Gavin Bolton's Contextual Drama

Margaret R. Burke

Description

Gavin Bolton’s Contextual Drama is the result of more than two decades of study of Bolton’s theory and practice. For teachers and those in the caring professions, it will clarify the power of contextual drama as a beneficial learning medium for children and adults, both within and beyond the classroom. The core of the book is a detailed analysis of nine examples of the contextual drama mode; the first five demonstrate and analyse Bolton’s practice with children and young people and the final four describe his teaching with adults. Each chapter is framed by an introduction that contextualizes Bolton, from his initial beginnings working with visually and aurally-challenged children to his position as reader in drama at Durham University. The final two chapters offer reflection on the nature of this work and, in particular, the significance of Bolton’s contributions to education.

 

Introduction – Gavin Bolton’s Improvised Drama in Schools: A History of Confusion

Chapter 1: What Exactly is Contextual Drama? 

Chapter 2: Why Should I Use Contextual Drama? 

Chapter 3: How to Use Contextual Drama: The Ins & Outs 

Chapter 4: Case Studies 

Part I: Bolton in the 1980s 

Case Study 1: Theresa 

Case Study 2: Violence 

Case Study 3: The Haunted House – The Gatekeeper and The Key

Case Study 4: Drunken Robbers – Orpheus 

Case Study 5: The Crucible 

Part II: Bolton in the 1990s 

Case Study 6: The Sleeping Beauty 

Case Study 7: The Green-Poolers – Victimization

Case Study 8: The Sacred Mountain 

Case Study 9: Maria: A Drama of Oppression

Chapter 5: The Importance of Reflection & Assessment 

Chapter 6: Try, Try and Try Again: Stepping Out with Annie 

Appendix A: Gavin Bolton’s Writings 

Appendix B: Gavin Bolton’s Travels & Awards

Sujets

• Performing Arts
• EDUCATION
• Theatre
• Performance art
• General officer
• General

Informations

• Publié par: Intellect Books
• Date de parution: 01 juillet 2013
• Nombre de lectures: 0
• EAN13: 9781783200641
• Langue: English

Extrait

First published in the UK in 2013 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2013 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Series: Theatre in Education
Series ISSN: 2049-3878
Cover designer: Stephanie Sarlos
Copy-editor: Ed Hatton
Production manager: Jessica Mitchell
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-003-0
ePDF ISBN: 978-1-78320-063-4
ePub ISBN: 978-1-78320-064-1
Printed and bound by Hobbs, UK
Dedication
This book is dedicated to the memory of a most remarkable woman, teacher, scholar, mentor and friend – Dr Barbara May McIntyre, a proud Canadian from Moosejaw, Saskatchewan, whose own career circa World War II began as a teacher in a one-room schoolhouse on the prairies. After many years of studying, teaching and writing in the United States, her career moved to a close in Canada at the University of Victoria (UVIC), on Vancouver Island. In October of 1981, her vision, energy, people skills and quiet determination resulted in the opening of a beautiful, multi-purpose, up-to-the-minute Theatre building on the UVIC campus. It contained three theatre spaces, one of which was the teaching space for a new venture – an academic and practical programme in Drama and Theatre in Education, of which she became the first academic director.
Academic research, thinking, and writing at the required level was anathema to me; it almost cost me my career. Dr McIntyre wisely decided that she was not the person to shepherd me through the mysterious depths of academe; however, she thoughtfully passed me on to her new staff member, Professor Juliana Saxton, as her teaching assistant. This was to be a position in which practice and theory began to travel side-by-side; so all was well. Barbara McIntyre knew people… It was a smart decision, which enabled us to remain good friends for the rest of her life. Greatly missed – she will always remain with me in spirit.
Table of Contents
Acknowledgements
Foreword
By Dr John O’Toole
Preface
Introduction
Gavin Bolton’s Improvised Drama in Schools: A History of Confusion
Chapter 1:What Exactly is Contextual Drama?
Chapter 2:Why Should I Use Contextual Drama?
Chapter 3:How to Use Contextual Drama: The Ins & Outs
Chapter 4:Case Studies
Part I: Bolton in the 1980s
Case Study 1: Theresa
Case Study 2: Violence
Case Study 3: The Haunted House – The Gatekeeper and The Key
Case Study 4: Drunken Robbers – Orpheus
Case Study 5: The Crucible
Part II: Bolton in the 1990s
Case Study 6: The Sleeping Beauty
Case Study 7: The Green-Poolers – Victimization
Case Study 8: The Sacred Mountain
Case Study 9: Maria: A Drama of Oppression
Chapter 5:The Importance of Reflection & Assessment
Chapter 6:Try, Try and Try Again: Stepping Out with Annie
Appendix A: Gavin Bolton’s Writings
Appendix B: Gavin Bolton’s Travels & Awards
Bibliography
Acknowledgements
To my family in New Zealand, I am deeply grateful that in 1977, they encouraged me to take some courses in Theatre – for which I had always had a passion – at the University of Dalhousie, Halifax, Nova Scotia. None of us ever imagined that the project would last more than a year, but such was my enthusiasm that it lasted three, and left me with a burning desire to know more.
To Dr Barbara McIntyre, for the invitation and fellowship to further my studies, and for introducing me to the work of Dorothy Heathcote, without which I would never have discovered the work of Gavin Bolton.
To Juliana Saxton for insisting that I apply for Norah Morgan’s teaching position upon her first retirement in 1987. Having served as a part-time instructor in Drama and Theatre in Education in the Theatre Department at Brock University, Norah was a great support to me, within the university, as well as throughout the Niagara Peninsula and further afield. On her second ‘retirement’ – well into her eighties – Norah was awarded a well-deserved Honorary Doctorate for her services to Education at Brock.
To my Drama and Theatre in Education students at Brock University’s Theatre programme, for making the journey towards understanding the unique Drama approaches of Dorothy Heathcote and Gavin Bolton both interesting and satisfying. Every year as the number of students grew, so did the programme, which I developed over my 11-year tenure, reluctantly retiring upon reaching the official provincial retirement age of 65. With St Catharines being near Toronto, my students and I benefited from the short teaching visits of overseas Drama colleagues. This was valuable in-servicing for me and enriching for my students, as each guest offered a different approach to the discipline of Drama in Education.
To the many Niagara schools whose support of my Drama students enabled them to ‘spread their drama wings’ with children for the first time, with well-prepared end-of-year teaching sessions – a requirement for their university academic assessment.
To the long-established Council of Ontario Drama Educators (CODE), an organisation that offers membership to Drama teachers from schools, colleges and universities in Ontario, and provides an excellent annual conference, which features two and a half days of practical workshops and visiting speakers from overseas. For over 30 years, CODE also funded a well-respected annual journal, Drama Contact , until it became too costly to produce – the last 11 years of which I had the pleasure of collating and editing.
To Dr Gavin Bolton, I am honoured and grateful for his kindness in reading and editing for theoretical accuracy and intention, the nine case studies which describe his work in close detail: and for his trust, generosity and kindness in promptly supplying me with all manner of information for this book.
To Ms Joan Bulger, copy editor for the University of Toronto Press, for her ‘outside eye’ readings of the nine dramas – the core of this book. She ensured that meaning was made clear for readers unfamiliar with Bolton’s work.
To Juliana Saxton and Stephanie McIntosh, who under pressure of time, ensured the application to the publisher was fulfilled, made sense, and was submitted – on time.
To Intellect, for accepting the publication of this book by a relatively unknown writer in the field of Drama and Theatre in Education.
To Stuart McIntosh, sincere thanks for his willing, patient and able assistance in putting together the chapters of this book in a form which readers can enjoy as a ‘good read’, while encouraging them to feel inspired to step out on new pathways for themselves. With his assistance, I am grateful to have the opportunity to bring awareness to the extraordinary educational opportunities of time past, present and for the future, that both Gavin Bolton and Dorothy Heathcote have brought to teaching and learning in the new millennium.
To the many friends who graciously and thoughtfully perused many drafts for the beginning of this book, and for their thoughtful responses, grateful thanks are due. Likewise, to the computer-literate people who responded often to my emergency calls, for their constant help without which this book would never have arrived at journey’s end!
To Dr John O’Toole, I am indebted for his agreement to write the foreword to this book. I appreciate his generosity of time taken out of his own – no doubt busy – retirement schedule, but also perhaps as an interesting closure for his own long-time exposure to Bolton and his work. 1
Finally, to Gavin and his wife Cynthia, for their patience, tolerance and constant support for this book; the snail-like process for which I truly apologise… but here it is at last, with my grateful thanks and love.
– Margaret R. Burke
NOTE
  1 Dr O’Toole, before sinking roots in Australia, was as a young man an ex-student of both Newcastle and Durham Universities, therefore a historian of these two remarkable teachers – Dorothy Heathcote and Gavin Bolton – in his own right!
Foreword
Gavin Bolton is a remarkable teacher and educator, and this is a remarkable, intensely personal, deeply understood, vivid and detailed book about his work. I am aware that this book has been a labour of love for a decade. Even though I have known and been inspired by Gavin for over 40 years, it has still been an eye-opener for me. For those who are unfortunate enough not to be familiar at first hand with his work – a whole generation, as he effectively retired almost 20 years ago – he perhaps needs some introduction.
GAVIN BOLTON
For half a century, Gavin Bolton has been a pioneer and world leader in the growing field of Drama in Education as a radically innovative and creative pedagogy. This is now a globally used form of classroom practice, partly through the direct and indirect influence of Professor Bolton: directly through the many followers and ex-students – including many of the ‘giants’ in the field – who he has inspired and carefully mentored; indirectly through their work and his own writings.
Throughout his career, Gavin Bolton has been an inspired and inspiring teacher. This was recognized early in his appointment as Drama Advisor in County Durham, England, where he started to refine his practice and critique the work of earlier pioneers in the field. In the 1960s he came under the spell of his own prime mentor, the late Dorothy Heathcote MBE, then teaching at the University of Newcastle upon Tyne. He took her brilliantly innovative educational and artistic practice, and her insightful but ad hoc philosophizing, and more than anybody else turned it into a