Psycho-physical theatre practice as embodied learning for young people with learning disabilities

Abstract

In a dominant Western tradition that reveres cerebral learning, embodied learning approaches have received limited research attention – and less in education than other disciplines. This paper draws on previously reported empirical data from a five-year Creative Partnerships study to argue that psycho-physical theatre practice can promote embodied cognition, has particular value for young people with learning disabilities in special schools and has potential for inclusive education in mainstream schools. The paper describes a psycho-physical actor training process developed with, and for, actors with learning disabilities. Its application within special educational contexts, which we call ‘mimetics’, has focused more keenly upon physicalised interaction as the core communication. In this form of communication, reading, interpreting and responding to the individuality of others happen through the development of non-verbal dialogue. This focus has illuminated the importance of an intuited or ‘felt’ understanding which is generated by and recognises such communications. In special education settings, being different is inherent, and physicalised interaction more routine, so ways of working different from the mainstream are required. The paper suggests that such settings are rich sites for research to develop, value and recognise the significance of embodied cognition and realise its potential for special and inclusive education.

Keywords:

• embodied learning
• non-verbal communication
• drama/theatre
• learning disability
• special education
• inclusive education

Notes on contributors

Jo Trowsdale is Principal Teaching Fellow in the Centre for Education Studies, University of Warwick. Jo’s research interests explore the relationship between arts, creativity, culture, and education. Her PhD. explores the affective agency of the arts and creative pedagogies in learning, considering their ‘habitus’-forming potential for learners and educators. This builds upon her work as a director of a Creative Partnerships programme for eight years, where she supported teachers, schools, and artists to collaborate and innovate learning through arts-based, creative practices. She also works with other physical theatre practitioners and cultural organisations, investigating embodied and creative learning in STEM subjects (science, technology, engineering, and maths) at primary school ages.

Richard Hayhow has been Artistic Director of Open Theatre Company since 1990. In 1997, he set up The Shysters Theatre Company, acompany of actors with learning disabilities, with support from the Belgrade Theatre in Coventry. He created many productions with The Shysters over a period of 14 years that toured nationally, and also directed many large-scale productions involving integrated professional and community casts. He presents regularly at conferences and festivals, in Russia, Denmark, as well as England, in addition to conducting research and evaluation in community and applied theatre, particularly for young people with learning disabilities. He works regularly in a range of special schools in the West Midlands. Richard has also worked extensively as a freelance theatre director, writer and consultant on working with people with learning disabilities – most recently for Channel 4 Television UK. With John Palmer of Full Body and the Voice, he has published a book about working with actors with learning disabilities.

ORCID

Jo Trowsdale http://orcid.org/0000-0002-3755-1557

Notes

1. Our use of the term learning disability is intended to distinguish it from the notion of learning difficulty. ‘Learning difficulty’ has historically been used to address needs addressed in mainstream schooling and equates best to the internationally understood term ‘intellectual disability’. Legislation in England has connected these ideas defining Special Educational Needs as a ‘learning difficulty or disability [which] calls for special educational provision, namely provision different from or additional to that normally available to pupils of the same age’ (DfE 2014).