Titlebook: Contemporary Theatre Education and Creative Learning; A Great British Jour Mark Crossley Book 2021 The Editor(s) (if applicable) and The Au

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Practitioner Voices: Scotland, England and Wales, represent practice from across the three nations addressed in the book with Dougie Irvine and Neil Packham writing from a Scottish context, whilst Kevin Lewis and Sarah Argent’s piece is accompanied from a Welsh perspective by Catherine Bennett and Paul Davies from Volcano Theatre, Swansea and Timo

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Introduction

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https://doi.org/10.1007/978-1-349-19393-6apter finds itself in tune with Helen Nicholson’s proposition: ‘The education of young people is always orientated towards the future, but it also builds on the knowledge of the past’ (., Palgrave Macmillan, 2011, p. 12). As with Nicholson, I will acknowledge and appreciate in ‘How Did We Get Here?’

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https://doi.org/10.1007/978-1-349-19595-4gent nationalism and divergent educational agendas. What indicators do we have for impending optimism or anxiety in this field of pedagogy and praxis and what trajectories may theatre education find itself on beyond 2020. Returning to the themes of maps and departures the chapter considers where the

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https://doi.org/10.1007/978-1-349-19595-4ion, several of those practitioners who have contributed now generously offer reflections on theatre education practice in their own words. Each short essay presents an illuminating insight into contemporary theatre-making for, with and by children and young people, from its ethos and politics to it

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https://doi.org/10.1007/978-3-030-63738-5Devised theatre; Stan‘s Cafe; Talkingbirds; RedEarth; Visible Fictions; BigFoot Arts Education; Bamboozle

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978-3-030-63740-8The Editor(s) (if applicable) and The Author(s) 2021