Categories
Therefore the targets we set pupils in school are often meaningless. It has been
suggested that attainment targets should, in some cases begin:
'[C]an recognise the difference between own and others’ property'!
Given the above to be basically true, what can we do about it?
To help find a solution to the problems of unsuitable behaviour it is often
felt necessary to try and categorise this behaviour. By finding reasons for
it, it may be possible to find answers. The categories tend to be:
• Behavioural – the idea that bad behaviour has been learnt due to earlier
problems at home or in primary school or peer group. The result is that it is
assumed that these behaviours are in some ways measurable or rather
observed, i.e. talking, not paying attention, violent behaviour and that
therefore they can be unlearned.
• The problem with this is that it does not tackle or even accept the cause of
this behaviour. Not only that: to unlearn something after you have learnt it
needs a pretty big stimulant and we rarely have it! But it is a popular theory
because the action taken can have a direct effect, ie time out, reports,
rewards and punishments. The child's behaviour is assessed and strategies
are planned to change or unlearn it. However, this implies that
teachers/adults/authorities know best. It also takes up resources, i.e. support
teachers, but can be successful especially for whole class targets, etc. It
also focuses on the behaviour and not the child. It does, however, assume
that we can justify to the child that our way of learning and behaviour is right.
• The Unconscious or the Freudian Approach – this is based on the theory
that emotions have not changed since infancy due to earliest experiences
and pupils have not adapted to the outside world. The problem with this is
that it denies the possibility of change without the individual identifying the
cause of their present conditions. The discussions and probing involved are
time consuming and we may be 'dabbling' with things, which we may not be
qualified to deal with.
• The Environmental Approach – this is often the most popular because it
allows us to blame something else for our pupils behaviour, ie poor housing,
socio-economic background, etc. This is based on the idea of sub-systems,
i.e. peer groups, home/family, school, and relationship with teacher,
classmates, and parents as well as how they value education and the rules
of society. The problems here are when these relationships break down.
Solving this is not easy, because often it involves interaction with the subsystem
that that has broken down or identifying the correct break down of a
certain sub-system and how it impinges on another. Again, this is time
consuming and not really within a teacher’s remit.
Course outline
The course will address the following issues and suggest strategies to help:
Games:
• why there are rules
• rules can be fun
• joining in can be fun
Structures:
• Why
Exploring our own lives (the TIE approach):
• lesson structures to allow pupils to talk about and act out issues that are
important to them
The use of the environment:
• giving pupils space
• identity and responsibility
Finding our own voice:
• everyone can have a say
• direct the action
• give their opinion
• hitting the appropriate level
Working with others
Finally, the reason why drama more than other areas of the curriculum can
affect behaviour is that it involves enactment. Some people can learn by
hearing things, others through visual means, but most learn by doing things.
Reasons to change
Looking back at the categories of inappropriate behaviour, these are often
deeply rooted either in the past or in the environment. Simply telling people to
change or even showing them the consequences of not changing will not
change them. They must actually want to change.
The process of enactment, the process and actor goes through when
taking on a role is one of experience, not just copying but actually doing:
• 'You can pretend you're her'
• 'No, I have to be her'
• 'Why?'
• 'Because that's acting’
We, the audience, or they, the pupils, must in the end find their own strength
based on themselves rather than characters in a play or an improvisation. The
work must go on outside the classroom.

Tracking down oppression through images
Ask each person to present an image, first of personal oppression and then of
their oppressor: use sound, shape, symbol or caricature.
Share your image with the group. Swap images and explore each other's
image: feel it physically.
Boal describes this as the individual's experience and from this he moves to
'cores'.
Core
The individual presents an image of oppression as a still image, a story or an
improvisation or just a sound. The value of the image is that other people can
identify with it.
Embryo
The 'core' becomes an 'embryo' when they are redefined by a group who
identify with them. The 'core' becomes the social, the singular plural.
Model
The 'embryo' in its social context. The model is the drama structure, which takes
into account the social factors, which need to be changed.
Pilot and co-pilot
Pilot tells a story of a personal oppression. Co-pilot listens, eyes closed. They
separate. Each one makes an image of the oppression and presents it to the
other.
The pilot is asked to choose an image or amalgam of both. The group are
asked if they identify with the image.
Those who do not identify can try to add themselves to the image or to put other
members of the group into the image to reinforce and shape it.
Ritual gesture
Boal describes these as ‘the repeated physical patterns of a daily life's
oppressions’:
• A person shows a ritual action.
• Others are invited to add to it.
• When a group is involved, improvisation can begin.
The 'cores' and 'embryos' can be developed into themes and developed into a
variety of disciplines.

 Forum Theatre
August Boal is a name increasingly familiar amongst practitioners, but a number
of his ideas, based on the premise that theatre is therapeutic, can form the
basis for the type of drama we may practice to help manage behaviour. The
form of theatre he has created which is most useful to us is that of 'Forum
Theatre'.
Forum Theatre is a TO (Theatre of the Oppressed) technique that begins with
the enactment of a scene (or anti-model) in which a protagonist tries,
unsuccessfully, to overcome spectators to replace the protagonist at any point
in the scene that they can imagine an alternative action that could lead to a
solution. The scene is replayed numerous times with different interventions.
This results in a dialogue about the oppression, an examination of alternatives,
and a ‘rehearsal’ for real situations'.
This method is not dissimilar to traditional TIE (Theatre in Education
techniques) because it involved the participant’s lives and experience and
demands a confrontation between the actors and audience.
'The journey towards Forum Theatre investigates oppression from participant’s
lives and uses that investigation to come up with ways of dealing with it. In
trying to find solutions, we begin to have a better understanding of the
problems, its causes and ramifications. The play is a form of contest between
spectators trying to bring it to a different end (in which the cycle of oppression is
broken) and actors ostensibly making every possible effort to bring it to its
original end (in which the oppressed is beaten and the oppressors are
triumphant)’
It is useful for our work because it is simple, physical and has little of the stigma
attached to traditional forms of drama. It requires little verbal dexterity and so no
language blocks, just a chance for everyone to have a say.
'Using no-verbal exercises it builds up an understanding of the complexity of the
theme that will then be used in creating a play to be performed for participant's
peers.'
‘The form it takes is relatively straightforward. During the workshop we will have
explored how these techniques can work in a classroom situation and will have
discussed how you may apply them to your particular circumstances. The
following quote is about forum theatre in its traditional form. This may then be
adapted.’
'Forum Theatre works from rehearsal improvisation to create a scene of a
specific oppression. Using the Greek terms ‘protagonist’ and ‘antagonist’,
Forum Theatre seeks to show a person (the protagonist) who is trying to deal
with an oppression and failing because of the resistance of one or more
obstacles (the antagonists).