Useful References

It is important that we ground our work in established theories so that we can justify to clients our approaches, but also refer to useful sources for future projects. This page just gives you a sense of who we have been inspired and influenced by and what elements of their work we have employed.

The experiences of Geese Theatre are invaluable and  although we may have not used their techniques, their philosophy behind their work to keeping it safe for both participants and facilitators was hugely important to apply to our work. Geese Theatre have worked with prisoners since the 1980s, exploring the importance of one step removed and encouraging the use of characters’ situations as a focal point for discussions of issues. This avoids tapping into the personal lives of the prisoners, which could cause negative results; this is something we want to replicate through our performances, ensuring the young participants do not share something personal and sensitive with the rest of the class. 

Baim, C., Brookes, S. & Mountford, A. (2002). The geese theatre handbook; drama with offenders and people at risk. Hook, United Kingdom; Waterside Press.

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Having an understanding of Boal’s work is crucial for theatre for young audiences because not only did it begin to allow shows to challenge the participants more to think about issues further and how they can effect someone, but his work led to the idea that the play becomes secondary and that the discussions is what is more important.  This idea can very much be seen in our workshops, where the exploration for the students becomes more important than our performance at the end; that is a chance for them to apply what they have discussed. The discussion is paramount. This was also where we were influenced to use non-verbal activities to encourage participants to think beyond words and what was provoked within themselves.

Boal, A. (2002). Games for actors and non-actors. London, United Kingdom; Routledge.

Johnston’s House of Games was another book that helped us in devising a workshop structure. Similarly to Swale’s book, Johnston was able to give us further ideas for adaptation. However, this book was less stating the ‘what’ and the ‘how’ of the exercises and provided more information on facilitating a workshop in general which was highly useful. It also massively helped us to categorise the exercises in terms of which exercise helped with focus, which helped with energy building and so on and so forth. This then allowed us to shape our workshops based around what we want the exercises to convey and the participants to gain at certain points during the workshop.

Johnston, C. (2005). House of games; making theatre from everyday life. London, United Kingdom; Nick Hern Books.

Similarly to Swale, this book offered a range of exercises to adapt to our topics. More importantly, the activities listed are all age appropriate for the audiences we are targeting; this gives us some confidence that the participants should not find the activities we present condascending or too easy. The book also offers variations of the exercises, which has been hugely useful as starting points for adapting the exercises to our needs.

Marsden, S. (2019). 100 Acting exercises for 8-18 year olds. London, United Kingdom; Methuen Drama.

This book was especially useful in allowing us to find some exercises that were suitable for adaptation to our workshops. This book is a collection of activities, each with a detailed description of how to take part in and facilitate the exercises. The book also comes with other important details, such as what type of engagement they encourage and any resources that are needed. An example of an exercise we adapted from this book is Friendly Follower; we took thus activity and both added to and tweaked it so it had the desired effect for our workshop and audience. Reading this book helped us to become more aware of elements that must be considered when delivering a workshop. It also partly influenced the write-ups we have for the workshops, giving us an example of what needs stating when proposing workshops or activities to potential customers.

Swale, J. (2009). Drama games for classrooms and workshops. London, United Kingdom; Nick Hern Books.

Using government documents such as this allows us to key in with the current state of RSE in the national curriculum. This has enabled us to ensure our material within the structure of the workshop is relative and appropriate. It also ensures that the workshops/performances have a strong foundation as a product, but does not prevent us from tailoring to individual school policies.

Department for Education & Ipsos MORI. (2019). Relationships Education, Relationships and Sex Education, and Health Education in England ; Government consultation response. London, United Kingdom; Department for Education.

The work of the Family Planning Association has enabled greater accessibility to information surrounding sexual health. Firstly, their 'Sexwise' website has proved to be a great source of knowledge and guidance for what our workshops/plays need to portray. 'Sexwise' covers topics from safe sex through to STI's through to post-pregnancy options and has formed the foundations of each project we created. Another extremely useful source they provided were the range of policies they had when it comes to teaching/addressing particular topics in RSE. Their policies appear to be balanced and address any assumptions made about topics, especially with the newer challenges faced by issues that are caused by the development of technology (i.e. Sexting and Access to pornography).

The Family Planning Association. Our views on sexual health. Retrieved 25 February, 2019 from https://www.fpa.org.uk/about-us/our-views-on-sexual-health

This book acted as a reference for workshop delivery; it provided information on the pedagogies of facilitation as well as tips for the actual ‘doing’ part of the workshop such as having clear goals before the workshop commences. These notions are then carried into the delivery of the workshops, helping us to develop a facilitation style and efficiently deliver.

Preston, S. (2016). Facilitation: Pedagogies, practices, resilience. London, United Kingdom: Bloomsbury Methuen Drama.

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