drama a way to social inclusion

DRAMA
- a WAY to
social inclusion
Practical process descriptions
for drama workers
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DRAMA
- a Way to Social Inclusion
Practical process descriptions
for drama workers
Jouni Piekkari (ed.)
University of Turku,
Centre for Extension Studies
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This handbook is one of the outputs of DramaWay project
(107247 - JA - 1 2002 1 FI JOINT CALL-SITG,
/>The handbook has been done with European support.
Publications of the Centre for Extension Studies in Turku University A: 88
Cover Keijo Viljakainen
Coverphotos Ulla Halkola and Titi Lillqvist
Layout Rivico Oy, Jouni Vilhonen
Publisher Centre for Extension Studies, University of Turku
Print Dark Oy
Printing year 2005
ISBN 951-29-2882-5
ISSN 0788-7906
Sales Centre for Extension Studies

Tel. +358 2 3336280
Fax. +358 2 333 6220

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Contents
Drama – a Second Chance to Learn 5
1. Introduction 9
What is Drama Way? 9
2. Aims and Methods 12
Why to use drama as an alternative tool for learning? 12
Some Genres of Participatory and Interactive Drama 14
3. Projects in the Co-operation Countries 21
Estonia 22
Social Theatre Festival “Spartacus” (VAT Forum group) 23
Visits at Tallinn’s Centre of Children at Risk (VAT Forum group) 27
Forum Theatre in TV Youth Program “The Fist”
(VAT Forum group) 31
Using Improvisational Technique in Forum Theatre
(VAT Forum group) 35
Forum Theatre Workshops in Estonia (Jouni Piekkari) 39
Spain (Catalonia) 44
Clowns for Clean Clothes -Campaign (David Martínez) 45
Uncovering the Conflict. Exploring Our Decisions Through Drama
(David Martínez) 51
School for Parents (Jordi Forcadas) 61
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Theatre Project with Immigrant Children of Raval
(Anna Caubet & Jordi Forcadas) 64
Session of Interactive Theatre (Anna Caubet) 69
Invisible Theatre with Immigrant Youth (Jordi Forcadas) 71
Portugal 74
Interactive Class. Learning about Drama Literature
(Marco Ferreira) 75
Youth & Job – Equality of Rights (Marco Ferreira) 80
Sonho de Amanda - Amanda´s Dream (Baal 17) 89
Finland 100
Free fall – Project in Lohja (Titi Lillqvist) 101
Photo as a Step to Drama (Ulla Halkola & Tarja Koffert) 115
Arts, Educators, Communities – a Participatory Approach
(Jouni Piekkari) 119
Kullervo. Social Exclusion of Youth in Mythology
(Titi Lillqvist & Jouni Piekkari) 130
New York, New York. Parents Making Choices Concerning
Their Careers and Children (Jouni Piekkari) 142
Aleksi. How do I know someone is using drugs?
(Jouni Piekkari) 148
4. Literature on Different Genres of Drama 155
Information of the writers of the articles 164
Appendix: Drama a Way to Social Inclusion CD 166
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Drama – a Second Chance to Learn
It is common to experience discomfort at Finnish schools and work places. Several
surveys and public discussions show that such aspects as bullying, burn-outs,
psychological violence and sexual harassment have become a significant issue in

Finland. These phenomena seem to be common also in other European countries.
The society is evidently increasingly emphasising competition, specialisation,
technical knowledge, know-how and consumption. In such a society it is more
and more difficult for human beings to interact in positive, human ways. And the
same challenges are met in family life as well.
It is visible in public discussions that parents, people working with youngsters
and educators often try to search for forums and methods to learn social skills
needed to tackle these problems. However, where are these kind of forums in
which people with various backgrounds could learn together through play: observe
their lives with open eyes; experience moments of sharing? Where could we
strengthen our communities and learn the social skills needed in that process?
Drama a Way to Social Inclusion (Drama Way) was a project by the European
Union Socrates Joint actions program. The project was started in 2002 and
concluded in the end of February 2005. It was coordinated by the University of
Turku, Centre for Extension Studies from Finland. The project has studied and
explored the use of drama as forum-based tool in four countries in Europe;
Spain, Portugal, Estonia and Finland. The basic idea of the project was to connect
participatory drama and informal learning. Participatory drama methods were
seen in project as a way to social inclusion. The utmost intention was to promote
the equality of values and active citizenship among different minority groups of
young people.
We, the active participants of the project, have explored especially the use of
drama in social exclusion of youngsters. We want to believe that drama could be
the “second chance to learn” for those who have lost their first chance in the
mainstream school system.
In Catalonia (Spain), young prisoners try to understand their decisions in life
through Shakespeare’s story of Hamlet. In Estonia, youngsters at a drug
rehabilitation centre create constructive conflicts with their parents, relatives
and drug dealers – in an imaginary drama. In Finland, 7
th

grade school children
learn critical awareness in drug questions - through an interactive forum theatre.
In Portugal, children from isolated schools in the countryside are learning social
skills through allegoric drama stories and self-expression exercises. In Finland,
the secrets of sexuality are revealed and shared through world-famous fairy
tales; the pre-Christian Finnish myth of Kullervo has been a tool for social work
students for approaching and discussing cultural history concerning young people’s
marginalisation and suicides.
In the city of Barcelona, second generation immigrant youngsters create invisible
theatre dealing with the rights of teen age girls. In the town of Turku, youngsters
escaping their family problems to youth shelters get new perspectives to their
lives through cross-artistic methods, such as photographs, music and diaries.
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Catalonian clowns fool people of all ages to think about the injustice of the
global trade and how to live ethically in a more sound way.
These projects and many others have been an unusual way of sharing. Young
and old, prisoners and non-prisoners, immigrants and non-immigrants, rural and
urban, artists and non-artists have encountered each other on equal level. Everyone
has done something different from what they usually do; taken positive risks.
On the contrary to what one might expect, Drama Way did not produce a
large number of theatre performances. Instead of creating shows, the participatory
drama that we explored is an art form of a moment; creating and sharing meanings,
process leading one towards understanding.
In our project we have explored and developed new combinations and
adaptations of a wide range of applied and interactive drama, such as forum
theatre, live action role play (LARP), process drama / Drama-in Education (DIE),
clownery, photo drama, cite-specific theatre, and education on theatre art. The
participants of Drama Way are mainly young professional, who want to broaden

their scope of work, for example, from conventional theatre work to interactive
prison drama.
Drama Way project has produced results beyond expectations. Some of the
ideas born in these projects have already received funding from local or
international co-operation partners. The most delightful thing is to see how
some lonely people working with youngsters have made friends with other inspired
people in the field. Some of them have found completely new directions for their
lives and for their work with youngsters. Drama Way is not meant to be walked
alone, but together with other people, in a creative interaction.
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In this handbook our purpose is to introduce our work in a practical way, so
that anyone with some experience in applied drama can try to adapt these
processes in one’s own work. Even better, we hope that you could improve and
develop our work: experiments presented here are “works-in-progress”. Some
of the processes that did not function in first attempt in the best possible way
are also included in this handbook. We believe that we can learn a lot from our
mistakes as well. The great creativity and mercifulness of drama work lies in its
unpredictability: how we succeed depends on the methods, people, environment,
expectations, mood, context – often even the lucky position of stars…
Only some of the projects that were borne due to the Drama Way are
presented in this handbook. Many of the project reports are to be found on the
project’s web site, which is updated regularly
www.tkk.utu.fi/dramaway/. Project
reports are published in the internet as original versions and as English translations,
when possible. Many of the stories are so multidimensional and fine, that they
will never be written down anywhere else but in our hearts. You have to go and
experience them by yourself.
We hope that you can also contribute to this sharing of experiences in our

Drama Way project in the future!
Behalf of the DramaWay project team
Jouni Piekkari
Editor, drama trainer
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1. Introduction
What is Drama Way?
There is a need for alternative and more adaptable ways and means of learning
for the young people who are under a threat of social exclusion. This need has
been recognised throughout Europe. The demand for this project has become
evident through the results of various previous educational programmes and
projects. Special ways of working, such as participatory and experiential methods,
are often required to guide the groups in threat of exclusion towards social
inclusion. Drama in its various forms is one example of these tools.
The need for a new approach is perhaps most clearly recognised with those
working with youngsters who have various kinds of problems, such as school drop-
outs, young substance abusers and immigrants. For example, European Socrates
Grundtvig project Social inclusion through APEL made a research, which summarised
that the informal ways and methods of learning are of crucial importance in the
efforts against marginalisation. The need for networks of drama groups and individual
drama specialists with training institutions and various projects is clear. A continuous
need to develop the practice has become evident though the previous projects
and training programmes. Also drama as a tool has to be explored in new and
applied ways to ensure its applicability for various target groups.
General objectives of Drama Way

• To share practical tools and insights between the young/ beginning
professional or semi-professional drama workers who are interested in
working with youngsters under a threat of social exclusion
• to improve local and international networks of drama workers, funding
instances and social workers – to improve the visibility of the work
• to create practical, easily accessible material and project descriptions to
help the development of practical and pedagogical drama work of young
professionals in the field
• to identify themes that are locally important
• to initiate small-scale pilot drama projects with various youth groups in
need for social inclusion e.g. drug addicts in each partner country (Estonia,
Spain (Catalonia), Portugal and Finland)
The main target of the project Drama – A Way to Social Inclusion (Drama Way)
was to promote the opportunities of the young, especially 14-18 year old people;
to adapt them to the larger society and to the community they are living in, as
well as, to the possibility to get education and to learn from the methods tailored
for them. The learning methods used for these youngsters must be different
from the formal methods of education; the methods must provide a genuine
second chance of learning in an informal way. The methods often include taking
the youngsters away from the conventional school context: into the nature, youth
centres or theatre schools. Many of the projects also integrate different age and
social groups. For example, it has been important to bring “outsiders” to the
prison environment in order to create a new kind of interaction in the drama.
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The aim of the project was to gather, apply and mix different pedagogical
drama tools in order to utilise them in different local training contexts. The
project aimed also to activate the target youngster groups to participate actively
in planning of the curricula and in developing the methods. These aims were

reached mainly through pilot workshops, practical evaluations and feedback
discussions with the youngsters.
The project was realised locally in four countries: Finland, Spain (Catalonia),
Estonia and Portugal. The local groups organised workshops and real life laboratories
in each country. These experimental laboratories also produced material for internet
based data-bank of experiences (see www.tkk.utu.fi/dramaway) and for national
discussion forums debating the use of drama methods in local context.
The local workshops were also important forums of networking: participants
had various backgrounds; teachers, youth workers, drama workers from the whole
region, not only from the co-operation area. The workshops created co-operation
on local and national levels. This promotes multi-disciplinary approaches and co-
operation in the future. We often noticed how people working close to each
others and struggling with similar kind of problems and target groups did not
know about each other. This tendency of segregation is seen everywhere: without
an outsider input one rarely has time to look outside one’s own work field and
professional specialisation.
In the end of the project, the European workshop in Turku (Finland) presented
some of the results of the projects to the wider audience. The results of the local
workshops were presented though practical workshops and other suitable means,
such as video and slide shows.
Locally adapted themes and working methods
All the four partner countries have their own specific focuses. In Finland the
main theme was substance abuse. Finland used to have one of the lowest rates of
drug abuse and crimes related to illegal drugs. Nowadays the figures are
skyrocketing in the fastest rate in whole Europe. Furthermore, alcohol
consumption has increased due to suddenly sunk prices and increased availability
of alcohol. Especially amongst the most vulnerable and marginalised groups it has
evidently caused a growing number of social problems and health risks. “We are
finally becoming European - is that what we wanted? How can we suddenly change
the cultural patterns of substance use that seem to be a result of decades of mal-

planned policy and perhaps hundreds of years of colonised mentality?” These are
question that many people ask in Finland. Therefore, the preventive work is the key
interest area in the Finnish Drama Way project. However, we see the prevention
work in a broader perspective. Through drama work we want to support the
welfare and building of healthy social environment for the young people.
In Catalonia (Spain), the focus is on the work with young prisoners and
immigrant groups. Spain is one of the entrance countries of great numbers of
legal and illegal immigrants, especially from Africa. Massive anti-globalization
demonstrations, Iraq war protests, terrorist attack to Madrid and the policy of
the previous conservative government that paid less attention to the social welfare
seem to draw more attention to the integration of the immigrants and to the
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Third World issues. During the project period these issues have been clear for
the drama workers and artists in Barcelona. This general atmosphere also
contributed to the success of Drama Way seminars and networking in the area.
In the rural Portugal drama workers tackle with problems of the countryside
and small rural towns. Such issues as norms and sexuality, substance abuse, the
possibilities of the young people to develop and stay in their own region are
considered. Portuguese partners claim that these problems are a result of
“backwards mentality” that derives from the era of dictatorship, a short history
of democracy, neo-liberalisation and harmful and de-moralising effects of many
aspects of EU policies.
Estonia is a newcomer in the EU ”family”, and the country is characterised by
the rapid social change from Soviet system to an independent nation maintaining
one of the most neo-liberal economical systems in the world. Estonian youngster
in the projects deal with their issues through a national debate in TV forum theatre
sessions, in schools, youth rehabilitation centres, festivals, live action role game
associations etc. In Estonia the main focus is young people discussing with their

peers through an interactive drama. The topics are handled in a participatory way
and consist of the topics that the young people themselves are concerned of.
Drama Way gathers people with various backgrounds and ways of working to
work together. This has resulted in a tremendous range of working methods and
creative ideas.
Different approaches are utilised in Drama Way: some emphasise celebratory
aspects in their work: carnival, fun, wild imagination, mass approach, some prefer
more issue-oriented and intimate approaches, using also sociological and qualitative
research methods along with the drama work.
In the first meeting in Finland our working tool was Finnish oral poetry, since
from there we could find same kind of stories of social exclusion of youngsters,
which are visible in the lives of the modern refugees, victims of human trade or
amongst the young people committing suicides. We chose a pre-medieval story
of Kullervo as a tool, and situated it in the forest of an island close to Nokia
cellular phone -town Salo. In Finland forest and water are present practically
everywhere, and it is quite natural for people to use these natural settings for
summer theatre, pedagogical adventures or other celebrations. We developed
this process drama also to suite more simple processes that can be easily used in
classrooms and social or youth work training sessions aiming at focusing a
discussions in the lecture on certain social topics.
The new EU member state Estonia is another good example how the local
culture can be used in drama. In the workshop, the Estonian actors and drama
workers gave the other Drama Way partners a chance to explore how the live
action role play (LARP) and traditional Estonian wedding games and dramas
could be used to help the youngsters build their identity in the new and changing
Europe. On the other hand, we explored these wedding traditions as a local
form of interactive and participatory drama. Participatory drama is often
considered as something modern, but we tend to forget that the local folk forms
have used quite similar techniques. In the past, they were also ways to empower,
educate and help people participate in the creation of the society. This is valuable,

locally rooted, indigenous knowledge and know-how.
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2. Aims and Methods
Why to use drama as an alternative tool for learning?
Drama as a learning method is gaining increased interest throughout Europe and
the world. There is a wide range of different participatory drama techniques
which are developing rapidly. However, no methods should be used merely because
of its popularity, but they should preferably be used when based on conscious
arguments or clear evidence. British drama pedagogues Allan Owens and Keith
Barber define their arguments with four categories: a) play as universal expression;
b) practical experiences; c) empirical evidence and d) ideological reasons.
Firstly, play is an essential element in the life of a human being. This is
apparent with children, but concealed and suffocated with adults and young people,
who for several social reasons have stopped creative playing. Such reasons can
be fear of ridicule, finding safety in rigidity of values and standard behaviour and
disbelief in personal potential for creativity. By giving the children, youth and
adults an opportunity to ”play seriously” through drama, we can offer them a
genuine ”second chance” for learning through play. We can also offer them an
opportunity to enjoy the learning process, an aspect that is all too often neglected
in formal education. In this way drama in a safe environment can lower the
barriers of learning, since negative attitudes often prevent learning in formal
settings.
Secondly, practical experience of drama workers show us that it is possible
to use drama as a learning method even in such situations which seem to be very
difficult for promoting learning. By offering a ”new start”, drama has functioned
as a motivating impulse for people with learning difficulties or low motivation for
learning. Therefore, the use of drama in such situations has also opened doors
for social inclusion by increasing self-esteem, personal and emotional skills and

approve creativity. Drama can also serve as a holistic therapeutic healing device
(Koskela 1999; Blatner 1996). It can offer a safe environment to explore difficult
personal issues through safely distanced allegories and symbols of drama. The
holistic group processes as such have also proved to have healing effects on the
group members. For example, a group process can offer sense of belonging,
opportunities to reflect oneself as a personality and enjoy mutual support
(Jauhiainen 1999; Blatner 1996).
Thirdly, the empirical evidence shows that process drama has had a
remarkable impact on learning of various groups in prisons, schools, youth shelters
etc. This evidence has been gathered in several countries that have practised
drama as an alternative arena for learning for several decades. Effects of drama
use have been researched, and the results showed that drama can promote
qualitative learning, which considers the different individual learning styles.
Participatory drama seems, for example, to use and combine practically all the
different learning channels and processes such as auditive, kinaesthetic, visual,
tactile, multi-sensory, mathematical, interpersonal, intuitive. However, due to the
complexity of these processes, it is difficult to measure this kind of quality learning.
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Fourthly, reasons for the use of drama can be ideological. Drama can be used
as a tool for empowerment and therefore it can promote social change and
inclusion of marginalised groups, and create a chance based on their own priorities,
not those dictated from above or through the formal education system.
Participatory drama (not just any drama) is considered as a democratic and
critical device for learning, where both the ”teachers” and ”pupils” can learn
from each other, and more precisely learn together. A teacher/educator of
participatory drama can never be a fully learnt specialist of the subcultures s/he
is working with. To give an example; only the gypsies can truly understand what
the life of a gypsy is like. However, both non-gypsy drama educators and the

gypsy participants of drama process can get new perspectives into their lives
from each other.
The so called constructivist paradigm in education emphasises that learners
are not empty vessels to pour information and ideologies into. They are rather
to be seen as radiating starting points of their own learning through their own
life experiences and values that they have formed in the socio-cultural contexts
they live in both within and without the formal school system (von Wright & von
Wright 2001). Drama as a multidisciplinary form of art can activate and bring
forth these life experiences through the use of imagination, dreaming, use of
body, symbol, imagery, visual arts, music, writing etc. and help to use them in the
individual learning process in a holistic manner. Drama is also a group process
that always activates and develops social learning, emotional intelligence, argument
on values, spiritual thinking, intuition and other meta-learning skills, that have
been recognised as essential elements in learning process of a human being.
These skills are still often neglected, or cannot fully be covered through the
formal learning system, especially in the case of youngsters with learning difficulties,
which are often based on socio-cultural background (see also Goleman 1997).
Blatner, Adam (1996): Acting-in. Practical application of psycho dramatic
methods.
Hannula, Aino (2000): Tiedostaminen ja muutos Paulo Freiren ajattelussa.
Systemaattinen analyysi sorrettujen pedagogiikasta. Helsingin yliopiston
kasvatustieteenlaitos, Helsinki.
Jauhiainen (1999): Ryhmäilmiö.
Koskela, Virpi (1999): Elämäntehtävä Legioonateatterin opetukset – Kokemuksia
ja ajatuksia ohjaajan ja kouluttajan roolista. Kuikka, Suvi (toim.): Friikki.
Nuorisoteatteritoiminnan opas. Vapaan Sivitystyön liitto.
Owens, Allan and Barber, Keith (1997): Drama Works.
Rohd, Michael (1998): Theatre, Community and Conflict Resolution. Hope is
Vital Manual for educators and youth workers.
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Some Genres of Participatory and Interactive Drama
In the Drama Way project we use and mix various forms of participatory and
applied drama. These forms are borne in different cultures and contexts. Despite
the differences there are also a great number of similarities in these forms. Many
of these genres overlap each other, and the boundaries between them are
therefore rather blurred. However, each of them emphasises some aspects of
using drama as the tool in the process.
A general feature in these different genres is that the process of making and
creation is an important aspect, even in some cases more important than the end
product. For example performances are emphasised, since they are eulogises of
human interaction and create meanings through the symbolic form of drama in a
group process. In spite of these general features, the different genres have varying
ideologies and philosophies. These approaches interpret the nature of human being
differently. Furthermore, the concept of good learning and the question how a
human being learns may also be different in different genres. Therefore, it is essential
to be aware of these basic ideas and aims of different approaches, even if many of
them can be applied together. Respectively, many of the different concepts developed
in varying cultural contexts can actually refer to strikingly similar processes. The
best way to understand the processes is to discuss them with people who use
these methods: what do the practitioners try to achieve by using them? Even more
important is to discuss the experience and empirical evidence: how do these different
forms actually work? Are the set goals achieved with these processes?
Drama-in-Education (DIE)
Drama-in-Education, and often simply the drama itself, refers to the use of drama
as a tool of education. This methodology of drama used in education is most
extensively developed in the British and Australian contexts. This form of drama is
mainly used in a school context to supplement the curriculum. It can be used in
any subject as a way to learn through experience. In the most typical situation it is

used to learn, for example, history, but it can be applied to learn mathematics as well.
In the DIE method the emphasis is on the processes of exploring different
topics through drama conventions (techniques). On the contrary to conventional
school drama the DIE rarely aims at creating polished performances for the
audience, but instead the teachers or educators from outside try to offer ”safe
environments to create meanings through pretence” in a learner-centred group
process. Therefore, these methods are also called as process drama or pedagogical
drama. The new view emphasises the concept drama as an art form in its own right,
instead of overemphasising its use as a tool of learning.
Theatre-in-Education (TIE)
The TIE method refers to the use of pre-written and rehearsed theatre
performance as a tool of learning. The plays in the TIE process are usually
performed by specialised and professional touring theatre companies. The plays
are carefully designed to complement different subjects in the official school
Jouni
Piekkari
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curricula. These performances are often partly interactive. Furthermore, they
may include so called pre- or post-performance workshops, where the pupils
can be more actively involved in their own learning processes. Through various
exercises the pupils can further explore the themes of the play. Sometimes these
workshops take place before the play, in order to prepare the pupils for the
themes that are discussed in the play. These kind of sessions can be organised
either with the theatre group or separately with their own teacher. Therefore,
many of the groups also produce complementary materials and teachers’
information packs to integrate the theatrical intervention into the learning process.
Forum theatre
Forum theatre is a form of interactive theatre developed by a Brazilian director

Augusto Boal as part of his participatory theatre method system called ”Theatre
of the Oppressed”. In the forum theatre method, the theatre group presents a
social problem – an injustice or ”oppression” - that is relevant to the audience.
In a forum theatre performance there will be no end solution for the problem,
but the conflict is left unsolved. The audience is activated to explore solutions
for the problem by inviting the audience (“spect-actors”) on the stage to act the
solutions for the problems.
Julian Boal is directing Forum Theatre in Barcelona in March 2004.
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Forum theatre is also a workshop technique where there is no pre-determined
time span for the play. The group, for example a group of mothers, creates these
plays entirely by themselves. These theatrical exercises are used to explore the
social themes, problems and oppressions of the group. Forum theatre has been
used to tackle such issues as racism, substance abuse, sexual prejudice or bullying
in schools. It is also utilised in media education and interactive discussion forums
on TV. According to Boal, it aims at empowerment of individuals and groups; it is
”rehearsal for the reality”.
Invisible Theatre
Invisible theatre method was invented by Augusto Boal. It was born during the
dictatorship of Brazil, when the politically critical play-making was forbidden.
Invisible theatre is a form of theatre where the audience does not know that
they are witnessing a play. These performances have a pre-written storyline that
portrays a social problem or oppression and the performance is taken into a real
life situation, it can be performed, for example, in a tram, bar, market place or
shopping centre. The aim is to provoke people to participate in the ”play” which
they believe is a real situation of oppression.
Legislative Theatre
Legislative theatre is a further elaboration of Theatre of the Oppressed or forum

theatre, where different techniques are used as a tool to discuss local or national
democracy and public decision making. The solutions that the audiences draw in
the forum plays create a starting point for legislative level discussions. This method
uses also internet discussions, thematic festivals, political rallies etc. to help the
disadvantaged people to participate in politics.
Theatre-for-Awareness / Theatre-for-Development
These methods of touring theatre have been used especially in the Third World
Countries as a tool for participatory development programmes and awareness
raising campaigns. Instead of telling people educationally what they should know
– inform them - this form of theatre raises questions, for which the audiences
themselves have a chance to answer through the organised post-performance
discussions. The plays are based on a field research on certain topic amongst the
target groups, in order to identify what the local people themselves consider as
the most crucial problems of the area. The themes considered may be completely
different from the issues, that the “developers” or the authorities regard as
important.
These theatre forms aim at a self-motivated social change of the communities.
They can even aim at a very concrete completion of a local or regional
development programme, for example anti-poaching programme, agricultural
development, women’s rights etc. Other names used for these forms of
participatory drama are popular theatre and community theatre.
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Devised Theatre / “From Fact to Fiction”
Devised theatre refers to all processes of theatre making where there is no pre-
written play text or where a play text is used only as a starting point for a
completely new piece of theatre. Devised theatre is created in a so called
democratic group process where the group explores a chosen theme through
movement, theatrical improvisations, visual techniques, videos etc. From Fact to

Fiction is one form of devised theatre where the starting point of the performance
is factual material concerning the chosen theme: research reports, newspaper
articles, interviews, TV programmes, internet etc. This material is converted into
a dramatic form in a creative group process. Devised theatre techniques are
mainly used in creating plays concerning the themes chosen by the youngsters
themselves.
Play Back Theatre
Play Back theatre is a form of interactive drama created in the United States. The
most famous developers of this genre is Jonathan Fox. The idea of play back theatre
is that the participants of the workshop (or the audiences of a play back theatre
performance) tell short, real episodes of their lives where after the actors (or
other workshop participants) improvise them on stage by following certain drama
conventions. Only a few aspects of the stories are emphasised in the scene,
aspects such as specific emotions, personified objects presented in the story or
some selected sentences or meaningful interactions. These symbolic scenes are
often accompanied by improvised soundscapes or music.
Play back theatre is a form of sharing individual experiences in a community. It
can be a purifying or healing experience, even though the creators of this genre
emphasise it as a form of sharing real life experiences in an entertaining way.
Sociodrama
Sociodrama, based on the work of Jacob L. Moreno, is one of the earliest genres of
applied drama. Sociodrama is not a simple drama technique; it is a complex
theory and method of analysing, understanding and learning about the different
social phenomena of people’s everyday lives. The techniques used in sociodrama
are similar to many of the above mentioned techniques, emphasis being on the
analytic understanding of social dynamics. Sociodrama is commonly used method
of training. Sociodrama is also a non-therapeutic sibling of Moreno’s psychodrama
and has strongly influenced the development of Play Back theatre.
Celebratory Drama
Celebratory approach in theatre making often aims at identifying certain

concentrated settlements or groups of people that seem to be less involved in
the community. Typical example of these concentrated settlements are the urban
housing areas. Celebratory drama emphasises aspects of carnival, the use and
creation of myth, creativity, visual theatre and street theatre style of expression.
As such celebratory theatre can have a healing impact on the people that are
taken into the process of collective creation.
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The philosophy of celebratory drama emphasises that arts should be
democratised: anyone can be an artist, and the responsibility of a professional
artist is to set this creativity free from the culturally learned inhibitions and fears
of ridicule. Celebratory artists believe in that opening up the in-born creativity is
an almost necessary prerequisite for the human being’s capacity to solve personal
and social problems. The British artist collection Welfare State International is one
of the best known examples of celebratory arts and drama.
Hospital Clownery
Hospital clownery, originally invented by Patch Adams in the United States, is
increasing its popularity also in Europe. Hospital clowns target their performances
to seriously ill children in hospitals. It is believed – and proved– that laughter can
support the healing process even in serious cases of illness. Most importantly,
the philosophy of hospital clownery emphasises the basic human need for laughter
and joy. Laughter and joy should be taken into such places where it is most
unlikely to occur. Many of the hospital clowns have also worked e.g. in refugee
camps of Yugoslavia amongst the victims of war.
Site-specific theatre
Site-specific theatre refers to any kind of theatre that takes place in a non-
theatre environment and uses the special features of different environments
theatrically and symbolically. For example, a theatrical event or performance can
take place in a dumping area, old abandoned building or in nature. Performances

and their audiences may also wander from one place to another. In many cases
this kind of performance blurs the rigid distinction between the audience and
the performers: in a similar way as in rituals or ceremonies the spectators become
an integral part of the event.
Drama, myths and ritual forms of performance
Traditional forms of performing art can function as a inspiring starting point for
a community theatre event. Myths and their modern applications can invoke
allegories between the factual and fictional; past and future; concrete and imaginary;
collective and private. The use of local myths and traditional forms, such as songs
and dances, can be important for building the local identity by revitalising the
cultural heritage.
Street theatre
As the name suggests, this theatre is performed on the streets or in public
places. Street theatre is probably one of the oldest forms of secular theatre.
Street theatre often uses strongly visual and carnivalistic means to draw attention
to these often spontaneous performances.
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Live-Action Role Play (LARP)
LARP could be defined as a genuine cultural movement of young people, since it
is mainly organised and run by the young people themselves. LARP is a series of
highly interactive and imaginary dramatic events, where each participant takes
part in an improvised drama by following their own pre-determined roles. The
game is totally improvised and has no script. The role games take often place in
an imaginary world of myths, sci-fi, prehistory or any other world created by the
participants or the game leaders.
Sometimes a LARP session may continue for several days, or the same group
of people may explore the same theme for several years. LARP communities are
often partly virtual, as well. Internet sites and discussion lists form an important

forum for creation of characters, stories and reflection.
Community Theatre or Theatre/Drama in the Community is a loose
umbrella term that can refer to almost any kind of theatre making which is in
some relation to a community. It can be created with, for or by the community.
This vague umbrella concept applies to any genre mentioned above in this list,
therefore these concepts are avoided in the Drama Way project.
Draditional wedding serenomy in Estonia, June 2004
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3. Projects in the
Co-operation Countries
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EstoniaEstonia
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Estonia
EstoniaEstonia
EstoniaEstonia
Estonia
EstoniaEstonia
EstoniaEstonia
Estonia
EstoniaEstonia
EstoniaEstonia
Estonia

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Social Theatre Festival “Spartacus”
The background and participants of the festival
The project “Spartacus” was organised by Tartu Anne Youth Centre, and the
event took place in Miina Härma Gymnasium, 14
th
– 16
th
of November, year 2003.
Altogether 135 youngsters from different schools from all over Estonia participated
in the three-day long Forum Theatre training session. The head-director and
instructor of the session was the director and “Joker” Margo Teder of the VAT
Theatre Forum Group. His assistants were Andres Kask (director of Kanuti Youth
House’s theatre group), Kadi Jaanisoo and Piret Soosaar from VAT Theatre Forum
Group.
The participants were gathered from the following Estonian towns/areas: Tartu,
Tallinn, Narva, Jõhvi, Viljandi, Kuressaare, Sindi, Ahja, Nõo, Luuja and Tarvastu.
Working process and phases
The work phases of the festival:
1. On the first day, the head director explained the whole group, what is
forum theatre and how the forum scenes are built. After this people were
divided into groups and the groups continued individual work in separate
rooms (class-rooms and gym-room, etc.). The group work consisted of
defining and exploring problematic issues, thus the themes. Each group
were given 2 words/themes, which functioned as a starting point for group
discussions. Group work was the working method. Youngsters prepared
independently one forum scene of some problem that concerns themselves
as youngsters. Firstly, the group had to find the themes based on their

discussions and then create still-images, so called stop-pictures. The stop-
pictures were then dynamized, meaning that the people in the pictures
started to move. The scenes of forum theatre were born.
2. On the second day, dramaturgical expressions of the problems under
consideration were created and put in practise. The problems were, in
other words, transferred into theatrical language (the scenes were
developed based on the pictures prepared during the first day); thus short
forum-scenes, where the main character tries hopelessly to overcome the
kind of oppression in his way, were borne. In other words, the main character
was faced with some kind of conflict. The assistants helped the participants
with this process.
3. On the third day, the results of the work of the previous days were
performed in form of a group work. This group work event turned into a 3
hours long marathon-performance, where all groups one by one showed
their vision of one issue/problem that concerns youngsters. After each
group had performed its scene, the head director introduced forum theatre
techniques to the audience with the help of particular group scene. He
introduced, for instance with the help of one story, the hot seat technique
where all characters sit one by one in a so called hot seat and the audience
is allowed to ask all kind of questions from them concerning the background
VAT
Forum
group
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of their behaviour. With another group he introduced how the characters
can say out loud their thoughts – the Joker (the leader of the show) can
whenever he wants say “stop” and ask the character to say out loud, what
s/he is thinking at that particular moment. With the third group he used

forwarding and rewinding of the scene -technique. This means moving in
time - the things that happened in the past, present and future were played
out. What happened before the conflict, what could happen afterwards?
Techniques used in the work process
In order to reach co-operation with this kind of large assembly of youngsters
the work processes had to have several clear steps.
The following methods/techniques were used during the festival:
1) Ice-breaking, different warm-up games;
2) Trust-games;
3) Group Discussions (defining and exploring the problems);
4) Creating the forum theatre story (through pictures/still-images,
conversations);
5) Playing out the scene within the group (converting the created story into
theatrical language);
6) Interactive discussions between the audience and the performers;
7) Combining all the prepared forum scenes into one big performance;
8) Interactive feedback circle with the participants.
Different techniques were used in different stages– some of them were
applied to small group work, some to all participants. Sometimes it was
the small group that had to be active, sometimes the head-director of the
festival or the leader of the happening/action.