofacompany’snameandfamiliaritywiththeirmodelassiststeachersindecidingwhetherornottoparticipateinaprogramme.Theatrepractitionerswhodonotregularlyworkwithschoolsrecognisedtheirlackofcontactsasadifficulty.Withoutaclearsystemthroughwhichinformationontheirprogrammesorproductionscanbeuniversallyaccessed(ornoticed)byschools,thetaskofundertakingdirectmarketingcanbedaunting.Further,itwasnotedthatwherethereisnoexistingrelationshipbetweenanartsorganisationandaschool,programmescanfailtohappen,evenafterconsiderabletimeandresourceshavebeenspent.Itisclearthatthebestpracticehappenswhenacompanyorartsorganisationhasastrongandongoingrelationshipwithaschoolandcandevelopinnovativeandin-depthprogrammesincollaborationwithteachers.

5.1.5 Defence and criticism of a traditional approachStakeholdersconsidereditvaluableforstudentstoexperienceafull-lengthplaywhichwouldbeenjoyedbyageneralaudience.Formany,itisimportantthatstudentshavetheopportunitytohaveatraditionalexperienceoftheatre,andthatitmaydevelopinyoungpeoplealongerterminterestinandloveoftheatreasanartform.However,anumberofsubmissionsandobservationssuggestthatiftheatreispresentedtoyoungpeople,andinparticulartolargeschoolgroups,withoutanyreferencetotheexperienceandinterestsofayoungeragegroup,orofaudiencememberswhohavenopriorinterestintheatre,itcanbeanuninspiringandevendisenfranchising

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experience.Thedangeristhattheexperiencewillleadtomanyofthesenewaudiencemembersconcludingthattheatreis‘notforthem’.

Someteachersappreciateclear,traditionalpresentations,whichseektofaithfullypresenttheplayasitiswritten.Forothers,atraditionalapproachtopresentingtheatrecanmisleadstudentstopresumethereissuchathingasthecorrect‘liveversion’ofaplay.Rather,theactiveprocessofdeconstructing,interpretingandre-interpretingatext‘onitsfeet’providesgreaterinsightsforstudentsasanintroductiontotheatre.

Atheatreperformanceforageneralaudiencemightdeliberatelyprovokeaudiencememberstomaketheirownmeaning,andrejectthenotionofaudiencesaspassiveconsumersofartinthesamewaythatlearner-centredpedagogyrejectsthenotionofstudentsasconsumersofknowledge.Yetthepriorexperienceofaudiencemembers,includingtheirfamiliaritywithatraditionalapproachtopresentingtheatre,islikelytoinfluencetheirappreciationofamoreexperimentalpiece.Whatemergesisthattherangeofapproachestolivetheatreinacontemporarycontextcannotberepresentedbyoneconsistent,traditionalapproachtopresentingclassictexts.Themoreexperiencesaudienceshaveoftheatre,thegreaterwillbetheircapacitytointer-preteachexperienceandtomaketheirownmeaninginalayeredandnuancedway.

5.2 Issues/observationsfromtheatreandartspractitioners

Theatreandartspractitionersprovideddetailsontheirmodelsofpracticeinresponsetothespecificquestionsaddressedtotheminthediscussionpaper,andthesehaveinformedthedescriptionofpracticesinSection4above.Furtherdetailsandperspectivessharedbytheatreandartspractitioners,includingresponsestothebroaderquestionsraisedinthediscussionpaper,areincludedinthissection.Thequalityofthesubmissions,togetherwiththegeneralcollegialityandsharedpurposedemonstratedbytherangeoftheatrepractitionersinattendanceattheforumon21April,suggestanexperiencedandcommittedcommunityoftheatreartistsandartsorganisationswhoareambitiousintheirvisionofwhatyoungpeople’sengagementwiththeatrecanandshouldbewhileinsecond-leveleducation.

5.2.1 Selected extractsAVision–Here’swhatI’dliketosee:ItistheopeningnightoftheAbbey’stouringproductionofHamlet.TheauditoriumoftheCorkOperaHouseisfulloftheusualmixofadultsandyoungpeople,allreadytobeengagedandexcitedbytheproduction.Theyoungpeopleareconfidentintheirtheatrespace;they’relookingforwardtocomparingthisproductiontotheirownstagingofaradicalHomagetoHamlet.TheyarestudyingthelatestplayfromRayScannellfortheirCertificateexamsandarefascinatedbythetwistandturnsoflanguageinbothplays.Theadultsarehappythattherearesomanyyoungpeopleintheauditoriumandlookingforwardtochattingwiththemattheintervalabouttheir‘read’ontheproduction.WehavethelargestyoungpopulationinEuropebutwehavenocoherencebetweenagencies(a)toensureaccesstoculturalprovisioningeneral,(b)toenablesustaineddevelopmentofpolicy,(c)toencouragetheacquistionofavocabularyoftheartsandoftheatrewhichwouldintwentyyears’timemaketheopeningimageapossibility.

EmelieFitzgibbon,GraffitiTheatreCompany

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AdedicatedseniorofficerwithintheDepartmentofEducationandSkillswithabrieftocoordinateandleadpolicyonartsintheformaleducationsystemisstillneeded.ThecurrentDepartmentofEducationfundingofartsactivitiesandprogrammescanbeimpromptuwithoftenlittletransparency.…Therewillalwaysbeagapinthemarketforatheatrebusinesstoproducecurricularplaysasacommercialenterprise.Perhapsitisinevitablethatatsomepointlivestreamingwilldelivercurricularplaysintotheclassroom.Perhapstherewillbeahealthychoiceoftalentedtroupesperformingtheascribedcanonforschoolstopaytogotoandsee.Perhapssomeofthesewillbetremendouslytheatricalandbeguilingenoughtoencouragemanyofthosestudentwitnessestoengagewiththeartsandwiththeatreinthefuture.Butperhapstheywillnot.Whatiftheydoonlyservetotarnishyoungpeople’sviewoftheatreasbeingsomethinginextricablylinkedtolearning,studyandcompulsion.HowdowechangeIhavetotoIwanttowhenconsideringavisittothetheatre?Committingresourcestodevelopingamoreholisticapproachtotheprovisionoftheatreinschoolsisaveryvaluableplacementofresources.

TheatreLovett

Wedon’tbelieveintroducingstudentstotheatre-makingnecessarilymeans‘forcing’theshytoperform,orencouragingthealreadyoutgoingtotrumpettheirextroversion.Therearesubtleties,sensitivitiesandinsightswithinanywrittensceneordevisedpiecethatcanbeapproachedinwaysinclusivetoalltemperaments.Infact,dramaissucharichandversatilemediumthatitcanbeadaptedtoawiderangeoflearningstyles.Whenstudentsareinvolved/exposedtorehearsalroomtechniques,speakingtextoutloud-animatingthetext-thisengagementwiththespokenforcesthemoutoftheircomfortzone,developstheirconfidenceandbuildsonoracyandlanguageskills.

PhilKingston,TheAbbey

5.2.2 Artistic and educational aimsAllofthetheatrepractitionersarticulatedaclearambitiontocreateworkofahighartisticqualityandtogiveyoungpeopleapositiveandengagingexperienceoftheatre.Additionally,workshopstylepresentationspaidparticularattentiontotheeducationaloutcomesstudentsneedinpreparingfortheirexams.

5.2.3 ResourcingTheatrepractitionerswereconcernedbythelackofpolicy-drivensupportfromtheDEStofacilitateyoungpeople’sengagementwiththeatre.Theynotedthatitisincreasinglydifficultforschoolstobringstudentstoseeaperformance.Ontheotherhand,workshopsandperformancemodelswhicharesuitedtomoreintimatesettingsandcouldbesuccessfullypresentedataschool,requireadequateresourcinginordertofacilitateagreaternumberofsmallergroups.

Acleartensionemergedbetweenkeepingticketpriceslowandnumbersreasonablyintimatewhileofferingperformanceswithhighproductionvalues.Thisisaparticulardifficultywithlarge-scaleproductions,whicharecostlytostage.

Considerabletimeisspentonthemarketingandadministrationwhichsurroundsschoolperformances,andthisappearstobeastrainonsmallercompaniestryingtocarryoutmultiplerolesinproducing,marketingandperforming.Venuesreportedmakinguseofin-houseresourcestoenablestudentstoexperiencehowlightingandotherproductionelementsinfluenceaproduction,andtogivethemtheexperienceoflivetheatreinaprofessionaltheatresetting.

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Companiesreportedthattheygeneratefundingthroughavarietyofsources,includinglocalauthorityandArtsCouncilgrantsandboxofficesales.ThewithdrawalbytheDESofDEISfundingforartsorganisationsservingdisadvantagedschoolshasbeenaconsiderableset-backintheprovisionoftheatreforschoolaudiences.

5.2.4 Presenting to young audiencesOverall,theatrepractitionersconsideredyoungpeopletobeasophisticatedaudienceandfeltitwasimportantforperformancesnottobecondescendinginanyway.Forsomethismeantnotmakinganydistinctionbetweensecond-levelstudentsandageneraladultaudience,butforothers,itmeantensuringmaterialispresentedinawaythatisspecificallydesignedtoberelevantandexciting.Theatrepractitionerswelcomedthat,whentheconditionsarerightandwhenaperformancesucceeds,youngpeoplecanbemoreappreciativeandengagedthanatypicaladultaudience.Ontheflipside,theyacknowledgedthatyoungpeoplearealsolessforgivingifaproductionfallsshort,whichmeansanycomplacencyonthepartofthecreativeteamissimplynotanoption.Practitionersrecognisedthatplayingtolargeschoolgroupsisachallenge,andthattheelementofcompulsionforyoungpeoplemeanssomemembersoftheaudiencecanbelessthanwillingtoengagewithaperformanceinthosecircumstances.Companiespresentingworkshop-stylepresentationsdescribedbreakingthefourthwallandengagingdirectlywithyoungpeopleinordertomakethetheatreexperiencemeaningfulandempoweringforthem.Forcompaniesnotproducingplaysthatareprescribedonthecurriculum,thechoiceofplayisimportant,andthevalueofcommissioningplaysespeciallyfortheagecohortwasunderlined.

TheRSC’sYoung People’s Shakespeare,andtheGlobeEducationproject,Playing Shakespeare,offerinternationalexamplesofShakespeareperformancesdesigned,editedandperformedspecificallyforschoolaudiences.Thesetargetyoungerstudentsinupperprimaryandlowersecond-leveleducation,ratherthanthoseattheequivalentofLeavingCertificatelevel.Olderstudentsaregiventheopportunitytoengageinworkshopsandotherenhancementssurroundingproductionsbythesecompaniesaimedatageneralaudience.

AccordingtotheRSC

ThisworkformspartofourbeliefthatyoungpeoplegetthemostoutofShakespearewhenthey:• DoShakespeareontheirfeet–exploretheplaysactivelyasactorsdo• SeeItLive–participateasmembersofaliveaudience• StartItEarlier–workontheplaysfromayoungerage.39

TheAbbeysubmissiontothisreviewdescribedanambitiontobringtailoredperformancesfromthecanonofIrishtheatretoprimaryschools,suggestingasimilarapproachtotheRSC.

SomespecialistspresentingworkforyoungaudiencesobservedthatthisareaofworkhasalowprofileamongthegeneralprofessionaltheatresectorinIreland.However,itwasalsoobservedthatmanyprofessionaltheatremakerswhoarenotprimarilyyouthoreducationspecialistsenjoyhavingtheopportunitynotonlytopresentwork

39RoyalShakespeareCompanywebsite:http://www.rsc.org.uk/education/yps/

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toyoungpeople,buttoengagewiththemthroughfacilitatedactivities.Appropriatetrainingandup-skillingforactorsandothertheatrepractitionerswasidentifiedasbeingneededinthisarea.Inaddition,itwasnotedthatrehearsalandperformanceschedulesneedtobecarefullyplannedandmanagedtoalloweducational/engage-mentinitiativestosucceed.

5.2.5 Marketing, communication and feedbackCompaniesreportedspendingconsiderabletimemarketingtheirproductionsdirectlytoschoolsbytalkingwithteachersone-to-onebyphone,presentingtheirprogrammesatteacherconferences,etc.Insomecases,companiescommunicatetheeducationalgoalsofthecompany’sapproachatthemarketingstage.Forothercompanies,thereisambivalenceaboutmakingcurriculumlinksexplicitforschools.TheatreLovettstates

Wedonotrespondtodirectrequeststocoverx,yorzfromthecurriculum.Thisisnotourcompanyremit.However,throughourworkweoftenprovideapracticaldemonstrationoftheintentionsofthecurriculum.40

Companiesgatherfeedbackfromteachersandstudentsthroughformalfeedbackformsandalsoinformalconversations.Theyconsideraudiencefeedbacktobeveryimportantindevelopingtheirprogrammes.

5.2.6 VenuesSeveraloftheorganisationsmakingsubmissionsoperateasvenuesaswellasproductionhouses.Inaddition,theroleofvenuesprogrammingworkthathasnotbeendevelopedin-housewasconsideredtoimpactontheoverallexperienceyoungpeoplehaveinthetheatre.TheatreLovettobserved

Venuesownpoliciesinrelationtoworkforyoungaudiencesseriouslyimpactsonthewholeexperience.Frontofhouse(FOH)andorvolunteers‘handling’ofyoungaudiencesneedstobeseriouslyconsideredandaddressedbyeachvenueaccordingtotheirownparticularspace,skillsandpersonalities.200teenagerstroopingintoavenuecanputmanyFOHstaffonthebackfootunlesstheyhavebeenup-skilledinthisareaoffacilitation.41

Forvenuesreceivingtouringproductions,alackofchoiceandalackoffamiliaritywithcompaniespresentingworkforyoungaudiencescanbeaproblem.Thecostforvenuestobringinlarge-scaleproductionscanbeprohibitive,especiallyforsmaller-sizedvenuesthathaveapolicyofkeepingticketsforyoungaudiencesatalowprice.

5.3 Issues/observationsfromteachers

TheinputofteacherswassoughtandrepresentedthroughtheIrishNationalOrganisa-tionofTeachersofEnglish(INOTE)theProfessionalDevelopmentServiceforTeachers(PDST)andan tSeirbhís Tacaíochta Dara Leibhéal don Ghaeilge–thesupportserviceforIrishlanguageteachers.Inadditiontotheinputofteachersgatheredinthisway,

40WrittensubmissionfromTheatreLovett.41Ibid.

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companiestouringwithproductionsofcurriculumplaysatthetimeofthereviewwereinvitedtoshareinformationabouttheprocesswiththeirteachercontacts.TheEnglishDepartmentofaschoolwhichhadrecentlyattendedaCycloneproductionprovidedawrittensubmission.SecondAgegatheredinputfromtwenty-twoteachersandfourstudentsthroughasurveydesignedespeciallytotieinwiththisreview.Theeffortsofthesecompaniestoshareinformationabouttheprocessandgatherinputisgreatlyappreciated.

5.3.1 Expectation that presentations of curriculum plays will be availableTeachers(andstudents)feltitwasimportanttohavetheoptiontoseetheplaytheywerestudyingperformedlive.

Ithinkitisinvaluableasitbringsitaliveforthem.Ihaveshownfilmsofplaysanditdoesnothavethesameimpact(oftenboredanddisengaged).Theirresponsefrequentlysurprisesme(andthem)asthepowerofthedramacomesaliveandthecharactersbecomerealpeople.Veryoftenthisistheirfirstintroductiontothetheatreandthesetsandcostumingandmusicetc.makesense,oftenforthefirsttime. TeachersubmittingaresponseviaSecondAge

SomeofthequestionsintheLeavingCertificateexaminationassumethatstudentshaveseenafullpresentationofaplaytheyarestudying,althoughthesearequestionsthatstudentscanavoidiftheyhavenotseentheplayperformed.

Forsometeachers,prescribedplaysareprioritisedforschoolvisitstothetheatreastheyfinditcanbedifficulttojustifythecostofgoingtootherproductions.

Teachersidentifiedsomeproblemswithregardtobringingstudentstopresentationsofcurriculumplays.Theseincludedthedisappointingandsometimesdisruptivenatureofanall-schoolsaudience,havingtotravelconsiderabledistances,thecostwhenticketsandtravelarecombined,andthedifficultyinnotknowingwhattoexpectfromaproductionandthereforenotbeingabletopreparestudentstomaximisetheirexperience.Thesefactorsresultedinteachersinsomecasesfavouringsmaller,local,workshop-stylepresentationsoverthefull-lengthpresentationmodel.Yettheopportunitytoseequalityfull-lengthpresentationsofcurriculumplayswasstillconsideredimportant.Afteracriticismofrecentexperiencesoffull-lengthplays,asubmissionfromtheIrishNationalOrganisationofTeachers(INOTE)states

Iwouldliketoseetheatrecompanieswhowillbeawareoftheirspecificschoolaudiencesandgivethestudentsanawarenessofproductionelements,themes,etc.butultimatelywillofferathrillingperformance. MaryO’Farrell,INOTEChair

5.3.2 Workshop-style presentationsTheteachersprovidinginputrespondedpositivelytoworkshop-stylepresentations.Theywelcomedinitiativesthatshowanunderstandingofthethemesandissuesstudentsneedtoexplorefortheirexams,andthatmakethisanalysislivelyandengagingforstudents.BothCycloneandTheatreRoyal’sapproachwerereferencedindependentlybyanumberofteachersasofferinganengagingmodelforstudents.

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Teachersfeltthatlocalcompaniesofferingengagingexperiencesinlocal/regionalvenues,ordirectlyinschools,shouldbesupported.

5.3.3 Factors influencing school trips to the theatreAnumberoffactorsinfluenceateacherorschool’sdecisiontobringstudentstoaperformanceoutsideofschool.Onesubmission(echoedbyothers)putitasfollows

Thesefactorsinclude:a) Substitutioncoverforteachers.b) Proximityofvenuetotheschoolc) Costofticketsand/ortraveld) Reviewsoftheproductionandpastexperienceofthequalityoftheatreonoffer.

LarryCotter,INOTE

RecentcutbacksintheDESbudgetmakeitincreasinglydifficulttoprovidesubstitutecoverforanyschooltripsincludingvisitstothetheatre.Theoverallcostwhentime,travelandticketpricesarecombined,presentsaproblem.

5.3.4 Introducing students to theatre in a variety of formsTheteachersprovidinginputtothisreviewconsidereditimportantforyoungpeopletoexperiencetheatreinavarietyofforms,includingpresentationsofprescribedandnon-prescribedplays.

Ibelieveitisessentialthatstudentsatsecondlevelexperiencedramaasavaluableformativeexperienceacrosstheentirecurriculum.DramaisacorecomponentofEnglishandIthinkallstudentsbenefitfromtheexperienceofenactingplaysandbeingpartoftheaudienceataproductionofprescribedandnon-prescribedplays.InmyschoolweendeavourtogivethestudentsanopportunitytoseeaproductionoftheplaytheystudyforJuniorandLeavingCert.WealsofacilitatetheatrevisitsasakeypartofTransitionyear.

LarryCotter,INOTE

Giventhedifficultiesoutlinedin5.3.3above,thecommitmentofteachersandschooladministratorstofacilitateyoungpeople’sexperienceoftheatreisnoteworthy.

5.3.5 Continuing Professional DevelopmentTeachersagreedthatthereisaneedformorein-servicetrainingatsecond-leveltoassistteachersinusingsimpleandeffectivedramatechniqueswhenapproachingthestudyofplays.Theteacherswhocontributedideastothisprocesshadaninterestintheatre,howevertheypointedoutthatsometeachersarenotcomfortablewithdramaexercises.Havingastaffmemberattheschoolwithabackgroundandinterestindramacanbearesourceforotherteachersandtheirstudents,thoughtimetablingcanbeadifficultyinarrangingtoco-teachorswapclasses.TeachersviewedtheworkshopsofferedbyTheAbbeyinconjunctionwiththeProfessionalDevelopmentServiceforTeachers(PDST)asworthwhile.

5.3.6 Resources accompanying a theatrical presentationTeachersconsideredresourcesthataccompanyatheatricalpresentationtobeuseful,thoughnotallconsideredthemessential.Alackofinformationaboutwhattoexpectfromaparticularproductionwascitedasadifficultyforteachersinplanninglessons

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aroundavisittothetheatre.Well-facilitatedworkshopswithstudentsinadvanceof(orintegratedinto)aproductionwereconsideredhighlyvaluable.Teacherswereenthusiasticaboutopportunitiestoseeactorsrehearsingasceneortolearnaboutotheraspectsofthecreativeprocessleadingtoaproduction,whetherinperson,online,orintheclassroomviawhiteboardtechnology.Teacherswouldwelcomemoreopportunitiestoengagewithprofessionaltheatreproductionsintheseways.

5.3.7 Live theatre as a way of overcoming language difficultiesTeachersnotedthatanengagingexperienceoflivetheatrecanassiststudentsinovercomingunfamiliarityordifficultywithalanguage,whetherinthecontextofShakespeare’splays,orinthecontextofanyplays,novels,orotheraspectoftheIrishlanguagecurriculum.

5.4 Issues/observationsfromstudents

Twentyyoungpeoplefromawidegeographicalspreadprovidedinputtothisreviewprocess.Sixteenparticipatedinafocusgroup,andfourparticipatedintheforumdiscussionandworkshopalongsideotherstakeholders.Alloftheyoungpeoplehadsomeexperienceoftheatreoutsideofschoolinadditiontostudyingplaysaspartofthecurriculum.Thismeantthatstudentscouldreflectontheirengagementwiththeatreatschoolinthecontextofotherexperiences.Whilestudentswithnointerestintheatrewerenotdirectlycanvassed,theyoungpeopleconsultedwereconsciousoftheirpeersintheobservationsthattheymade.Alloftheircommentswereclearlyinfluencedbytheiroverallexperienceatschoolandawarenessofthedynamicsamongtheirpeers,includingthosewhodonothaveaparticularinterestintheatre.

5.4.1 Value of a professional performance for young people when studying a play

Youngpeopleconsidereditimportanttohavetheopportunitytoseetheplaytheyarestudyingatschoolperformed.Itwasstrikingthatinafocusgroupof16youngpeoplewhoaremembersofyouththeatresacrossIreland,amajorityhadseenaSecondAgeproductionofeitherMacbethorHamlet,andasmallnumberhadseentherecentproductionofMacbethbyUK-basedtouringcompany,Icarus.Otherswhohadnotseenanyperformancefeltthiswasadisadvantageandwasnotideal.

The16youngpeopleatthefocusgroupweregatheredtoattendtwoprofessionalproductionsaspartofNAYD’sYoungCriticsprogramme,andsomeyouththeatregroupsactivelyencouragetheyoungmemberstoattendprofessionaltheatre.How-ever,theplaysonthecurriculumstillclearlyemergedasanimportantaccesspointforyoungpeopletoprofessionaltheatre.Whendescribingotherperformancestheyhadseenattheartsvenuenearestthem,itappearedthat,withsomenotableexceptions,theseweremostlybylocalamateurgroupsorthelocalyouththeatre,andthatformanyyoungpeople,seeingaperformanceoftheplayonthecurriculumcanbetheironlyexperienceofprofessionaltheatre.Youngpeopleexpectgoodproductionvaluesandstrongperformanceswhentheygotothetheatre.Intheirobservations,theydidnotmakeanexplicitdistinctionbetweenprofessionalandamateurtheatreandwelcomedallopportunitiestoseeinterestingandrelevantplays.

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Having studied several plays in school – Romeo and Juliet, Sive, Macbeth – I absolutelyfeel getting to see a production of these plays would contribute to our knowledge of the plays.

NAYDYoungCritic,age17

It’s very difficult to remain interested when we don’t get to see and talk about productions which we have to study for the L.C. [Leaving Certificate] course…Not everybody has a massive interest in theatre, so it’s not possible to ask everyone to enjoy productions. However, theatre has no limits – it can be for everyone. Schools should introduce different styles and types of theatre which appeal to everyone.

NAYDYoungCritic,age16

5.4.2 Choice and audience engagementAsmentionedinSection5.1above,whileyoungpeoplefelttheyshouldhavetheopportunitytoseeaplaytheyarestudying,theyalsofeltthattheexperienceofgoingtothetheatrewithaschoolaudiencecanbefrustratinganddisappointing.Disruptivebehaviourbytheirpeersintheirownorotherschoolgroupscanunder-minethewholeexperience.Studentsreportedthattheyenjoygoingtothetheatrewiththeirclassmatesiftheyarepartofagroupthathasbeengiventhechoiceandoptedtogo.Havinganon-schoolsaudiencepresentfurthervalidatestheexperienceandinfluencestheirperceptionofthequalityoftheworkpresented.

Theyoungpeopleconsultedwereeagertopointoutthatnotallyoungpeopleareinterestedintheatre.Opportunitiestogototheatreperformancesorworkshopsshouldnotbeprioritisedoverotheropportunitiestoexploremusic,filmorscience,forexample,inmoredepth.Whenitcomestothesetypesofactivities,studentsshouldbegivenachoice.

Itwasalsoemphasisedthatyoungpeoplewhowishtoseeaplaytheyarestudyingperformedshouldnotbedeniedtheopportunityjustbecausesomeoftheirpeersarenotinterestedintheatre.

5.4.3 A creative approach and the teacher’s roleYoungpeoplewelcomedcreativeapproachestostudyingplaysintheclassroom.Ayoungpersonwhoisinterestedinaplay,willnot,forexample,puttheir‘heartandsoul’intoreadingapassageoutloudinaclasswherenobodyelseappearsinterested.Theexperienceofgettingtheplayoffthepageintheclassroomneedstobeproperlyfacilitated.

Forthemostpart,youngpeopleinvolvedinyouththeatresawnodirectcorrelationbetweentheirexperiencesoftheatreinandoutofschool.Whiletheydescribedapositiveexperiencewiththeiryouththeatre,ultimatelytheirexperienceofstudyingplaysorattendingplayswiththeirschoolwasheavilyinfluencedbytheirteacher.Severalyoungpeopleremarkedthatwhenateacherhasnointerestinaplay,thisgetspassedontothestudents.

At school my English teacher reads through the plays and explains them. There is no discussion or opinions shared which I think is a shame. My youth theatre experience is very different to study at school – it is much better.

NAYDYoungCritic,age17

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I’m in TY and this is my first year attending plays with my school and it was very enjoyable. My English teacher was great in that she got us to research different aspects of the shows so we got interested. Also, she organised us to have a Q&A with different actors in the play.

NAYDYoungCritic,age16

I went to see Macbeth with my school but we literally were brought there and back – had no preparation or talked after. We were just told to write a review with no help or prep. Waste – we could have gotten more benefit.

NAYDYoungCritic,age16

Whiletheteacher’srolewasconsideredtobecrucial,thetheatrecommunity’spartwasalsoacknowledged.

I think that if we learned how much goes into putting on a production, it would help to give a better idea of the meaning behind the texts that we are studying. This could be done if someone involved in the production came in to talk to the class.

NAYDYoungCritic,age18

5.4.4 The Leaving Certificate and critical engagementInthecontextoftheLeavingCertificate,youngpeoplearefocussedonmaximisingtheirpoints.Whiletheywanttohaverichandrewardingexperiences,asoneyoungpersonputit

At the end of the day, I still want to get my Leaving Cert. Student,1642

WhenaskedaboutusinganapproachlikeNAYD’sYoungCriticsprogrammeatschool,oneyoungpersonobservedthatit

...might take away from the course work a bit as a review is only worth 20 marks, so it wouldn’t benefit the exams much, as there’s over 200 marks going.

NAYDYoungCritic,age16

My youth theatre experience has given me a far greater interest in plays than studying them for exams. With exams, there are things you have to learn, it’s a very static process and doesn’t encourage much of an interest/love of theatre. The youth theatre approach is much more active and encourages a more personal engagement and exploration with the text.

NAYDYoungCritic,age18

Yetsomeyoungpeoplerecognisedtheskillstheywerelearningasvaluableinexamsituations.

I feel that critical thinking is a necessity for young people, especially in exam situations.Schools can often draw only textbook answers from students, whereas this course [Young Critics] encourages critical analysis. English classes would benefit greatly from open discussions and workshops that I have experienced.

NAYDYoungCritic,age16

42Commentbyayoungparticipantattheforumon21April.AllotherdirectquotesinthissectionarefromtheNAYDYoungCriticsfocusgroup.

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5.5 Issues/observationsfrompartnersineducation

5.5.1 National Council for Curriculum and Assessment (NCCA) ThesubmissionfromtheNCCAhighlightedthevariouswaysinwhichdramaispresentedonthecurriculum.

TheNCCAthroughitsworkondevelopingsyllabusesandgeneralguidelinestoaccompanythemencouragesstudentengagementwithdramabothintheclassroom,andwherepossibleinalivetheatrecontext.

Student-participationandactivity-learningarecentraltothejuniorcycleEnglishsyllabusanddramaasamethodologicalapproachisexpectedtopervadetheEnglishclassroom.Dramaapproachesshouldandcanbeemployedsuccessfullybyallteachersnomatterhowlimitedtheirexperiencemaybeinthisarea.

TheTeacher Guidelines for Junior Certificate Englishstatethatdramaineducationisessentiallyconcernedwithengagingstudentsintheprocessof‘livingoutimaginedexperience’whateveritssourceorcontextratherthaninproducingperformancesforanaudience.Drama,inthiscontext,isconcernedwithdevelopingthestudents’confidenceandself-awarenessbyencouragingparticipationinclassroomdramaindiverseforms.

Atseniorcycleinthepast,theapproachwaspredominantlyacademic,emphasisingdetailedreading,re-readingandanalysis;theunderstandingandknowledgethusgainedwasexpressedintheessayform.

The1998(current)syllabusforLeavingCertificateEnglishbringsadifferentperspectivetothestudyofdrama.Nowthesingletextandthecomparativetextscanbeapproachedaseventstobeperformed,interpretedandtransformedinavarietyofways.Activemethodologiesengagethestudentswiththeexperienceofthetextasartinawaythattraditionalmethodologiesfindmoredifficulttoachieve.

NCCASubmission

5.5.2 DES Post-Primary Inspectors of EnglishThesubmissionfromtheDESPost-PrimaryInspectorsofEnglishinresponsetothediscussiondocumentobservedthat

TheaimsofthedocumentareconsistentwithmanyoftheaspirationsofboththejuniorcycleandseniorcycleEnglishsyllabuses.

Thesubmissionhighlightedthechoicesavailabletoteachersandstudentswithinthecurriculum.EvenwithinthecontextofthematerialontheprescribedlistsfortheLeavingCertificate,teachersandstudentshavearelativelywidechoiceofplaysandothermaterialtostudy.WhiletheInspectorsacknowledged,Wherever possible, an experience of a live performance of a studied play is recommended,theyalsoobservedthatothertheatricalexperiencesareequallyvalid.

Whetheraplayisonaprescribedreadinglistornotisimmaterial.ThepurposeofbringingstudentstoaplayistoenrichunderstandingandappreciationofEnglishandoflanguage.Beyondthis,thenatureofchoicesmadeandtheartisticprocess

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underlyingsuchchoices,inanyplay,couldfurtherenhancestudents’awarenessofthenatureoftheplaytheyarestudyingasatextwhichoffersamultitudeofpossiblechoicesandinterpretations.

FurtherthePost-PrimaryInspectorsnotedthat

Inthecontextofthejuniorcyclesyllabus,thelimitednumberofmodernplaysthatworkforanadolescentaudienceisapracticaldifficultyforteachersofordinarylevelandhigherlevelEnglishclasses.43

ItisworthmentioningherethatsubmissionsfromthetheatresectorsuggestthereisanappetiteamongspecialistsintheareaofTheatreforYoungAudiencestorespondtothechallengeofpresentingrelevantworkforteenageaudiences.

Itisveryimportantthatyoungpeoplecanseeoriginalworkbytopclasswriterswrittenforthem…IrelandisdowntoseeingTWOoriginalplaysforteenagersperformedprofessionallyinthewholecountry.Thisisastonishingfromaninternationalperspective.Whatkindofaviewoftheatrearewegivingtoyoungpeople-thatprofessionaltheatreneverengageswiththeirexperiences?ItisimportanttoretainaviewthatTheatreisamultiplicityofvoices,engagements,modes.

EmelieFitzgibbon,GraffitiTheatreCo

WithregardtoLiteracy and Numeracy for Learning and Life,thePost-PrimaryInspectorsnotedthattheatrecansupportstudents’speakingandlisteningskillsandfurthersuggestedthattheArtsCouncilcouldencouragetheuseofnewformsofliteracy,suchasblogs,socialnetworkingandtexting,asameanstoassiststudentsinengagingwiththeatre.Theuseofonlineresourcesandrecordings

couldhighlight(orencouragestudentstodiscuss/discover)theprocessundertakenincreatingatheatricalproduction,alongwiththechoicesmade,thussupportingthedevelopmentofstudents’criticalliteracy–akeyaspirationofboththejuniorcycleandseniorcyclesyllabusesaswellasthenationalstrategy.

Theworkshopapproach(inbothadigitalandliveform)canhaveverygreatbenefitsforstudentsingaininganunderstandingofhowdramaworks.Suchapproachesmayentailstudentstravellingtothetheatreorprofessionalactorsanddirectorsvisitingschools,or,indeed,digitalmediasupportingsimilarfunctions.44

TheInspectorsnotedthatContinuingProfessionalDevelopment(CPD)offeredbyTheAbbeyhasbeenveryhelpfulforteachersandthatwaysofextendingthistypeofprovision,perhapswiththeuseofdigitaltechnologies,isworthyofconsideration.

Whilenotincludedintheformalsubmission,inafollowupconversationwithKevinO’Donovan,DESEnglishInspector,hehighlightedthatLiteracy and Numeracy for Learning and Liferecognisestheessentialroleoffamiliesandcommunitiesinsupportingliteracydevelopment.InSection3oftheStrategy,Enabling parents and communities to support children’s literacy and numeracy development,itisstatedthat

43SubmissionfromtheDepartmentofEducationandSkillsPost-PrimaryInspectorsofEnglishaspartofthereviewprocess.44Ibid.

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Literacy and Numeracy for Learning and Life hasbeendraftedtointegratefullywiththisapproachintheNationalChildren’sStrategy.Actionsunderbothstrategieswillstronglysupportthedeliveryofbetterliteracyandnumeracyoutcomesforchildren…AkeypartoftheworkoftheDepartmentofChildrenandYouthAffairswillbetocollectinformationaboutthebroadrangeofinitiativesandprojectsthatsupportfamiliesinvariousways,toidentifytheapproachesthathavethemostbeneficialeffectsonthelivesoffamilies,childrenandyoungpeople,andtoseektocoordinateandimprovetheservicesthatareprovided.Wehavetoensurethattheinterventionsweprioritisemakeareal,measurableandpositivedifferencetothelivesandlearningsuccessesofchildrenandyoungpeople.45

TheHomeSchoolCommunityLiaisonteacherineachschoolisanimportantpointofcontactindevelopingprogrammesthatconnectstudentsandtheirparentswithcommunityinitiatives,includingtheatreandotherartsprogrammes,whichsupporttheDESstrategy.

45Literacy and Numeracy for Learning and Life, The National Strategy to Improve Literacy and Numeracy among Children and Young People, 2011–2020,DepartmentofEducationandSkills,2011,p.19–21

6 ANALYSIS OF KEY EMERGENT ISSUES

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6.1 Challenges

Anumberofchallengesemergewhentheissuesandobservationsraisedbystake-holders(detailedinSection5above)areanalysedinthecontextofexistingpolicyandprovision(outlinedinSection3)andcurrentpractices(Section4).Inordertoavoidrepetition,someobservationsbystakeholdersarepresentedinthissection,whichhavenotbeenhighlightedearlier.Thechallengesaresetoutalongwithpotentialsolutions.

6.1.1 Lack of commitment and coordination between arts and education at national level

ThefailuretoimplementtherecommendationsmadeinPoints of Alignment, The Report of the Special Committee on Arts and Education(2008)hasbeenasignificantobstacleinthedevelopmentofsustainablearts-in-educationinitiatives.

ThereisasenseoffrustrationwithinthetheatrecommunityofthelowprioritygivenbytheDepartmentofEducationandSkills(DES)toensuringyoungpeoplehaveaccesstotheatreorotherartsexperiences.Inthecaseofthisreview,submissionsbytheDESandtheNCCAacknowledgedclearconnectionsbetweenthegoalsoftheArtsCouncilinsupportingtheatreforyoungpeopleandthegoalsofthecurriculum.However,inpracticetheresourcesandsupportsarenotinplacetofacilitatethekindofrichengagementwhichisdesirablebyallparties.Instead,thistypeofengagementhappensonlyinanadhocmannerandasaresultofinitiativestakenbyindividualschoolsandartsorganisations.Inmanycases,schoolsstruggletobringstudentstoperformancesandprogrammesoutsideofschool,andfundingsupportsforartsorganisationsworkinginschoolshavebeencut.

TheArts-in-EducationChartercurrentlybeingdevelopedbytheDepartmentofArts,HeritageandtheGaeltachtandtheDepartmentofEducationandSkills,offersthepossibilityofmakinggenuineprogressinthisarea(seeOpportunitiesinSection6.2below).

6.1.2 Increasing ambition, diminishing resources, and digital technologyThereisawillingnessandappetiteamongtheatrecompaniestoengagewithschoolaudiences.Thevarietyofmodelsofengagementinexistenceandthegenerallypositiveresponsetothisreview,attesttothis.Thevariousmodelscurrentlyonofferarevaluableanditisevidentthatincreasedsupportandincentivesareneededtoimproveanddevelopthisareaofwork.Therealityisthatnoteverythingcanbesupported,orsupportedtotheextentthatitshouldbeinordertoensuretherichestengagementbyawidenumberofstudents.

Large-scaleproductionsareexpensivetomount,andrelyonlargeboxofficein-take,butthequalityofexperiencingtheseproductionsisunderminedwhentheyarepresentedtolargeschoolaudiences.Participatingincarefullydesignedpre-performanceworkshopsandotheractivitiesforsmallergroupsofstudentsinadvanceofattendingaproductionislikelytoenhanceyoungpeople’sexperiencewhentheygotothetheatre,andmitigateagainstsomeofthedifficultiesidentified,butthisisalsoexpensivetoarrange.Similarly,workshop-stylepresentations,whiletheyincludestrategiestoactivelyengagetheaudience,alsorequirelimitingtheaudiencenumbersateachpresentationtoensurethesuccessofthemodel.

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Digitaltechnologiescouldplayanimportantroleinresolvingthisconundrum.Thepossibilitiesofprovidingawidenumberofstudentswithdynamicaccesspointstolivetheatrethroughdigitaltechnologydeservefurtherexploration.Theapproachshouldnotbetoreplacealivetheatreexperiencebutrathertostimulateinterestandengagementinthatexperience.

6.1.3 The context of a high stakes exam Whereasthecurriculumallowsandencouragesrichlearningtotakeplace,therealityofahighstakesculminatingexamcanworkagainstthis.Whilerichlearningandgoodresultsareofcoursenotmutuallyexclusive,whentheemphasisforteachersandstudentsisplacedonhowtogetthemostpointsinthefinalexam,thelearningexperiencecanbecompromised.Significantly,thepersonalresponseofstudents,theimportanceofwhichontheonehandisemphasisedinthecurriculum,andpromptedintherelevantexams,isnotfosteredbyahighstakesexamprocess.

In total, the Leaving Cert English exam is around six hours. In that time, you are tested on pretty much everything except what you personally get out of it. Most of the time, if you are writing a personal response, it’s somebody else’s personal response because your own feels inadequate.

Student,1846

ThisdifficultyisechoedinconcernsamongthehighereducationcommunitythattheLeavingCertificatedoesnotprovidestudentsleavingschoolwiththecriticalandcreativeskillsnecessarytosucceedinthirdleveleducation.47Ontheonehand,whiletheLeavingCertificateislikelytoovershadowstudents’experienceofanyplaytheyseewhichisprescribedfortheexam,thereisalsoastrongcasetobemadefortheparticularroleofhigh-qualityartsexperiencestoallowstudentstoexperiencetheircurriculumintherichestpossibleway.Inreality,forstudentstodeveloptheskillswhicharerequiredbythecurriculum,theyneedtoparticipateincreativeandengagingexperiences,whichallowthemtogobeyondtheexambeforepotentiallychannellingthoseskillsbackintotheiranswers.

6.1.4 Making the compulsory compulsiveIntheforumdiscussionwitharangeofstakeholdersonApril21,akeyissueraisedbyMartinDrury,ArtsCouncilArtsDirector,washow can we make the compulsory compulsive?Itseemslogicalthatifyoungpeoplefeelforcedtogotothetheatre,andiftheyhavenointerestintheplaytheyarestudying,theywillnotnecessarilygetthemostoutoftheexperience.Ontheonehand,thereisanonusonthetheatrecommunitytorecognisethischallengeandtotakeadditionalstepstofacilitateapositiveengagementforyoungpeopleattendingaperformance.Ontheotherhand,itisalsoevidentthatwhileyoungpeopledeservetheopportunitytoseetheplaytheyarestudyingperformed,individualstudentsshouldalsobegiventheopportunitytomakeaninformedchoiceaboutwhethertheywishtoattend.Further,ticketpricesshouldnotbethedeterminingfactorforastudentwhenmakingachoice,andtheatresandschoolsneedtoensuremechanismsareinplacetoensureequalopportunity.

46Observationbyayoungparticipantattheforumdiscussionon21April47ÁineHyland(EmeritusProfessorofEducation,UniversityCollegeCork,andChairpersonoftheCommissiononthePointsSystem1999),Entry to Higher Education in Ireland in the 21st Century: Discussion PaperfortheNCCA/HEASeminar21stSep2011

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6.1.5 Lack of coordination between artistic planning and the development and circulation of prescribed lists

Representativesfromeducationbodiesattendingtheforumdiscussionon21Aprilconfirmedthatthereisroomforthetheatresectortosuggestplaystobeincludedontheprescribedlists.AnyonecanmakeasubmissiontotheEnglishSyllabusCommitteeintheNCCAbywritingoremailingtheEducationOfficerforEnglishattheNCCAandrequestingthatthesuggestionsbeconsideredbytherelevantsub-committee.48Todate,itwouldappearthatnoorganisationrepresentingthetheatresectorhassuggestedalistofplaystotheNCCA,butthisissomethingthatshouldbeencouraged.

ItwouldbeworthexploringwiththeNCCAthepossibilityofincludingproductionspresentedbyanumberofapprovedcompaniesorfestivalsascomparativetextsontheprescribedlists.Theinclusionoffilmsforcomparativestudyontheprescribedlistsisaverypositivedevelopment,andallowingasimilaroptionfortheatrewouldbebeneficial.Similarly,itwouldbehelpfulforthetheatrecommunitytobeawareoftheprescribedlistswhentheyarepublishedeachyear.CompaniescanfindthisinformationbyconsultingtheDESwebsite,butitwouldbeworthdrawingattentiontothelistsbyensuringtheyarereferencedinrelevantartscommunitynewslettersatthetimeoftheircirculation(usuallyFebruaryeachyear).

Greatercoordinationandjoinedupthinkingcouldleadtoadiverserangeofoffersbytheatrecompaniesofrelevancetotheprescribedlists.Itshouldbeacknowledgedthatwhiletheatrecompanies,festivalsorvenuesmayhavelong-termplansofwhatplaystheywouldliketopresent,thetimingwillultimatelybeimpactedbyavailablefunding,availabilityofdesiredartisticpersonnel,andotherfactors.Evenasthesearebeingworkedoutbehindthescenes,itmaynotbedesirabletoannounceanartisticplantoofarinadvancedependingonthecompany’soverallmarketingstrategy.Anycoordinationbetweenthetheatreandeducationsectorswouldinvolveworkingaroundthesetypesofconstraints.

6.2 Opportunities

6.2.1 Arts-in-education momentum Thepositiveandcollegialapproachofthediverserangeofstakeholderswhoparticipatedintheforumon21Aprilsuggeststhereisastrongcommunityofinterestedpartieswishingtodeveloptheroleofthearts(includingtheatre)ineducationinIreland.TheemergenceofgroupssuchastheEncounteringtheArtsworkinggroup,TheatreforYoungAudiencesIreland,andMeithealnamBeag49,pointstotheresourcefulapproachofskilledpractitionerstocoordinatetheireffortstodevelopyoungpeople’sexperienceoftheartsinandoutofschool.Thegrassrootscollaborationevidentacrosstheartsandeducationsectorsindicatesagrowingreadinessforacoordinatedapproachtoimplementingtargetedarts-in-educationinitiatives.Significantly,theArts-in-EducationChartercurrentlybeingdevelopedbytheDAHGandtheDESsuggeststhereismomentumatnationalpolicyleveltomovetowardsgreatercoordinationacrosstheartsandeducationsectors.

48EmailsfromKevinMcDermott,PDSTandDeclanO’Neill,NCCAasafollowuptotheforumon21April.49MeithealnamBeagisanetworkandresourceorganisationforperformingartsgroupspresentingworkforyoungaudiencesintheIrishlanguage,whichhasreceivedsupportfromForasnaGaeilgeandEalaínnaGaeltachta.

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6.2.2 Shared aims and principles underpinning the work of the formal education sector and the arts sector in terms of young people’s experience

TheextractsfromthecurriculardocumentsincludedinSection3.4above,andthesubmissionsfromtheNCCAandDESPost-PrimaryInspectorsofEnglishdetailedinSection5.5,pointtothesharedprincipleswhichunderpintheschoolcurriculumandyoungpeople’sengagementwithqualityartsexperiences.

Thefiveskillsidentifiedascentraltoteachingandlearningacrosstheseniorcyclecurriculum-criticalandcreativethinking,communicating,informationprocessing,beingpersonallyeffectiveandworkingwithothers50–areintegraltoanymeaning-fulengagementwiththeatre.Similarly,thekeyskillsannouncedbytheNCCAinA Framework for Junior Cycle–managingmyself;beingcreative;workingwithothers;stayingwell;communicating;managinginformationandthinking51–arecongruentwithallgoodarts-in-educationpractice.52

Theartisticprocessesdescribedbytheatrepractitionersintheirsubmissionstothisreviewsuggestthattheycreaterichopportunitiesforstudentstoexperiencethecoreprinciplesandpracticetheskillswhichunderpinthecurriculum.Further,theseexperiencessupportliteracydevelopment,andwhileexplicitreferencetotheroleoftheartsisnotablymissingfromtheDepartment’sstrategy,Literacy and Numeracy for Learning and Life,apersuasiveargumentcanbemadethatqualityengagementwiththeatreandotherartformsbyyoungpeopleandtheirfamilieswillassistindeliveringthestrategy.

Thereisaneedforartsorganisationsworkingwithschoolstoarticulatetherichnessoftheexperiencetheyoffertoyoungpeoplewithdirectreferencetotheprinciplesandskillsinformingthecurriculum.TheNationalCampaignfortheArtshasdemonstratedthevalueinarticulatingtheroleoftheartsindeliveringothergovern-mentpriorities,inparticular,bymakingtheeconomiccasethattheartscreatejobs,attracttourism,andareessentialtoeconomicgrowth.Asimilarapproachwouldbevaluableincontinuingtoadvocatefortheroleoftheartswithintheeducationalsystem,byemphasisingandarticulatingthesharedprinciplesandaimsacrosstheartsandeducationsectors.

TheformaleducationsectorfacesconsiderablechallengesindeliveringtheidealsarticulatedintheNCCA’scurriculumdocuments.Thismakesitallthemoreimportanttodocumentandhighlightthelearningoutcomesforstudentsasaresultofpartic-ipatinginstrongarts-in-educationinitiatives.TheArtsCouncilcouldplayaleadingroleinadvocatingfortheinvaluablecontributionofrichartisticengagementinthecontextofexistingeducationpolicy,whileseekingtocontinuetoshapeandrefinethemannerinwhichtheartsarerepresentedwithinthatpolicy.

6.2.3 Junior cycle short courses and transition unitsAspartofthenewjuniorcyclewhichwillbeintroducedforstudentsenteringsecond-leveleducationin2014,theNCCAisproposingthedevelopmentofnewshortcourses.

50Senior Cycle Key Skills Framework,NCCA,200951Towards a Framework for Junior Cycle,NCCA,November201152Artists~Schools Guidelines,ArtsCouncil,2008,providesdetailsontheprinciplesunderpinningbestpracticeinarts-in-education.

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Whileplanningfortheshortcoursesisattheinitialstages,itappearsthatschoolsandotherorganisations(includingartsorganisations)willhavetheopportunitytodevelopcustomisedcoursesonarangeofsubjects,includingdrama/theatre.Whathasbeenagreedtodateisthatasaninitialphase,theNCCAwilldevelopfivetosixshortcoursesasexemplarymodules.Oneofthesewillfocusonartisticperformance.ThereisanopportunityfortheArtsCounciltoworkwiththeNCCAtoensurethismoduledrawsonthebestexamplesofarts-in-educationpracticeandotherrelevantpracticesoutsideofschool,suchasyouththeatre.TheNCCAalsoappearstobeparticularlyinterestedinreceivinginputonthedevelopmentofshortcoursesintheIrishlanguage.ThepotentialtodevelopaninnovativemodulewhichcombinesthedevelopmentoftheatreandothercreativeskillswithIrishlanguageproficiency,wouldbeworthyofexploration.

Inaddition,theNCCAwebsiteincludesinformationforschoolsandinterestedorganisationsonhowtodeveloptransitionunitsforTransitionYearstudents.ThereisflexibilityinTransitionYeartoallowforrichlearningopportunities,whichcanbeassessedinanappropriatemannerandarenottiedtoastateexamination.TheArtsCouncilcouldplayaroleinencouragingawidernumberofartsorganisationstoworkwithlocalschoolsindevelopingexemplarytransitionunits

7 RECOMMENDATIONS

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Anumberofsuggestionsareoutlinedbelow,whichdrawontheinformationgatheredoverthecourseofthisreviewandtheanalysispresentedinthisdocument.Overall,itisrecommendedthattheArtsCounciltakeanumberofdecisivemeasurestoensurethatbestpracticeinarts-in-education,includingexemplarypresentationsofplaysprescribedonthecurriculum,issupportedandencouraged.

TheprescribedlistsfortheseniorcycleEnglishsyllabusofferaclearcommonpointofreferencebetweentheartsandeducationsectors.Theselistshavescopetoinclude(andcurrentlyinclude)high-qualitydramatictexts,whichcontinuetoholdcurrencywiththecontemporaryartscommunity,andwhichteachersandstudentshavetheoptiontomakecentraltotheirEnglishstudiesintheirfinalyearsatschool.However,presentationsofprescribedcurriculumplaysshouldnotbeprioritisedoverotherrichformsoftheatricalengagementwhichtieinwithotherareasofthesecond-levelschoolcurriculum.Forexample,focussingallArtsCouncilsupportonasingleannualproductionofaplayappearingontheprescribedlistswouldunderminetheaspectsofthecurriculumwhichencouragechoiceandvarietyinstudentexperience,andmayleadtotheneglectofstrongartisticprogrammeswhichconnectwithotherareasofthecurriculum.Therecommendationsbelowarethereforeintendedtoencouragebestpracticeinconnectingtheatrewiththecurriculum,includingbutnotsolelythroughthepresentationofplaysappearingontheprescribedlists.

Inthecurrentclimate,itmaynotbepossibletoensureallsecond-levelstudentshavetheopportunitytoexperiencerich,relevantandvariedtheatreexperiences.However,providingarangeoftargetednationalandlocalinitiativestosupportstudents’meaningfulengagementwiththeatrewouldbeagoodapproach.Strongarts-in-educationpracticeneedstobeactivelyfosteredanddevelopedatlocallevel.Inaddition,theCouncilshouldseektoensurethatarts-in-educationbecomesamoreconsistentandintegralpartoftheworkofpublicly-fundedartsorganisations,particularlythoseinreceiptofsignificantpublicfunds.Inordertoensurethishappensinameaningfulwayandtoavoidatokenisticapproachtoengagingwithyoungaudiences,itisproposedtoprovideartsorganisationswithaccesstotheexpertiseofspecialisedpractitionersinthisfield,asdescribedinSection7.2below(topilotaPerformingArtsLearningService).

Whilenewapproachestosupportingqualitytheatreexperiencesforsecond-levelschoolaudiencesarebeingpiloted,thereisaneedtoensurethatcurrentprovisionismaintainedatadequatelevels.In2013and2014theArtsCouncilcouldtakestepstoensurethatatleastoneplayontheprescribedlistsispresentedtoahighstandardwiththeassistanceofArtsCouncilfunding.ThismightbedonebyintroducingaspecificschemeorbyincorporatingthisstrategicobjectiveintotheTouringandDisseminationofWorkscheme.Itwill

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beimportanttoensurethatanysuchproductionhasthecapacitytoreachawidenumberofschools,andthatappropriatemechanismsareincorporatedtofacilitateyoungpeople’smeaningfulengagement.

Inthelongerterm,theArtsCouncil’ssupportfortheatricalpresentationsofprescribedplaysshouldcontinuetoformpartofacoherentarts-in-educationpolicy.Highlightingtheaspectsofthecurrentschoolcurriculumwhicharecongruentwithgoodarts-in-educationpractice,theArtsCouncilshouldcontinuetoseektoinfluencethemannerinwhichstudentsmightencountertheartsatschool.BuildingonthemomentumoftheArts-in-EducationChartercurrentlybeingdevelopedbytheDepartmentofArts,HeritageandtheGaeltachtandtheDepartmentofEducationandSkills,theArtsCouncilshouldcontinuetoadvocateforamorecoordinatedandefficientapproachtodeliveringhighqualityartsexperiencesasanintegratedaspectofstudents’learning.

7.1 Providefundingopportunitiesfortheatreartists andcompaniespresentinghigh-qualityworkfor second-levelschoolaudiences

TheArtsCouncilhasanumberofmechanismsinplacethroughwhichcompaniesandindividualartistswishingtocreateworkthattiesinwiththeschoolcurriculumcanbesupported.CurrentTheatreandYPCEsupports(fromrecurringsupporttoprojectandartist-in-residenceawards)shouldcontinuetobeflexibleinallowingstrongexamplesofpracticetobesupported.Astrategicobjectivetoencouragestrongerconnectionswithschoolaudiencescouldbeincorporatedintothepublishedcriteriaforthesegrants.

Inparticular,theTouringandDisseminationofWorkSchemeprovidesamechanismtoincentiviseahigh-qualitytouringproductionofaplayonthecurriculum.Itisrecommendedthatintheshort-termanduntiladequatealternativesareinplace,theGuidelinesshouldmakeexplicitreferencetothisstrategicpriority.TheArtsCouncilshouldensureapplicationsareassessedwithreferencetobestpracticeinarts-in-education.Publishedcriteriainrelationtoyoungpeople’sengagementwithqualityartsexperiencesandtheneedtodemonstrateappropriateexpertiseinthisareashouldbeclear.ApplicantsmightbereferredtotheArtsCouncil’sArtists~Schools Guidelinesandotherrelevantresourceswhendevelopingproposals.

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7.2 PilotaNationalPerformingArtsLearningService (PALS)53

TheoverallaimoftheNationalPerformingArtsLearningService(PALS)wouldbetoaddvaluetotheexistingartisticoutputofpublicly-fundedperformingartsorganisationsbyprovidinganappropriateeducationormediationserviceconnectinghigh-qualityproductionswithschoolaudiences.Ineffect,thisservicewouldtakeasimilarapproachtothatoftheeducationdepartmentsoflarge-scaleartsorganisationsandculturalinstitutions,whichbuildtheiractivitiesaroundanorganisation’sartisticprogramme.However,inthiscase,thecombinedartisticprogrammesofanumberofpublicly-fundedorganisationswouldinfluencetheservice’sactivities.Asmallnumberofcorestaffwithappropriateexpertisewouldleadaflexibleteamofartistfacilitatorstodevelopandimplementtheservice’sprogrammes.Theservicewouldalsofacilitatebettercommunicationandinformationsharingbetweentheartsandeducationsectors,includingforexample,ensuringpublicly-fundedartsorganisationsareawareoftheplayswhichappearontheprescribedlists(orlistsofsuggestedtexts,inthecaseoftheJuniorCertificate),andadvocatingfortheinclusionofexemplaryplaysandproductionsforinclusionontheselists.

Thisproposalforanartslearningservicedrawsontheevidentexpertiseandmaturityofthearts-in-educationsectorinIreland.Theservicewouldbeexpectedtobroadenandmainstreamthereachofexemplarypractice,ratherthanduplicateorreplacesuchpracticewhereitalreadyexists.ArtsorganisationswithstrongeducationprogrammesmightforexamplechoosetobeassociatedwithPALSwhilecontinuingtooffertheirownprogrammesforschools.

ThePerformingArtsLearningServiceisnotenvisagedasaresource-heavy,stand-aloneinitiative.Rather,theapproachoftheservicewouldbynecessitybecollaborative.Participatingartsorganisations,schools,educationcentresorothereducationpartnerswouldinformthedesignandimplementationofPALSprogrammesinwhichtheyareinvolved.Theservicewouldhaveanadministrativefunction,rationalisingtheburdenwhichwouldotherwisefallonindividualartsorganisationsandschoolstoeffectivelycommunicateandsustainrelationships.However,primarilytheremitofPALSwouldbetoensurespecialistarts-in-educationexpertiseisavailabletopublicly-fundedartsorganisationsseekingtoengageinameaningfulwaywithschoolaudiences.

Initspilotphase,thePerformingArtsLearningServicewouldbeexpectedto:

1 Actasamediatingserviceprovidingspecialistskillsinarts-in-educationforaselectnumberofpubliclyfundedtheatrecompanies,festivalsorotherartsorganisations.

2 Identify,incollaborationwithpublicly-fundedartsorganisationsand

53Giventhescopeofthisreview,theproposedPerformingArtsLearningServicepertainstotheatreinparticular.However,theterm‘PerformingArts’isusedasthereispotentialfortheservicetoplayaroleinconnectingschoolswithprofessionaldanceorperformancesincorporatingmultipleart-forms.Currentprovisionformusiceducation,whichisalreadythefocusofanationalprogrammeledbyMusicNetworkandMusicGeneration,shouldnotbeunderstoodtobeimpactedinanywaybytheproposedservice.

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educationpartners,appropriateproductionsorotheraspectsofanartisticprogrammeasafocusforeducationactivities.

3 Developinnovativeeducationprogrammeswhichconnectselectedproductionsorprogrammeswithschools,inparticularsecond-levelschools.

4 Provideinitialandcontinuingprofessionaldevelopmentforteachersandartistsinpartnershipwithappropriatethirdlevelinstitutions(includingCollegesofEducation)andEducationCentrestopromotetheskillsnecessarytosuccessfullyimplementarts-in-educationprogrammes.

5 Facilitatecoordinationwherepossiblebetweentheeducationandtheatre/performingartssector,e.g.,suggestplaystotheNCCAforinclusiononthesuggested/prescribedlistsleadingtotheJuniorandLeavingCertificateexaminations;advocatefortheinclusionofperformingartsproductions(inadditiontowrittenplays)ontheprescribedlistsforcomparativestudy;advocateforandexploreresourcingpossibilitiestoensurelow-costticketpricesforsecond-levelschoolaudiences;designtheatremodulesforTransitionYearandaspartofthenewjuniorcycle;communicateprescribedplaystothebroadertheatresector;communicaterelevanttheatreorotherperformingartsprogrammestoteachersandschools.

Severalavenuesmightbeexploredtoensureadequateresourcingforthisservice:

• SeeksecondmentsfromtheDepartmentofEducationandSkillsaspartoftheservice’scorestaffingstructure.

• Seekacommitmentfrompublicly-fundedartsorganisationstoensureadequatein-houseresourcesaredirectedtoworkingwiththeservicetoensurethesuccessofprojects,e.g.,organisationsmustcommittoensuringmembersofthecreativeteamwillbemadeavailablefortrainingandparticipationinschoolsworkshops,andthattheirworkloadwillbeadaptedasappropriate.

• Potentiallyrequestparticipatingpubliclyfundedartsorganisationstocommita‘percentforlearning’towardstheservice’sbudget.

• ConsiderhavingPALSoperateinassociationwith(andpotentiallyinresidenceat)appropriatethirdlevelinstitutions(includingCollegesofEducation)andEducationCentreswithrelevantin-houseexpertise.Inadditiontomaximisingtheuseofexistingresources,thiswouldassistinensuringinitialandcontinuingprofessionaldevelopmentareanintegratedpartoftheservice’sactivities.

• Explorephilanthropicandbusinesspartnerships,particularlywithbusinessesthatplaceahighvalueoncreativity,toprovidesupportfortheservice,orforspecificinitiativescarriedoutbytheservice.Forexample,thesupportofafoundationorbusinessmightbesoughtspecificallyforpresentationsandworkshopsthatmakeuseofdigitaltechnologiestoreachawidenumberofschools;anothermightbeapproachedtofacilitatefreeorlow-costtickets

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forsecond-levelschoolstudents;anothermightpotentiallyaddresstransporttoartsperformances;andanothermightbeinterestedinattachingitssup-porttoprogrammesconnectingyoungaudienceswiththeworkofaspecifichigh-calibreperformingartscompany,festivalorvenue

Ininvitingproposalstodesignandpilotthisservice,itisstronglyrecommendedthatTheatreforYoungAudiencesIreland,theNationalAssociationforYouthDrama,theEncounteringtheArtsworkinggroup,IrishTheatreInstitute,TheatreForumandrelevanteducationinstitutes,shouldbeamongthegroupsconsulted.

7.3 Incentiviseinitiativesthatconnectschoolswiththeatre (andotherartforms)throughdigitaltechnology

Introduceaschemetoaddvaluetotheartisticprogrammesofpublicly-fundedartsorganisationsthroughdigitalinterventionstargetingschoolaudiences.SeekthecollaborationoftheNationalCentreforTechnologyinEducation(NCTE),whichoperatesundertheProfessionalDevelopmentServiceforTeachers,indevelopingandimplementingthescheme.Prioritiseproposalsthathavethecapacitytoengagesecond-levelstudentsinhigh-qualityartsexperienceswhilemakingclearconnectionswiththedigitalliteracycomponentsoftheschoolcurriculumandLiteracy and Numeracy for Learning and Life.

Supportfordigitalrecordingsandpresentationsofhigh-qualitytheatreproductionsforschoolaudiencesshouldbebalancedwiththeuseofthesetechnologiestopromoteyoungpeople’sactiveengagementwithartisticprocessesthroughopenrehearsals,interviewswiththecreativeteam,liveonlineworkshops,etc.

Theuseofdigitaltechnologiesshouldalso(oralternatively)bepromotedthroughtheworkofthePerformingArtsLearningServiceasdescribedinSection7.2above.

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7.4 Pilotalocalperformingarts-in-educationpartnership scheme54

Introduceapilotschemetosupportlocalarts-in-educationinitiativeswhichfosterpartnershipsbetweenschools,localartsorganisations,andotherkeyartsandeducationpartnersatlocallevel.Theproposedschemewouldfocusonprovidingstudentswithopportunitiestoexperiencetheperformingartslocallyasanintegratedaspectoftheirlearningatschoolandwouldcomprisethefollowingelements:

• Theschemewouldtargetinitiativesundertakenbyaperformingartsvenue,festival,productioncompany,orotherartsorganisation,togetherwithoneormorestrategiclocalpartners,andaminimumofthreeschools.

• Keystrategicpartnersatlocallevelmightincludethelocalartsoffice,EducationCentre,localVocationalEducationCommittee(VEC),localdevelopmentcompanyorpartnership,oranappropriatelocalthirdlevelinstituteinvolvedinteacherand/orartisteducation.

• Initiativeswouldbeexpectedtodemonstratefinancialsupportfromothersources,includingtheDepartmentofEducationandSkills.Forexample,participatingschoolsmightcommitaportionoftheirschoolbudgettosupportinganinitiative(throughtheJuniorCertificateSchoolsProgramme(JCSP),SchoolCompletion,orotherrelevantprogrammebudget).Participatingschoolsmightalsodemonstratethestafftimewhichwillbeallocatedtowardsaproposedproject.Localartsandeducationpartnerswouldbeexpectedtodemonstratethein-kindorotherresourcestheywillcommittodeliveringaproposedinitiative.

• Theschememightpromoteinitiativesthatconnectyoungpeople’sexperienceoftheartsacrossformalandinformaleducationsettings.Forexample,initiativesinvolvingalocalyouththeatreoryouthartsgroupworkinginpartnershipwithlocalschoolscouldbesupported.

• Theschemecouldpotentiallyprioritiseinitiativeswhichsupportspecialisedcurricularmodulessuchastransitionunitsorshortcoursesaspartofthenewjuniorcycle.

• Initiativesmightinvolveamentorshipmodel,wherebyforexample,schoolsorartsorganisationswithlimitedexperienceindeliveringarts-in-educationprogrammeswoulddrawontheadviceandsupportofpartnerswithrelevantexpertise.

ItisrecommendedthattheArtsCouncilseektheadviceandinputoftheDepartmentofEducationandSkillsandtheNationalCouncilforCurriculumandAssessmentindevelopingtheproposedscheme.Inaddition,theinputoftheDepartmentofChildren

54Itisnotproposedthatthisschemeshouldreplaceexistinglocalartspartnershipschemesinmusiceducationandotherareas.RathertherecommendationproposesthattheArtsCouncilcontinuetobuildonthesegoodexamplesofarts-in-educationprovision.

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andYouthAffairs(DCYA)andpartnersinlocaldevelopmentmightbesoughtwithregardtoartsinitiativesthatcreatelinksbetweenformalandinformaleducationsettings.Theanticipatededucationalandartisticoutcomesoftheschemewillbestrengthenedifthesearejointlyarticulatedandagreed.Inaddition,theArtsCouncilcouldexploreresourcingoptionswithitspartners,includingthepotentialforschoolsandothereducationpartnerstodrawoncomplementaryresourcingmechanismsavailablethroughexistingchannels.

7.5 PresenttheseproposalstotheDepartmentof EducationandSkills(DES)andDepartmentofArts, HeritageandtheGaeltacht(DAHG)

TheArts-in-EducationChartercurrentlybeingdevelopedbytheDESandDAHGsuggeststhatitistimelytopresenttheaboveproposalstotherelevantgovernmentdepartmentsfortheirconsideration.ThesupportofbothdepartmentswillassisttheArtsCouncilinimplementingtherecommendedinitiatives.SecondmentscouldbesoughtfromtheDES,alongwithtargetedsupportfromtheDAHGtoassuretheviabilityofPALS.DESsupportfortheproposedlocalarts-in-educationpartnershipschemeanddigitaltechnologyschememighttaketheformofmatchedfundingand/oranagreementtoidentifyareasofschoolbudgetswhichcanbedirectedtowardstheseschemesandtocommunicatethesetoschools(forexample,throughanofficialcircular)..Similarly,theDESmightcommunicatewithschoolstoindicaterelevantareasoftheirbudgetsthatmaybedirectedtowardsPALSorsimilararts-in-educationinitiatives.

Indrivingtheproposedinitiatives,itisstronglyrecommendedthattheArtsCouncilseektoensureongoingcoordinationandcommunicationbetweentheCouncil’sYoungPeople,Children,andEducationteamandequivalentstaffattheNCCA,PDSTandrelevantseniorofficersintheDES,DAHGandDCYAwhereappropriate.TheCouncilshouldseektobuildontherelationshipsandconversationsdevelopedoverthecourseofthisreviewwithpartnersineducation.Inparticular,itisrecommendedtocontinuediscussionswiththeNCCAwithregardtothedevelopmentofshortcoursesforjuniorcycle,andparticularlytheproposedcourseonartisticperformance.

TheArts-in-EducationChartercurrentlybeingdevelopedbytheDAHGandtheDESsuggestsagrowingcommitmentonthepartofbothMinisterstoensuretheartsbecomeamoreintegratedandconsistentfeatureofyoungpeople’sexperienceatschool.ItisrecommendedthattheArtsCouncilsharethisreportwiththerelevantdepartmentsandnationalagenciesattheearliestopportunitywithaviewtoinformingtheCouncil’songoingdialoguewiththesepartners.

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APPENDICES

Appendix A:

AdvisoryGroup

Dr.MichaelFinneran(Chair)Head of Department of Arts and Physical Education,MaryImmaculateCollege,UniversityofLimerick

KevinMcDermottNational Coordinator for English and Modern Languages,ProfessionalDevelopmentServiceforTeachers(PDST),DepartmentofEducationandSkills

DavidGrantLecturer in Drama and Director of Education,SchoolofCreativeArts,Queen’sUniversity,Belfast

EmerMcGowanDirector of Draíocht,Blanchardstown,Dublin

AnnabelleComynArtistic Director,HatchTheatre,Dublin

RichieBallFormer English teacher,St.Patrick’sClassicalSchool,Navan

MarcAtkinsonDublin University Players,TrinityCollege,Dublin

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Appendix B:

Listofperformancesattended

Thefollowingperformanceswereviewedoverthecourseofthereview:

The Hamlet Session,CycloneRepertory,DirectorPeadarDonohoe,TheHelix,Dublin.(Performance,31January2012)

The Romeo and Juliet Session,CycloneRepertory,DirectorPeadarDonohoe,TheHelix,Dublin.(Performance,3February2012)

The Macbeth Session,CycloneRepertory,DirectorPeadarDonohoe,SamuelBeckettTheatre,Dublin(Performance,9February2012)

Macbeth,SecondAgeTheatreCompany,DirectorDavidHoran,TheHelix,Dublin(Performance,9March2012)

Macbeth,IcarusTheatreCollective,DirectorMaxLewendel,AnGrianán,Letterkenny(Performance,26Mar2012)

Twelfth Night,RoyalShakespeareCompany(RSC),DirectorDavidFarr,RoyalShakespeareTheatre,Stratford-upon-Avon(Performance,17April2012)*

*Thisperformancewasprecededbyaday-longconferenceforsixthformstudentsonTwelfth NightledbymembersoftheRSC’screativeteam,andatalkbyDirector,DavidFarr.Theseeventswerealsoattended.

A Doll House,PanPanTheatre,DirectorGavinQuinn,SmockAlleyTheatre,Dublin(Performance,21April2012)

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Appendix C

References:publications,documentsandwebsites

Publications,strategydocumentsandreports

ArtsCouncil,Developing the Arts in Ireland, Arts Council Strategic Overview 2011–2013,Dublin2010

ArtsCouncil,Supporting the production and presentation of theatre: a new approach,Dublin,2010

ArtsCouncil,Art-Youth-Culture: FYI, A Meeting of Young People and Policy Makers, 27–29 March 2010, Report and Arts Council Response,Dublin,2010

ArtsCouncil,Points of Alignment, The Report of the Special Committee on the Arts and Education,Dublin,2008

ArtsCouncil,Artists~Schools Guidelines, Towards Best Practice in Ireland,Dublin,2008

DepartmentofEducationandSkills,Literacy and Numeracy for Learning and Life, The National Strategy to Improve Literacy and Numeracy among Children and Young People 2011–2020,Dublin,2011

DepartmentofEducationandSkills,OECD Project Overcoming School Failure: Policies that Work,NationalReportIreland,Dublin,2011.

DepartmentofEducationandSkills,Key Statistics 2010/2011,Dublin,2011(UpdatedMarch2012)

HibernianConsultingandMartinDrury;Arts, Education and Other Learning Settings, A Research Digest;ArtsCouncil,2008

Barnard,I.Encountering the Arts, A Report on the Encountering the Arts ConferenceThe Irish Museum of Modern Art 5 November 2010,Dublin2011

Benson,C.The Place of the Arts in Irish Education, Report of the Working Party appointed by the Arts Council,ArtsCouncil,1979

DepartmentofArtsEducationandPhysicalEducation,MaryImmaculateCollege,Limerick;Furthering Conversations, A Report on the Creating Conversations Colloquium, 29–30 January 2010;Limerick,2010

Hyland,A.;Entry to Higher Education in Ireland in the 21st Century,DiscussionPaperfortheNCCA/HEASeminaron21stSep2011,NCCA/HEA,2011

NationalAssociationforYouthDrama,Submission to NCCA: Review of the Junior Cycle,November2010

NationalCouncilforCurriculumandAssessment,Towards a Framework for Junior Cycle,November2011

NationalCouncilforCurriculumandAssessment,Innovation and Identity: Ideas for a new Junior Cycle,February2010

NationalCouncilforCurriculumandAssessment,Senior Cycle Key Skills Framework,2009

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Roe,S.;A Consultation with Young People on Reform of the Junior Cycle,OfficeoftheMinisterforChildrenandYouthAffairs,2011

Smyth,E.;Banks,J.;andCalvert,E.From Leaving Certificate to Leaving School: A Longi-tudinal Study of Sixth Year Students;LiffeyPressandtheEconomicandSocialResearchInstitute(ESRI),Dublin,2011

Smyth,E.;Calvert.E;Choices and Challenges: Moving from Junior Cycle to Senior Cycle Education;LiffeyPressandESRI,Dublin,2011

Circulars,guidelinesandsyllabusespublishedbytheDepartmentofEducation andSkills(formerlyDepartmentofEducationandScience)

TransitionYearProgrammes–GuidelinesforSchools

NCCA,TransitionUnitTemplate

HomeSchoolCommunityLiaison(HSCL)–GuidelinesforSchools

JuniorCycleEnglishSyllabus

JuniorCertificateEnglishGuidelinesforTeachers

JuniorCycleGaeilgeSyllabus(AnTeastasSóisearach)

LeavingCertificateGaeilgeSyllabus(CláirnahArdteistiméarachta)

LeavingCertificateEnglishSyllabus

PrescribedMaterialforEnglishintheLeavingCertificateExaminationin2014,Qualifications,CurriculumandAssessmentPolicyUnit,CircularLetter0001/2012,Feb2012

PrescribedMaterialforEnglishintheLeavingCertificateExaminationin2013,Qualifications,CurriculumandAssessmentPolicyUnit,CircularLetter0004/2011,Feb2011

PrescribedMaterialforEnglishintheLeavingCertificateExaminationin2012,Qualifications,CurriculumandAssessmentPolicyUnit,CircularLetter00013/2010,Feb2010

PrescribedMaterialforEnglishintheLeavingCertificateExaminationin2011,Qualifications,CurriculumandAssessmentPolicyUnit,CircularLetter0003/2009,Feb2009

PrescribedMaterialforEnglishintheLeavingCertificateExaminationin2010,Qualifications,CurriculumandAssessmentPolicyUnit,Circular0008/2008,March2008

PrescribedMaterialforEnglishintheLeavingCertificateExaminationin2009,Qualifications,CurriculumandAssessmentPolicyUnit,Circular0006/2007,Feb2007

Websitesofgovernmentdepartmentsandagencies:

DepartmentofArts,HeritageandGaeltacht:http://www.ahg.gov.ie/

DepartmentofEducationandSkills:http://www.education.ie

ArtsCouncilhttp://www.artscouncil.ie

NationalCouncilforCurriculumandAssessment:http://www.ncca.ie/

StateExaminationsCommission:http://www.examinations.ie/

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Websitesandwebresourcesofartsorganisations

RoyalShakespeareCompany(RSC)inStratford-upon-Avon:http://www.rsc.org.uk/education/

TeachingShakespeare(CoursesandprofessionaldevelopmentforteachersofferedbytheRSCinpartnershipwithUniversityofWarwick):http://www.teachingshakespeare.ac.uk/

RSCexampleofinteractivewebperformanceandworkshopforschools:http://www.rsc.org.uk/whats-on/i-cinna/interactive-webcast.aspx

RSCResourceBank:http://www.rsc.org.uk/education/resources/bank/

Shakespeare’sGlobeinLondon:http://www.shakespearesglobe.com/education

PlayingShakespeare(TailoredwebsiteforyoungpeopleoperatedbyShakespeare’sGlobeinLondon):http://www.playingshakespeare.org.uk/

NationalTheatre(UK)Discover:http://www.nationaltheatre.org.uk/discover

BBCBitesizeresources:http://www.bbc.co.uk/bitesize/

BBCBitesizeresourcesforsecond-levelEnglish:http://www.bbc.co.uk/schools/websites/11_16/site/english.shtml

CreativeArtsTeamattheCityUniversityofNewYork(CUNY):http://www.creativeartsteam.org/

TheNewVictoryTheater,NewYork:http://www.newvictory.org/educationMain

BAM(BrooklynAcademyofMusic)EducationProgram:http://www.bam.org/view.aspx?pid=35

CitizensTheatre,Glasgow,TAGProgramme:http://citz.co.uk/tag/

SecondAgeTheatreCompany;AudiointerviewswithmembersofthecreativeteamaspartofMacbeth,directedbyDavidHoran,2012:www.soundcloud.com/secondage

Abbeytheatreresourcepacks:http://www.abbeytheatre.ie/engage_and_learn/resource_packs/

Abbeyresourcepacksspecificallyconsultedforthisreview:

Ball,R.A Teacher’s Resource, Hamlet (by William Shakespeare, directed by Conall Morrison),TheAbbeyTheatre,2005

Ball,R.A Study Guide, The Gigli Concert by Tom Murphy,TheAbbeyTheatre,2004

Lucey,A.;Blackhurst,H.;Kingston,P.,Theatre as a Resource Guidance Notes, The Playboy of the Western World, in a new version by Bisi Adigun and Roddy Doyle.TheAbbeyTheatre,2007(Additionaldocuments:RehearsalDiariesandInterviews,andRespondingtoPlays.)

O’Neill,C.A Teacher’s Resource, A Doll’s House (by Henrik Ibsen in a version by Frank McGuinness)TheAbbeyTheatre,2005

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Appendix D:

Discussionpaperandcallforsubmissions

ReviewoftheatricalpresentationsofprescribedcurriculumplaysforIrishsecond-levelschoolaudiences

DiscussionpaperandCallforsubmissions

TableofContents

1 Backgroundandcontext1.1 Introduction 1.2 Purposeofthereview 1.3 Contextofthereview 2. Keyconsiderations2.1 Artisticquality2.2 Educationaloutcomes2.3 Publicservice–equalityandaccess

3. Submissions3.1 Overviewofthesubmissionsprocess3.2 Yourinterestinthisdiscussion3.3 Essayquestion3.4 Stakeholder-specificquestions3.4.1 Questionsforcurrentorrecentsecond-levelschoolstudents3.4.2 Questionsforteachersandotherprofessionalsinthefield ofeducation 3.4.3 Questionsfortheatreorotherartsprofessionalsengaging withschoolaudiences

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1. Backgroundandcontext

1.1 Introduction

TheArtsCouncilhascommissionedareviewoftheatricalpresentationsofprescribedcurriculumplaysforsecond–levelschoolaudiences.Submissionsareinvitedfromallinterestedpartiestoinformthereviewprocess.Second-levelschoolstudents,teachers,theatreartists,theatreprogrammers,teacher-educators,arts-in-educationspecialists,andothersareinvitedtosharetheirexperiencesinthisarea.ThereviewwillexaminecurrentmodelsofpracticeandpotentialwaystheArtsCouncilmightcontinuetosupportstudents’theatricalengagementwithplaysontheirschoolcurriculum.Submissionsmaybemadeinwritingand/orbyarrangingtospeakdirectlywiththeresearcherappointedtocarryoutthereview.ThedeadlineforsubmissionsisWednesday,4thApril2012at12noon.Contactinformationisincludedbelow,andontheaccompanyingsubmissionform.

1.2 Purposeofthereview

ThepurposeofthisreviewistoassisttheArtsCouncilinconsideringhowbest,incurrentcircumstances,toaddresstheprovisionofqualitytheatricalpresentationsofprescribedcurriculumplaysforsecond-levelschoolaudiences.HowmighttheArtsCouncilensurethatmostsecond-levelstudentsinIrelandhavetheopportunitytoengageinameaningfulwaywiththeatreinthecontextoftheplaystheyarestudyingatschool?Whatmodelscurrentlyexistormightbedevelopedwithregardtothisparticularareaofprovision?

Thepurposeofthisdiscussionpaperandcallforsubmissionsistoensurethatallinterestedstakeholdershaveanopportunitytoinformthereviewprocessbyprovidinginformationontheircurrentpracticesorexperiences,andsharingtheirideasonhowthistypeofworkmightbepresented,developedorsupportedinthefuture.

1.3 Contextofthereview

TheArtsCouncilisthenationalagencyforfunding,developingandpromotingtheartsinIreland.TheCouncilcarriesoutitsworkinpartnershipwiththeartssectorandarangeofothernationalbodies,governmentdepartmentsandlocalauthorities.ThecurrentArtsCouncilstrategy,Developing the Arts in Ireland 2011–2013,buildsonpreviousplansand‘hasadualfocusonsupportingartistsandartsorganisationsandonseekingtoincreasepublicengagementandparticipationinthearts.’

TheArtsCouncilprovidesfundingtoarangeofartsorganisations,venues,festivals,localauthorities,andindividualartistsandpractitionerscreatingworkwith,forandbyyoungpeopleinandoutofschool,andhasdevelopedArtists~Schools Guidelinestoencouragebestpracticeindeliveringarts-in-educationprogrammes.1

1Arts-in-educationreferstotheinterventionsbyartistsandartsorganisationsintothelifeandlearningofyoungpeople,viavisits,residencies,projectsetc.Suchinterventionscanoccurwithinoroutsideoftheschoolbuilding/timetable.Itmightbesaidthattheartistiscentraltothemediationofarts-in-educationexperiences,andthatresponsibilityforthisfieldofendeavourfallsmoreonartspolicy-makersandproviders.Artseducationontheotherhandisunderstoodastheeducationofayoungperson’sartisticandaestheticintelligenceandresponsibilityforitlieswithinprimaryandpost-primarycurriculumprovision.Itmightbesaidthattheteacheriscentraltothemediationoftheartseducationofayoungpersonandtheremitforthislieswitheducationpolicy-makersandproviders.

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Developing the Arts in Ireland 2011–2013includesacommitmenttobuildonthe2008ReportoftheSpecialCommitteeonArtsandEducation,Points of Alignment.TherecommendationsandactionsdevelopedinthatdocumentrequireadualcommitmentbytheDepartmentofArts,HeritageandGaeltacht(DepartmentofArts,SportandTourismatthetimethereportwasdeveloped)andtheDepartmentofEducationandSkills(thenEducationandScience)tobeactedupon.Todate,theserecommendationsremainlargelyunimplemented,dueinparttoincreasingfinancialconstraintsacrossallgovernmentbudgets.Despitethis,Points of Alignmentprovidesastrongrationaleforsupportingarts-in-educationpracticeandremainsanimportantreferencefortheArtsCouncil’songoingcommitmenttothisareaofwork.Theatricalpresentationsofprescribedcurriculumplays,whicharethesubjectofthecurrentreview,mustbeaddressedwithinthisbroaderframeworkofarts-in-education.

WhilethisreviewhasbeencommissionedbytheArtsCouncil,thepolicylandscapeandcurrentprioritieswithintheDepartmentofEducationandSkills(DES),andtheNationalCouncilforCurriculumandAssessment(NCCA)areclearlyofrelevance.TheNCCAiscurrentlydevelopinganewframeworkforJuniorCyclewhichwillbeintroducedforstudentsenteringschoolin2014.ThiswillincludeanewEnglishsyllabus,aswellastheintroductionofshortcourseswhichcanbedesignedbyindividualschools(andmayincludetheatre).Overall,thedevelopmentandimplementationofthecurriculumoverthecomingyearswillbeinfluencedbyLiteracy and Numeracy for Learning and Life – the National Strategy to Improve Literacy and Numeracy among Children and Young People,publishedbytheDepartmentofEducationandSkillsin2011.

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2. Keyconsiderations

2.1 Artisticquality

AkeyconsiderationfortheArtsCouncilacrossallartformsandartspracticesisquality.TheArtsCouncilbroadlyconsidersartisticworktobeofahighqualitywhenitisambitious,original,technicallycompetent,andconnectswithpeopleinalastingway.2

Atheatricalpresentationforyoungaudiencesmightbeconsideredambitiousandoriginalintheproductionchoicesmade.Inaimingtocreatethehighestqualitytheatre,thedirectionandconcept(includingdesign,casting,performances,etc.)maybesignificantlyinformedandenhancedbyacompany’sknowledgeofitstargetaudience,impactingontheoverallambitionandoriginalityofthework.

Similarly,avenueorfestivalmaybeambitiousandoriginalinthemannerinwhichitprogrammesandcontextualisesplaysforyoungaudiences.Forexample,anumberofhighqualityperformancesmightbemadeavailablespecificallyforyoungaudiences,orrichandengagingcomplementaryprogrammesmightbeofferedforteachersandstudents.Avenuemightplayanimportantroleinfosteringarelationshipwithlocalschoolsandwithyoungpeopleinanarea,thusfacilitatingtheirexperienceoflivetheatre.

Asdescribedabove,theoverallqualityofatheatricalpresentationwilldependonthemannerinwhichitresonateswithitsaudienceinalastingway.Second-levelstudentsattendingaperformancemaybewellplacedtoconnectwiththeexperienceinanindepthwayiftheyareintheprocessofexploringtheplaythroughclassdiscussionsandassignments.Ontheotherhand,notallschoolstudentsattendingaplaywillhaveapriorinterestintheatreandmayviewtheexperienceprimarilyasavehicletoassistthemwiththeirexams.Thispresentsapotentialchallengeinensuringaperformancewillresonatewiththeseyoungpeopleonapersonalandimaginativelevel.

Whilethetheatreexperienceinitselfmustsuccessfullyengagetheinterestandimaginationoftheaudience,itmayalsobearguedthatthemannerinwhichthatexperienceismediated,whetherbytheteacher,orbyarts-in-educationspecialistsonbehalfofatheatrecompanyorvenue,orbysomecombinationofthese,islikelytoimpactontheoverallqualityoftheengagementfortheyoungaudience.Forexample,ifstudentshavehadtheopportunitytoengagewithascript‘ontheirfeet’asanensembleofactorsmight,oriftheyhavebeenintroducedtotheprocessofinterpretingaplayforthestage,theyareperhapsmorelikelytobeabletoengagemeaningfullywithaperformanceasaudiencemembers.

Thesamequalityconsiderationscanbeappliedtoanymodelofartisticengagementtargetingsecond-levelstudentsandtheirteachers.Anartisticprocesswhichdoesnotincludeapresentationorperformancewouldbeconsideredtobeofahighqualityifitisartisticallyambitious,original,andtechnicallycompetentinitsdesignanddelivery,andconnectswiththeparticipants(teachersorstudents)inalastingway.

2ThisunderstandingofqualityisreferencedintheArtsCouncil’svariousawardguidelines.ItwasdevelopedbyFrancoisMatarasso:Weighing Poetry – exploring funding criteria for assessing artistic quality,Matarasso,F.,TheArtsCouncil(2000).

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2.2 Educationaloutcomes

TheArtsCouncil’sgoalsinprovidingqualitytheatreandartsexperiencesforyoungpeopleappeartobebroadlycompatiblewiththeDepartmentofEducation’sgoalsforyoungpeopleaslearnersfollowingthesecond-levelschoolcurriculum.Itseemslogicalthatyoungpeoplewhohavetheopportunitytoengageinameaningfulwaywiththeatreasaliveartformwillbeinabetterplacetounderstandandexploredramaticworksonthecurriculum.Morebroadly,thereisclearevidencetosuggestthatbyengaginginhighqualityartsexperiences,studentsaremorelikelytodevelopboththecoreandhigherlevelliteracyskillswhichtheyneedtosucceedatschool.3However,theextenttowhichallyoungpeoplemighthaveaccesstoqualityartsprovisiondependsnotonlyonthequalityofprogrammesmadeavailablebytheprofessionalartssector,butontheextenttowhichtheseareconsideredanessentialpartofastudent’slearningexperienceatschool.Thisraisesthefollowingquestions:

• Fromthepointofviewofdeliveringthecurriculum,andthestudyofprescribed playsinparticular,whatlevelofengagementwithlivetheatre,ifany,isessential foryoungpeopletoexperience?

• Whatshouldtheroleoftheprofessionaltheatrecommunityandarts-in-education specialistsbeinfacilitatingthatexperience?

• Doesthecurriculumpre-supposethatstudentswillbeabletofullyappreciate adramatictextontheirEnglishorIrishsyllabuswithoutseeingitperformedlive? Isitacceptablethatstudentsmightexploretheirdramatictextspurelyasliterary works?Orisitsufficientforthemtoseefilmedinterpretationsofprescribed plays,wheretheseexist?

• Fromaneducationalperspective,isitimportantthatallyoungpeopleshould experienceprofessionaltheatreasaudiencemembersatsomepointas second-levelstudents?

• Ifstudentsexperienceahighqualityliveperformanceofanyplay,whichisnot necessarilyprescribedontheEnglishorIrishsyllabus,howmightthisexperience assistthemwhenapproachingtheprescribedplays?

• Areactivitiesandprogrammesthatintroducestudentstotheprocessofmaking theatreessentialindevelopingstudents’literacyskillsbothasaudiencemembers, andasreadersoftheirprescribeddramatictexts?

• Acknowledgingthatdrama/theatreisnotcurrentlyasubjectinitsownrightat second-level,whatcommongoalsmightexistforartists,teachersandstudents inrelationtotheatreandtheschoolcurriculum?

• Inwhatwaysmightmembersofthetheatreandeducationcommunitieswork together(orcontinuetoworktogether)tosupportyoungpeopletoengagein qualitytheatreexperiences,whichassisttheminmeetingtheircurriculumgoals?

3Bamford,A.(2006)The wow factor: global research compedium on the impact of the arts in education,Germany:WaxmannVerlagGmbH

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2.3 Publicservice–equalityandaccess

TheArtsCouncilaimstoensureequalaccesstoqualityartsexperiencesforyoungpeople.

“Therearesomeonemillioncitizenswhomightbecharacterisedasthe‘targetpopulation’ofYoungPeople,Children,andEducation(YPCE)provision.Theirnumberandtheireconomicdependence,combinedwiththecritical,developmentalnatureofchildhood,arefactorsthatcontinuetoinformYPCEpoliciesthatareaimedatestablishingequalaccesstoqualityartsexperiences...”(ArtsCouncilwebsite:YPCE.)

Whenconsideringreachingthewidestnumberof12-18yearolds,thepotentialdemandfortheatricalpresentationsofplaysprescribedacrossallsecond-levelschoolsinIrelandissignificant.Yetthecurrentbudgetaryconstraintsacrosstheartsandeducationsectorsrequirerealistictargetsregardingwhatmodelsofprovisionmightreachanacceptablenumberofstudents.Withregardtomakingqualityartisticexperiencesaswidelyaccessibleforyoungpeopleaspossible:

• ShouldpresentationsofprescribedplaysbeprioritisedforsupportbytheArts Councilwhenconsideringtheatreprovisionforsecond-levelaudiences?

• Whatmodelsofprovisionwouldensurethatthewidestnumberofsecond-level studentswouldhaveaccesstotherichestformsofengagementwiththeatre?

• Ifavarietyofprofessionaltheatre‘offers’forsecond-levelstudentsandteachers aretobesupportedbytheArtsCouncil,whateducationaloutcomeswould ensureanappropriatedemandandinterestfromschools?

• Overall,whatshouldtheroleoftheprofessionaltheatrecommunityandof arts-in-educationspecialistsbeinfacilitatingsecondlevelschoolstudents’ exposuretoandexperienceoftheatre,inthecontextoftheplaystheyare studyingatschool?

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3. Submissions

3.1 Overviewofthesubmissionsprocess

Submissionsareinvitedfromallinterestedpartiesinresponsetoanyaspectofthisdiscussionpaper,andinparticulartothequestionsposedinSection2above(KeyConsiderations).Youareinvitedtoofferyourperspectiveonanyoftheseissuesbasedonyourownexperience,andtoraiseanypertinentissueswhichyoufeeltheArtsCouncilshouldkeepinmindwhenconsideringthefindingsofthisreview.Whileallobservationsarewelcome,contributorsareencouragedtofocusonpotentialsolutionstosomeofthequestionsraised.

AsubmissionformisavailableontheArtsCouncilwebsiteandisdividedintothreeparts:

1.Yourinterestinthisdiscussion

2.Narrativeresponse

3.Stakeholder-specificquestions

Allsubmissionsshouldindicateinwhichcapacityyouwishtoparticipateinthisdiscus-sion.Pleasesee3.2belowformoredetails.Schoolstudentsmayprefertoframetheirnarrativeresponseasashortessayfollowingthepromptsinsection3.3below.Inad-dition,insection3.4,students,teachers,andtheatre/artsprofessionalsareinvitedtoanswerspecificquestionsrelatingtotheirownexperiences.

Writtensubmissionscanbesentbyemailto:seonani@gmail.comandmustbereceivedbyWednesday,4thApril2012at12noon.Ifyouwishtosetupatimetospeakwiththeresearcher,pleasesendanemailtoseonani@gmail.comassoonaspossibleindicatingyourinterestandhowyoucanbecontacted.

Yourinputintothisreviewprocessisgreatlyappreciated.

3.2 Yourinterestinthisdiscussion

(Seepart1ofthesubmissionform.)Pleaseprefaceyoursubmissionbyindicatingwhichofthefollowing–orwhichcombinationthereof–appliestoyouandisrelevanttoyourresponse.Onyoursubmissionform,pleaseindicateifyouwishtocontributetothisdiscussionas:

• Acurrentsecond-levelschoolstudentinIreland (Pleaseindicatewhetheryouarea1st,2nd,3rd,4th,5thor6thyear.)

• Aformersecond-levelschoolstudentinIreland (Pleaseindicatetheyearyoufinishedschool.)

• Aschoolteacher/schoolprincipal

• Aparent/primarycarer

• Anaudiencemember/memberofthetheatre-goingpublic

• Atheatreprofessional

• Anarts-in-educationspecialist

• Ateacher-educator

• Anacademic

• Other(Pleasespecify.)

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3.3 Essayquestion

(Seepart2ofthesubmissionform.)

Youmayprefertoframeyoursubmissionasanessayinresponsetooneofthefollowingprompts.

“Aplaydoesnotliveonapage.Itneedstobeperformedtobeappreciated.”Discuss,withreferencetoanyplayorplaysyouhavestudiedatschool.

OR

“Whoneedslivetheatrewhenyoucanwatchafilm?”Discuss,withreferencetoanyplayorplaysyouhavestudiedatschool.

3.4 Stakeholder-specificquestions

(Seepart3ofthesubmissionform.)Takingaccountofthecurrentpracticesandexperiencesofkeystakeholdersisfundamentaltothereviewprocess.Ifyouareastudent,teacher,theatreprofessionalorarts-in-educationspecialist,pleasetakeafewmomentstode-scribeyourexperienceinresponsetothequestionsbelow.

3.4.1 Ifyouareacurrentorrecentsecond-levelschoolstudent(pleaseindicate whichyearyouarein):

• Whatplayshaveyoustudiedinschool?Haveyouseentheseplaysperformed? Ifso,whereandwhen?

• Howdidyourexperienceoflivetheatreimpactonyourunderstandingoftheplay?

• Whatwerethemostexcitingorengagingaspectsoftheplayyousawperformed?

• Doyoufeelitisessentialforallstudentstoviewaprofessionalproductionof theplaysyouarestudying?Why/Whynot?

• HaveyoubeentoseetheatreperformancesofplaysyouareNOTstudyingin school?Ifso,howwouldyoudescribethoseplays?Howdidyourexperience ofthoseplayscomparetoyourexperienceoftheplaysyouarestudyingatschool?

• Doyouhaveaninterestintheatreorperformanceoutsideofschool?Ifso,please describeyourexperience(forexample,areyouamemberofayouththeatre?).

• Doesyourexperienceoftheatreoutsideofschoolhelpyouinanywaywithyour schoolstudies,ordoyouviewitascompletelyseparate?

3.4.2 Ifyouareateacherorotherprofessionalinthefieldofeducation(please indicateyoursubjectorareaofwork):

• Inyouropinion,isalivetheatreexperienceessentialforsecond-levelstudentsto fullyengagewiththeirprescribedcurriculumplays?Ifso,why?Orifnot,whynot?

• Howoftendoyoubringyourstudentstoseeprofessionaltheatre?Arethe productionsalwaysofprescribedplays?Pleaselistanyrecentproductionsthey haveattended,andthecompanyorvenuepresentingthework.

• Doyouintroduceyourstudentstotheatreinanyotherway?Forexample,doyou conductdramaactivitiesinyourclassroomwhenstudyingtheprescribedplays?

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• Haveyouexperiencedanyothermodelsorprogrammesofferedbythe professionaltheatrecommunityforstudentsand/orteachers?Ifso,please describethisexperience.

• Doyoufindithelpfulifatheatrecompanyorvenueoffersworkshopswith teachersand/orstudents,compilesatheatreresourcepack,ormediatesa productioninanyotherway?Doyouconsidertheseaspectstoforman essentialpartofthetheatreexperience,ornot?

• Whatareyouraimsinbringingyourstudentstolivetheatreproductions?

• Hasyourstudents’experienceofprofessionaltheatrehelpedthemtomeet theircurriculumrequirements?

• Whatmodelsorprogrammeswouldyouliketoseeofferedbytheprofessional theatrecommunityforstudentsandteachers?

3.4.3 Ifyouareatheatreorotherartsprofessionalengagingwithschoolaudiences:

• Pleasedescribeyourmodelofpracticewhenengagingwithschools(i.e.what doyoudo?)

• Doyoupresentplayswhichareontheschoolcurriculum?Ifso,whichones?

• Whatareyourartisticand/oreducationalaims?

• Whatresources(financialandotherwise)facilitateyourwork?

• Whatchallengesdoyouexperienceindeveloping,presentingorprogramming workforsecond-levelaudiences?

• Inwhatways,ifany,doyouconsideranaudienceofsecond-levelstudentsto differfromageneraltheatre-goingaudience?

• Doesthemannerinwhichyouapproachthedevelopmentandpresentationof workforanaudienceofsecond-levelschoolstudentsdifferinanywayfrom worktargetedatamoregeneralaudience?Ifso,whatisdistinctiveaboutthe wayyoudevelopworkforanaudienceofsecond-levelschoolstudents?

• Howdoyoumarketyourperformances/programmestoschoolaudiences?

• Howdoyougatherfeedbackfromschoolsandinwhatwaydoesthisimpact ontheplaysyouprogrammeordevelop?

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Appendix E:

Listofformalsubmissionsreceived

(Listedalphabetically,artssectorfirst,theneducationsector)

Organisation/Affiliation: Submittedby:

AbbeyTheatre PhilKingston,CommunityandEducation Manager

CycloneRepertory PeadarDonohoe,Director;andMarcusBale, CompanyManager

Draíocht EmerMcGowan,Director*

FíbínTeo. DarachOTuairisg,StiúrthóirBainistíochta

GraffitiTheatreCo. EmelieFitzgibbon,ArtisticDirector/CEO

Independent/Actor (Anonymous–hasworkedwithTeamand SecondAge)

NationalAssociationforYouthDrama MichelleCarew,Director

ProjectArtsCentre CianO’Brien,ArtisticDirector

RedKettleTheatreCo. BenHennessy,ArtisticDirector

SecondAgeTheatreCo. LindaKeating,CompanyManager

TheatreLovett MuireannAhern,Co-ArtisticDirector

TheatreRoyal BenBarnes,Director

DepartmentofEducationSkills KevinO’Donovan,Literacy,Numeracy,Post-PrimaryInspectorsofEnglish CurriculumandAssessmentUnit

IrishNationalOrganisationofTeachers MaryO’Farrell,INOTEChairofEnglish(INOTE)

NationalCouncilforCurriculum DeclanO’Neill,EducationOfficerforEnglishandAssessment

ScoilDaraEnglishDepartment,Kilcock AudreyHughes

Teacher(NewtownSchoolWaterford) EdwardDenniston

Teacher(FormerChair,INOTE) LarryCotter,FormerINOTEChair

Teacher(MemberofINOTE) RóisínNíMhoráin

*AlsomemberofAdvisoryGroup

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Appendix F:

Listofmeetings,conversationsandemails

Inadditiontotheformalsubmissionsreceived,representativesfromstakeholderandexpertgroupssharedinformation,perspectivesandclarificationsthroughin-personmeetings,telephoneconversationsandemails.

AbbeyTheatre PhilKingston,CommunityandEducation Manager;AndreaAinsworth,VoiceDirector

AntSeirbhísTacaíochtaDaraLeibhéal IdeNíMhoráindonGhaeilge

ArtsCouncil MartinDrury,ArtsDirector;GayeTanham, HeadofYPCE;JohnO’Kane,ArtsDirector; DavidParnell,HeadofTheatre

ClareYouthTheatre EleanorFeely,ArtisticDirector

DepartmentofEducationSkills KevinO’Donovan,Literacy,Numeracy,Post-PrimaryInspectorsofEnglish CurriculumandAssessmentUnit

DublinTheatreFestival WillieWhite,ArtisticDirector

Druid TimSmith,GeneralManager

HomeSchoolCommunityLiaison(HSCL) MaryFagan,HSCLTeacherTeacher,St.Tiernan’sCommunityCollege

IrishFilmInstitute AliciaMcGivern,HeadofEducation

NationalCouncilforCurriculum DeclanO’Neill,EducationOfficerforEnglishandAssessment(NCCA)

NCCA JohnHalbert,Director(Re:JuniorCycle ShortCourses)

PanPan GavinQuinn,Co-ArtisticDirector

PoetryIreland JaneO’Hanlon,EducationOfficer

ProfessionalDevelopmentService KevinMcDermott,NationalCoordinatorforTeachers(PDST) forEnglishandModernLanguages*

RoyalShakespeareCompany MilesTandy,HeadofEducationPartnerships andTracyIrish,EducationProgramme DeveloperWSF

SecondAgeTheatreCo. AlanStanford,ArtisticDirectorandLinda Keating,GeneralManager

*AlsoamemberoftheAdvisoryGroup

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Appendix G:

YoungCriticsfocusgroupparticipants,13April2012

NationalAssociationforYouthDrama(NAYD)YoungCriticsFocusGroupFocusGroupfacilitatedbyAlanKingandSeónaNíBhriainMarinoInstituteofEducationFriday,13April2012

FocusGroupParticipants(Name,AgeandCounty)

AaronMullaney(17) Roscommon

AmakaAttoh(17) Louth

AoifeMarieO’Donnell(17) Mayo

AoifeLanigan(17) Clare

ArtKelleher(18) Cork

CarolineAllen(16) Sligo

EimearDeery(16) Monaghan

KimMolloy(18) Kildare

LukeCasserly(16) Longford

MadiO’Carroll(16) Wexford

MeganMoroney(16) Louth

NiamhMcCormack(16) Kildare

RobertGalvin(17) Cork

SarahBrett(16) Dublin

SadhbhKeating(16) Kerry

SarahMcGoohan(17) Donegal

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Appendix H:

Forumparticipantsandoutline,21April2012

ForumdiscussionandworkshopSaturday,21April,2–5pmSmockAlleyBanquetHall,DublinFacilitators:AndreaAinsworth,Dr.MichaelFinneranandSeónaNíBhriain

Theforumdiscussionandworkshopprovidedanopportunityforstakeholdersfromtheartsandeducationsectorstodiscusstheirexperiencesandperspectivesonthereviewtopicinacollaborativesetting.ThefeedbackgeneratedinformedSection5ofthereport.

Forum Participants

AbbeyTheatre AndreaAinsworth

AbbeyTheatre PhilKingston

ArtsCouncil GayeTanham

ArtsCouncil MartinDrury

ArtsCouncil LizComan

AssociationofDramainEducationinIreland(ADEI) AnnieÓBreacháin

CycloneRepertory MarcusBale

CycloneRepertory PeadarDonohoe

DESEnglishInspectorate KateO’Carroll

DraíochtArtsCentre EmerMcGowan*

DublinUniversityPlayers MarcAtkinson*

Fíbín DarachOTuairisg

AntSeirbhísTacaíochtaDaraLeibhéaldonGhaeilge ÍdeNíMhoráin

GraffitiTheatreCo. SileNiBhroin

MannymanComics JohnRuddy

MaryI,UniversityofLimerick MichaelFinneran*

NationalAssociationforYouthDrama(NAYD) MichelleCarew

NationalCouncilforCurriculumandAssessment(NCCA) DeclanO’Neill

ProfessionalDevelopmentServiceforTeachers(PDST) KevinMcDermott*

QueensUniversity DavidGrant*

RedKettleTheatre BenHennessy

SecondAge LianneO’Shea

SecondAge LindaKeating

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Student MariaForrest

Student/DublinYouthTheatre EricMoran

Student/DublinYouthTheatre HannahDempsey

Student/DublinYouthTheatre BeccaGrogan

Teacher ElaineDobyn

Teacher CathyDevis

Teacher AnnO’Meara

Teacher EdwardDenniston

Teacher MichaelBrennan

Teacher RichieBall*

TeamTheatreandNAPDCreativeEngagement DerekWest

TeamTheatre JohnBreen

TheatreForumIreland IrmaMcLoughlin

*Advisorygroupmembers

Forum Outline

• WelcomebyMartinDrury,ArtsDirector,TheArtsCouncil/AnChomhairleEalaíon.

• IntroductiontothereviewprocessandformatofthedaybySeónaNíBhriain.

• WorkshopwithAndreaAinsworth,AbbeyTheatre–exploringdramatictexts.

• Smallgroups,sessionone:goals,resources,barriers. Forumparticipantsdividedintofourstakeholdergroups–teachers;students; artsprofessionals;thirdlevelinstitutionsandnationalagencies.Theyresponded tothefollowingprompts:

Inthecontextofcurriculumplays,

• Whatareourgoals?

• Whatcurrentresources/infrastructuredowehavethatcanassistindeliveringgoals?

• Whatcurrentobstacles/barriersdoweface?

Shortbreak

• Feedbackfromsmallgroups,sessionone,ChairedbyDr.MichaelFinneran

• Smallgroups,sessiontwo:partnership,training,support Participantsformedthreegroups,eachwithadifferentquestiontodiscuss:

• Groupone:HowmighttheDepartmentofEducationandSkills,ArtsCouncil, NCCAandothernationalbodiesworkinpartnershiptofurthermutualgoals?

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• Grouptwo:Howcanteachersbesupportedtoproviderichandengagingtheatre experiencesforstudentswhiledeliveringthecurriculum?

• Groupthree:HowshouldtheArtsCouncilsupportartistsandartsorganisations tocreate/presenthighqualitytheatreexperiencesforsecond-levelstudents?

• Feedbackandplenarydiscussion,ChairedbyDr.MichaelFinneran

SeveralparticipantsattendedPanPan’sproductionofA Doll HousebyHenrikIbsen,whichplayedattheSmockAlleyTheatrethatevening.

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Appendix I:

Suggesteddramaresourcesandplays,JuniorCycle

Thefollowinginformationisextractedfrom‘JuniorCertificateEnglish–GuidelinesforTeachers’.ThefulldocumentmaybeaccessedthroughtheCurriculumOnlinesectionoftheNationalCouncilforCurriculumandAssessmentwebsite.

Drama 1st Year – Suggested Resources (p. 8)

The Windmill Series(6OneActPlays) (Heinemann)

Play Ten–10ShortPlays EdwardArnold

It’s Your Choice–SixRole-playingExercises MichaelLynch(EdwardArnold)

Drama World Series S.Fitzpatrick(CambridgeEduc.)

Plays Plus Series (CollinsEducational)

100+ Ideas for Drama Scher&Verrall(Heinemann)

Another 100+ Ideas for Drama Scher&Verrall(Heinemann)

Drama 2nd and 3rd Year – Suggested Resources (p.13 and p.16)

The Tinker’s Wedding J.M.Synge

Riders to the Sea J.M.Synge

The Shadow of a Gunman S.O’Casey

On the Outside T.Murphy

The Pot of Broth W.B.Yeats

The Proposal A.Chekov

Julius Caesar W.Shakespeare

Henry IV, Part 1 W.Shakespeare

The Merchant of Venice W.Shakespeare

Romeo and Juliet W.Shakespeare

The Royal Hunt of the Sun PeterShaefer

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Appendix J1:

PrescribedListsforLeavingCertificateEnglish2012

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Appendix J2:

PrescribedListsforLeavingCertificateEnglish2013

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Appendix J3:

PrescribedListsforLeavingCertificateEnglish2014

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Appendix J4:

AmendmentstotheIrishLanguageLeavingCertificate Syllabus2012–2014

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