Using Theatrical Traditions to Teach Empathy

Abstract

This chapter considers traditions in the theatre as the basis for learning that transforms dimensions of teacher training including specific training in empathy. The affect and effect of the arts and creativity on pedagogy has garnered renewed scrutiny (Anderson, The Challenge of Post-Normality to Drama Education and Applied Theatre. Research in Drama Education: The Journal of Applied Theatre and Performance, 19(1), 110–120, 2014) as the nature of schooling and work changes and societally we continue to grapple with concerns about the global economy, health, environment and social challenges. Critiquing theatrical traditions to activate methods to teach with, for and about empathy is the line of inquiry in this chapter. Experiencing through an artistic medium such as theatre allows us an experience that might engrave a lesson on our heart. Speculation, by contrast, leaves us untouched and disengaged from the reality of other people according to the British playwright, Sarah Kane (1971–1999).

By exploring the traditions of the theatre, specifically Stanislavski’s method acting (An Actor Prepares. New York: Theater Arts Books, 1936), process drama (Bowell & Heap, Planning Process Drama, Enriching Teaching and Learning (2nd ed.). Abingdon, England: Routledge, 1995) and drama-rich pedagogies (Ewing, Drama-Rich Pedagogy and Becoming Deeply Literate: Drama Australia Monograph No. Twelve. Brisbane: Drama Australia, 2019), teachers in training can enhance their understanding of the diverse social and cultural needs of the students in their care. Pedagogy and praxis that is firmly situated in enactment and uses the imagination as a generative tool can facilitate an understanding of multiple perspectives by ‘walking in someone else’s shoes’ (Ewing & Simons, 2004). The term process drama refers to a participatory and engaging form of theatre tailored to the task of teaching and learning, where a factual pre-text from any discipline area or domain can be used to imagine real events. In a process drama the participants assume different roles and undertake aesthetic and creative opportunities through highly structured dramatic activities. Fiorella and Mayer (2015) argue that when students receive the appropriate guidance, the act of imagining can be a powerful pedagogical tool. Key to this model is the active co-construction of meaning by teachers and students and its transformation into relevant and consequential knowledge.