Reflecting on Core Values in Applied Theatre/Drama Education: Lessons That Endure

Earlier this year, when I attended a performance of The 35th of May in London, their co-producer Sarah Tang came up to greet me. “Hey Phoebe! Do you remember me? I interviewed you three years ago!” Back in 2021, I delivered a keynote speech at Singapore Drama Educators Association’s international conference. Sarah had interviewed me for it (see the original interview text here). I received the interview article from Sarah after we met. As I reread it, I recalled how many changes I was experiencing at that time: the global impact of COVID, the sweeping political upheavals in Hong Kong, and my own move from my home city to settle in the UK. Looking back after a few years, I wondered – had my ideas shifted since then? What I found, however, was that many of my core beliefs have remained steadfast.

For instance, I have always believed that the essence of Applied Theatre/Drama Education lies in challenging the status quo and breaking conventions. As drama educators, we question conservative teaching approaches, consistently posing challenging questions to inspire learners to think critically. We open creative spaces where people can explore ideas, making learning an active process. In many ways, disruption is at the very heart of Applied Theatre/Drama Education.

I also firmly believe that applied theatre and drama education must create spaces for dialogue. However, as society becomes increasingly politicised and social media exacerbates polarised debates, fostering genuine dialogue has become both more difficult and more crucial. Of course, I have my own political views. Yet, in the context of Applied Theatre/Drama Education, I remind myself to temporarily set aside my personal opinions. When I encounter participants whose political stances differ greatly from mine, I make a conscious effort to listen to their perspectives with patience. As facilitators of drama activities, our responsibility is to ensure that all viewpoints have the opportunity to be expressed. Only in such a space can true dialogue – and by extension, meaningful reflection – occur.

That said, this does not mean we should “pretend to be neutral”. Feigning neutrality is a disingenuous act and undermines the true essence of education. Instead, I choose to be transparent about my own stance while sincerely listening to others’ opinions. Interestingly, I find that when I’m leading drama activities, the shift in my role often enhances my ability to accommodate opposing views far more than I would in my everyday life!

Lastly, I still find that online teaching flattens the multi-dimensional experience of drama, compressing it into a space that overly relies on visual and auditory senses instead of engaging all five. However, the limitations imposed by the pandemic also gave rise to new possibilities. Shifting the focus from “what online teaching cannot do” to “what it can do” allowed us to uncover new forms and meanings within these constraints. Frankly, if not for COVID, I might never have imagined myself running an online school.

Three years have passed, and the world continues to evolve, sometimes seeming to move forward, at other times circling back. Yet the core values I pursue in Applied Theatre/Drama Education endure. Whether in physical spaces or online classrooms, these principles continue to guide my work.