The New Drama Classroom

The Drama Classroom continues to evolve.

When I first started teaching after completing my PGCE in 2008, I had to adapt my instruction to five different spaces: one assembly hall, another assembly hall / cafeteria dining area, the cafeteria (teaching with food left overs on the floor was never fun!), a port-a-cabin style classroom and a Drama Studio. Accepting my first position as an Newly Qualified Teacher was an easy decision but accepting in the knowledge of trying to adapt instruction in multiple spaces, with their own unique characteristics and challenges, was testing. Of course, my needs were secondary compared to the eager students' eyes that faced me. These young people already had the preconception of Drama being a 'free time‘ lesson. My cause wasn't helped with having to handle the unexpected such as trying to connect my PowerPoint presentation, attempting to play audio clips or tasked with clearing up tables and chairs from lunch!

All in all, my first years as a teacher were sometimes frustrating and sheer perseverance to evaluate and adapt saw me succeed.

Fast forward 13 years and I would like to think the Drama classroom provision has changed.

Many reading this may well be shaking their heads in disagreement. However, as I embark on my dream position of a Head of Performing Arts of true merit (as opposed to being a 'singleton' one-man dept and by default, a Head of Drama), I am able to draw conclusions on the status of the Drama classroom from teaching in both private and public sectors in America and the United Kingdom:

1. The effectiveness of the new Drama classroom depends upon the culture established by the Senior Leadership Team. If the SLT believe in the subject, the teaching staff will believe. If the teaching staff believe, then the students will believe. If this belief is then transferred across the whole school, then the Drama classroom becomes credible. If weaknesses show within this solid foundation, then weakness is likely to appear within Drama curriculum provision. If we teach Science outside of a laboratory, one cannot safely justify nor predict instruction will be meaningful for students. The same logic must be applied for effective Drama instruction.

2. Schools love Drama! Schools love performance! From Nativity Plays at primary school to whole-school musicals at secondary, from House Drama competitions to summer outdoor plays, Drama brings everybody together. Parents love seeing their children perform - not because of star quality but because of excitement and pride to watch their loved one get up on stage to sing, dance, act. The memory of this moment is priceless and never forgotten. I would also like to make the point that from a business perspective, performance makes money. In the climate of fiscal uncertainty in schools, particularly public sector schools, I would strongly argue that school performance is the best fundraising activity a school can do, from ticket sales to concession sales, to community sponsorships. Performance entertains and it also provides.

3. In relation to the above point, I would like to compare two subjects which I think are connected and draw upon the same systems of instruction. There is a strong pedagogical correlation between Physical Education and Drama Education. Before the academic journey of Drama Specialists, some PE teachers taught Drama as a supplementary subject to bolster their timetable. What PE teachers lacked in Drama subject knowledge was complemented by clear parallels with instruction: the ability to organise large groups, the ability to work in open spaces and constantly adapt their instruction to the environment given, the ability to control the class using controlled voice and non-verbal communication, the need for clear structure, the need to differentiate on the spot and alternate group dynamics, the need to be constantly aware of hazardous activity and health and safety. And yet, within all this, as schools love Drama and performance, so do schools love sport and competition. Every weekly newsletter or bulletin commentates upon sporting success and celebrates failure (quite rightly!) by highlighting effort, teamwork and spirit. Further, every school at every level has an annual Sports Day. These days celebrate competition, they celebrate teamwork and cooperation, and most importantly, they celebrate having FUN! Once again, just like the school musical, parents celebrate seeing their loved ones perform, come first, come last but ultimately, get up and be involved. Just like the school musical, every parent will remember Sports Day!

So, what's my point? The argument that Drama deserves credibility among core academic subjects has been made for years. However, to achieve this credibility, the drama classroom must be transformed into the ‘new’ drama classroom. A new approach towards Drama Education must be adhered to. The idea that Drama Education is flawed academically is an ill-perceived preconception that needs addressing. Drama Education is powerful. Aside from performance skills, the subject has enormous depth that teaches business skills such as budgeting and marketing to design skills of costume and set. To be able to teach content and allow these skills to be truly effective, the Drama classroom needs to change. It needs to be purposeful and adaptable to cater for many diverse aspects of instruction. It must be revitalised and given the necessary investment. This change needs to start now.

In the same credible way Physical Education allows for sporting success for schools, the Drama Classroom must also be given the respect it deserves to showcase student talent.