Theatre methods

The Origins and Evolution of Theatre

Since ancient times, theatre has been a part of human civilisation. The Greek philosopher Aristotle defined theatre as mimesis, or the imitation or re-presentation of nature, an essential human impulse to explore life through performance. [1] Its origins are thought to lie in religious rituals and communal celebrations, where communities gathered to enact stories, honour deities, and make sense of the world around them. [2]

Theatre has always changed, from the great tragedies and comedies of Ancient Greece to the mystery plays of the Middle Ages. In the 19th and 20th centuries, theatre explored themes of industrialisation, political change, and human psychology, reflecting the social upheavals of the time. [3] Theatre was seen as a mirror of reality, allowing audiences to reflect on the society they lived in. [4] Contemporary theatre continues this evolution, embracing a variety of forms and voices while still being a potent medium for social commentary, cultural expression, and storytelling.

What is Applied Theatre?

Performance is only one aspect of theatre. It stands for a method of education, communication, and human experience exploration. People connect feelings, ideas, and behaviours through theatrical expressions, turning imagination into comprehension. Theatre techniques assist participants in developing empathy, expressing their thoughts, and thinking creatively and emotionally about real-life issues in educational and youth work environments.

Applied theatre, unlike commercial or performance-focused theatre, operates in non-traditional settings and caters to communities—often marginalised or vulnerable groups. [5] Applied theatre uses drama and performance techniques to address issues of social concern, with participants having a vested interest in the topic being explored. [6] Applied theatre, also known as applied drama or applied performance, is an umbrella term for the use of theatrical practices and creativity that engages participants beyond mainstream theatre.

Both traditional and applied theatre share deep roots and many goals. Traditional theatre (from Shakespeare to Brecht to contemporary independent work) can educate, provoke, foster empathy, serve as a communal ritual, and act as a mirror of society. Professional ensembles worldwide have long embraced socially engaged, participatory, and community-oriented approaches. The distinction between the two is therefore one of emphasis and context rather than of purpose. Traditional theatre typically involves trained actors performing scripted works, often in formal venues, with a primary focus on the aesthetic quality of the final performance. Applied theatre, by contrast, engages non-professionals and community members (often from marginalised groups) in a process that is explicitly non-formal, educational or therapeutic, largely unscripted, and oriented towards personal and collective transformation rather than polished performance. It takes place in community centres, schools, prisons, and public spaces rather than theatre venues. As Eric Bentley’s foundational definition puts it: “A impersonates B while C looks on”—and it is precisely this triangular relationship of actor, action, and audience that applied theatre continually disrupts and reimagines. In applied theatre, the “audience” becomes active; the “actors” are community members; and the “performance” is inseparable from the learning process. Applied theatre, specifically focuses on the process of learning and personal growth. [7] Participants are active creators of meaningful interactions, exploring themes that matter to them in a supportive environment.

For instance, in role-playing, participants adopt various personas to examine intricate circumstances, such as a dispute at work or among neighbours. They gain fresh insights, hone their communication skills, and cultivate empathy through this embodied experience. In a similar vein, improvisation fosters self-assurance, inventiveness, and quick thinking as participants react to situations without following a script. These methods support young people in learning via action and collective discovery while fostering authentic self-expression.

Theatre of the Oppressed, theatre in education, drama therapy, community theatre, and other diverse practices are all included in the broad category of applied theatre [8]. These methods promote creativity, involvement, and teamwork, making theatre accessible to everyone, irrespective of artistic ability or past experience.

Facilitators frequently note that theatre gives individuals self-assurance and a voice. Once they feel comfortable in the group, even shy or reluctant people tend to express themselves more. This phenomenon explains why theatre is such an effective medium for experiential learning—learning via participation, introspection, and group exploration.