This book is a study of theatre's educational role during the 20th and the first years of the 21st centuries. It examines the variety of ways the theatre's educational potential has been harnessed and theorised, the claims made for its value and the tension between theatre as education and theatre as 'art': between theatre's aesthetic dimenstion and the 'utilitarian' or 'instrumental' role for which it has so often been pressed into service. Following a preliminary discussion of some key theoretical approaches to aesthetics, dramatic art and learning and, above all, the relationships between them, the study is organised into two broad chronological periods: early developments in European and American theatre up to the end of world war two, and participatory theatre and education since world war two. Within each period, a cluster of key themes is introduced and then re-visited and examined through a number of specific examples - seen within their cultural contexts - in subsequent chapters. [In this way, the approach resists being driven by chronology but recognises the value of locating and interrofating notions and examples of educational theatre practice within historical contexts.] Topics covered include an early use of theatre to compaign for prison reform; workers' theatre, agit-pop and American living newspapers in the 1930s; theatre's response to the dropping of the atom bomb in 1945; post-war theatre in eduation; theatre in prisons; and the use of performance in historic sites. [The historical roots and precendents of education (and applied and interventionalist_ theatre have tended to get ignored in recent years, and the loss of that broader perspective has sometimes resulted in overly narrow concepts of theatre's socual function. One of the aims of this study therefore has been to develop an argument about how we might better understand the value these kinds of theatre, hitorically, philosophically and pragmatically.]

