When the first drama department in a British university was founded
almost fifty years ago, a debate ensued regarding the nature of the
discipline. Was it academic in the conventional sense? Where did
practical theatre-making fit into the curriculum? If there was to
be theatre practice, how was it different from the work already
undertaken by the drama conservatoires? Theatre Praxis addresses
the debate beyond these now familiar questions, seeking to define
practice in terms of praxis: that is, practical work which does not
claim an ideological neutrality but seeks to theorise practice as
praxis in recognition of its potential to change. These essays do
not attempt to instruct people in ways to teach drama, but rather
present a lively discourse on a variety of practices and are far
from homogeneous in their range of arguments.
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