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Journal articles on the topic 'Theatre in education'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Delikonstantinidou, Aikaterini. "The Learning Potential of the Alliance Between Theatre and Digital Games." Contemporary Educational Researches Journal 14, no. 2 (2024): 69–78. http://dx.doi.org/10.18844/cerj.v14i2.9310.

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The affinities, interaction, and cross-fertilization of theatre art with games date back at least to the early modern period. However, since the 1990s, a pronounced and promising interconnection has been fostered between theatre and digital games, in theory, and practice, manifesting in fields like theater in education. In the present paper, we set forth some of the key constitutive elements of the said interconnection, underlining the benefits of studying digital gaming using theater as a basic reference model. Next, we turn to the affordances of the theatre-digital games alliance for the the

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2

Krygin, Nikita N. "EPIC THEATRE: THEORY AND PRACTICE IN THE SPECIAL THEATRICAL EDUCATION." Arts education and science 1, no. 34 (2023): 54–63. http://dx.doi.org/10.36871/hon.202301054.

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The theatre of Berthold Brecht is well known in the Russian theatrical space. Attitudes towards Brecht's dramaturgy and his theories have changed at different stages in the development of Soviet and Russian theatre art, and approaches to staging his plays in theatres have also changed, but the practice of authentic reading of the epic theatre theory still remains poorly understood. The author systematizes the most characteristic elements of Brecht's epic theatre, such as alienation and social gestus, and considers the practical aspects of their implementation (miseen- scène, music, scenography

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3

Robinson, Alice M. "Theatre Education." Performing Arts Journal 17, no. 2/3 (1995): 90. http://dx.doi.org/10.2307/3245780.

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4

Meilinda, Satrya Wibawa, and Stefanny Irawan. "Indonesian Performing Arts in the Era of Covid-19: Digitizing Campus Theatre." Asiascape: Digital Asia 11, no. 1-2 (2024): 85–101. http://dx.doi.org/10.1163/22142312-bja10057.

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Abstract In Indonesia, the Covid-19 pandemic dramatically affected many sectors, in particular modern theatre and higher education institutions that host campus theatres. This study focuses on the strategies employed by campus theatres to survive the pandemic, focusing on digital theatre productions by Petra Theatre (formerly Petra Little Theatre) in Surabaya, Play Performance Class in Yogyakarta, and Teater Kampus in Makassar posted on YouTube in 2020–2022. Taking the perspectives by Matthew Causey on digital performance, supported by Sarah Bay-Cheng’s dramaturgy of distortion of mediated the

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5

Stănescu, Mirona, and Daniel Andronache. "The Importance of Theater Pedagogy from a Student's Perspective. An Empirical Study in a German-Speaking Elementary School in Romania." Educatia 21, no. 18 (May 21, 2020): 109–18. http://dx.doi.org/10.24193/ed21.2020.18.11.

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Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatr

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6

Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and educatio

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Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.

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International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the e

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8

Guner, Hafize, and Hasan Nami Guner. "Theatre for Education." Procedia - Social and Behavioral Sciences 51 (2012): 328–32. http://dx.doi.org/10.1016/j.sbspro.2012.08.168.

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9

Pășcan, Sabin-Gavril. "Începuturile învățământului artistic la Târgu Mureș. Institutul de Teatru „Szentgyörgyi Istvan“." Cercetări teatrale 3, no. 1 (2023): 41–56. http://dx.doi.org/10.46522/ct.2023.01.03.

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Târgu Mureș is recognized today as one of the most valuable theatre centres in Romania, and the audience from Târgu Mureș is demanding but also generous. The appearance of the Târgu Mureș theatre somewhat coincided with the appearance of the Theatre Institute after the Second World War. If at the beginning the plays were performed only in Hungarian, after 1962 the theatre became intercultural when the Romanian section of the State Theatre in Târgu Mureș was established. In the 1960s and 1970s, theatrical artistic education occupied a special place in the education system. The specialized depar

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10

M. Dinu Imansyah. "Theatre By Request’ As Theatre Education Alternative." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 61–68. http://dx.doi.org/10.33153/iicacs.v2i1.16.

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“Theatre by Request “(TbR) is the name of one of the show's methods performed by the Studio Teater Yogyakarta initiated and led by Eko Santosa aka Eko Ompong. The basic principle of TbR is the strong interaction between viewers and performances based on the theatre game—that usually being used as basic acting training. The audience becomes part of the show with the opportunity to select and determine the number of actors' performances, themes, to control the performance of the show through certain rules set by Eko Ompong as the TbR Host. The purpose of TbR is to introduce the nature of theatre

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11

Chemi, Tatiana, and Peter Kastberg. "Education through theatre: Typologies of Science Theatre." Applied Theatre Research 3, no. 1 (2015): 53–65. http://dx.doi.org/10.1386/atr.3.1.53_1.

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12

Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.

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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of di

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13

Kušnírová, Eva. "1. Formal and Non-Formal Education Through Theatre⁵⁴." Review of Artistic Education 25, no. 1 (2023): 101–12. http://dx.doi.org/10.2478/rae-2023-0015.

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Abstract The Frankfurt Declaration is a UNESCO document that reminds and re-emphasizes the importance of promoting and applying arts education to the curriculum of all member states. In 2019, the World Alliance for Arts Education (WAAE) organized an international conference called Arts Education for everybody? Every student? Everywhere? It opened a discussion on various topics about arts education (e.g., in society, in school reforms, opportunities for the education of pedagogues, interconnection with other fields, its application at different levels of schools, its future, possibilities to sp

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14

Klimova, Tatiana A. "Educational value of theatre practices." National Psychological Journal 51, no. 3 (2023): 183–90. http://dx.doi.org/10.11621/npj.2023.0318.

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Relevance. The Ministry of Education of the Russian Federation has issued guidelines for ensuring a school theatre operating in every school. The task arising out of these guidelines for the researches of theatre practices in education is to find sociocultural deficits which can be eliminated by the means of theatre projects and to provide practical theatrical forms for solving the issues. The relevance of the study is defined by the need for clear directions on how to implement drama in education. The aim of the article is to provide psychological and pedagogical analysis of theatre practices

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15

Teodorescu, Marius-Alexandru. "The Theatrical System’s Reform as the Aim of the Theatre Director’s Education in Romania." Studia Universitatis Babeş-Bolyai Dramatica 67, no. 2 (2022): 81–94. http://dx.doi.org/10.24193/subbdrama.2022.2.05.

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"This article emphasizes the profound interdependence between the theatre directing educational system and the cultural system, taking into account the specifics of the situation in Romania. Identifying the theatre director as a pillar who defines the status quo in the cultural system and that oversees the implementation of a given global vision in theatres, the article argues that the director’s educational process naturally results in defining tomorrow’s theatre practices. In this context, the article identifies the key skills that the young director should have when entering the cultural sy

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16

DUTT, BISHNUPRIYA. "Introduction." Theatre Research International 42, no. 3 (2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.

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These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy a

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17

Świątkowska, Wanda. "Theatre Education at Reduta." Pamiętnik Teatralny 69, no. 2 (2020): 7–48. http://dx.doi.org/10.36744/pt.38.

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The article presents the history and principles of theatre education at Reduta in its successive forms: from Koło Adeptów [The Apprentice Circle], established in 1921, through the Reduta Institute, to Okop [The Trench], which was the last pre-war incarnation of the school. Based on documents and memoirs, the article discusses Reduta’s comprehensive and holistic model of education, in which regular theoretical classes were accompanied by practical and physical exercises. A crucial part of the education process was student participation in the theatre’s daily operations: rehearsals, preparation

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18

Úcar, Xavier. "Theatre: Communication and education." Educar 18 (February 1, 1991): 73. http://dx.doi.org/10.5565/rev/educar.502.

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19

Dawson, Kathryn M. "Theatre, education and performance." Research in Drama Education: The Journal of Applied Theatre and Performance 17, no. 1 (2012): 136–38. http://dx.doi.org/10.1080/13569783.2012.649019.

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20

Grammatas, Theodore. "Theatre Education in Greece." Research in Drama Education: The Journal of Applied Theatre and Performance 3, no. 2 (1998): 247–48. http://dx.doi.org/10.1080/1356978980030209.

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21

Magela, André Luiz Lopes. "OECD and Theatre Education." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 39 (2020): 1–24. http://dx.doi.org/10.5965/14145731033920200502.

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Written interview in May 2020 with Andreas Schleicher, director of education at the OECD – Organization for Economic Cooperation and Development, focusing on educational issues that directly or indirectly concern theatre education. The interview was also addressed to Stéphan Vincent-Lancrin, Ellen Winner and Thalia Goldstein, authors of an OECD book dedicated to teaching arts in schools. The approached topics comprehended the importance of artistic education, connections of artistic education with competencies, public policies in education and the global economic agenda. The interview is prece

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22

Bridges, Caroline. "Loudmouth: Theatre in education." British Journal of School Nursing 3, no. 6 (2008): 287–89. http://dx.doi.org/10.12968/bjsn.2008.3.6.31703.

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23

Salazar, Laura Gardner. "Assessment in Theatre Education." Design For Arts in Education 93, no. 5 (1992): 41–45. http://dx.doi.org/10.1080/07320973.1992.9936692.

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24

Levy, Jonathan. "Theatre and Moral Education." Journal of Aesthetic Education 31, no. 3 (1997): 65. http://dx.doi.org/10.2307/3333488.

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25

Ozieblo, Barbara. "Composing Ourselves: The Little Theatre Movement and the American Audience. By Dorothy Chansky. Carbondale: Southern Illinois University Press, 2004; pp. 256; 15 illus. $55 cloth; Summer Stock! An American Phenomenon. By Martha Schmoyer LoMonaco. New York: Palgrave Macmillan. 2004; pp. 320; 25 illus. $27.95 cloth." Theatre Survey 46, no. 2 (2005): 343–46. http://dx.doi.org/10.1017/s0040557405370207.

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The theatre has long been recognized as a site from which national and social values can be promoted, and this was particularly the case with the Little Theatre and summer stock phenomena. Even when performing non-American plays, these movements addressed the education of the audience, as Dorothy Chansky and Martha Schmoyer LoMonaco make apparent in two rigorously researched studies. Both have chosen to focus on the audience as an integral component of the theatrical event and, eschewing postmodern theories of the spectator's gaze, they bring a sociohistorical perspective to their findings, wh

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26

Gambles, Chandel. "Colonialist theatre education in Botswana." SURG Journal 3, no. 2 (2010): 3–9. http://dx.doi.org/10.21083/surg.v3i2.1119.

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There is a distinct lack of theatre in Botswana due to its political and social history. The colonialists of the past and the artistic Theatre for Development educators have forced outside theatrical ideals on Botswana productions. When the majority of the country was illiterate, this was the most effective tool for establishing propaganda and communication. However, since the economic welfare and educational standards of Botswana have improved, educators should not be as dependant on theatre as a tool. Theatre for Development still dominates current productions and has caused a distinct hindr

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27

Zaslavskiy, Mikhail G. "The System of Party-State Management of the Theatre in the USSR in 1932–1939." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2023): 63–82. http://dx.doi.org/10.35852/2588-0144-2023-2-63-82.

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The article is devoted to the system of state management and control over theatre institutions. In the early thirties in the USSR there was a complex and cumbersome system of theatre management. Formally, there wasn’t any unified part responsible for art, and the main department of theatre management was actually the People’s Commissariat for Education of the RSFSR. Nevertheless, its powers especially in regards to the USSR republics’ theatres were not fully defined. In addition there were also other institutions that controlled theatre policy. In 1936 there was established the All-Union Commi

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28

Cresswell, Becky, Corrina Davies, Sue Langlois, and Dan Richter. "Growing our own theatre staff: Practice development and education." Journal of Perioperative Practice 28, no. 5 (2018): 128–32. http://dx.doi.org/10.1177/1750458918769199.

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Royal Bournemouth & Christchurch Hospitals NHS Foundation Trust engaged in a quality improvement project aimed at improving quality and safety in theatres. The improvements delivered were recruitment to full staffing template, reduction in agency staffing to zero, and creating a theatre coordinator role to ensure safe staffing. The Practice Education Team was increased fivefold with no extra investment as a result of these improvements. Student satisfaction results amongst ODPs and nurses have increased alongside staff morale and productivity.

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29

Heywood, Peter, and Mark Reilly. "Lecture theatre and street theatre?" Medical Education 38, no. 5 (2004): 554–55. http://dx.doi.org/10.1111/j.1365-2929.2004.01902.x.

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30

Kazragytė, Vida. "The Subject of Theatre in the Lithuanian School: Relationships within the General Educational Cultural Context." Pedagogika 111, no. 2 (2013): 195–202. http://dx.doi.org/10.15823/p.2013.1805.

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The article investigates the rather new educational phenomenon – about twenty years ago under the impact of educational reform the theatre subject teaching was introduced. In many neighbor’s countries there is no such separate theatre subject still yet. The focus of the article is on the relationships between the curricula of theatre subject (2008, 2001) and the practice of long-lived non-formal education of children and youth of Lithuania. The curricula of theatre subject were prepared according to comprehensive discipline-arts education conception formed in United States of Amerika. Taking i

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31

Kruger, Loren. "Introduction: Scarcity, Conspicuous Consumption, and Performance in South Africa." Theatre Research International 27, no. 3 (2002): 231–42. http://dx.doi.org/10.1017/s0307883302000317.

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While anti-apartheid theatre was known worldwide for dramatizing the struggle against apartheid, theatre in South Africa today is hampered by the loss of a focused movement for change and by inefficient and compromised institutions of patronage and development. Well-placed administrators and stakeholders channel limited subsidy to large institutions such as the Market and the State Theatre, whose repertoires are dominated by nostalgic revivals, while cutting-edge performance must rely on corporate or international support. Under these conditions, theatre that is innovative in seeking new audie

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32

Inštitorisová, Dagmar. "EDUCATION BY THEATRE PROJECT (2010 – 2014)." CBU International Conference Proceedings 4 (September 22, 2016): 292–303. http://dx.doi.org/10.12955/cbup.v4.771.

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This article summarizes the almost four-year duration of the Vzdelávanie divadlom (Educating through the Theatre) project from 2010 to 2014, which was funded through European structural funds and based at the Faculty of Arts, Constantine the Philosopher University, in Nitra. This project was managed by the author. As part of the project, 27 workshops were held on historical and contemporary poetics in theatre and their application. There were 45 works published (28 monographs, 15 manuals, and 2 electronic publications) and 8 lectures, 1 colloquium, 1 international conference, and 3 school thea

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33

Ganelin, Aleksandr E. "Early 20th Century Studio and Theatre Innovations of Vs. E. Meyerhold and S. E. Radlov." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 393–409. http://dx.doi.org/10.21638/spbu15.2021.303.

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The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the b

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34

Barker, Clive. "Games in Education and Theatre." New Theatre Quarterly 5, no. 19 (1989): 227–35. http://dx.doi.org/10.1017/s0266464x00003304.

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In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops’ for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games’ of his own childhood and adolescence. In this article (

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35

Meiklejohn, J. M. C. "Theatre Education after World War II: A Memoir." Theatre Research in Canada 12, no. 2 (1991): 141–68. http://dx.doi.org/10.3138/tric.12.2.141.

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Michael Meiklejohn (1906-1989) was one of Canada's most influential leaders in community theatre after World War II. As full-time theatre consultant with the Department of National Health and Welfare from 1948 to 1955, he adjudicated drama festivals, gave speeches, taught workshops, published training materials, and consulted informally with other leaders in theatre education in Canada and abroad. In this memoir, written about 1981 and found among his private papers after his death, Mr Meiklejohn records his impressions of community theatre and theatre education in the burgeoning climate of po

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36

Winston, Joe. "Drug Education through Creating Theatre in Education." Research in Drama Education: The Journal of Applied Theatre and Performance 6, no. 1 (2001): 39–54. http://dx.doi.org/10.1080/13569780020031780.

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37

Pataki, András. "Theatre Education – Education through Theatre : Proposals for the development of a background structure in Hungary." Uránia 5, no. 1 (2025): 80–117. https://doi.org/10.56044/ua.2025.1.4.eng.

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The subject of my work is theatre education, its forms and possible structures in the coming period, and my ideas on how to achieve this. In the context of my attachment to the theatre, I would like to contribute, at least in part, to the considerations on possible strategies. For that, I looked at the work of the TIE (Theatre in Education) groups, which operate as a system in the UK with local government funding, and which use theatre as an educational tool, in the form of performances, and also through the use of theatrical procedures and techniques. In Hungary, too, it would be necessary to

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38

Kamal, Nabaz Esmail. "Children's Theatre and Achieving Educational Goals in Schools." Journal of University of Raparin 10, no. 1 (2023): 663–87. http://dx.doi.org/10.26750/vol(10).no(1).paper29.

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The most crucial aspects of community development، which connect to the future of each community's function and its future، are education and learning steps. In order for their correctness and stability to guarantee a good living for people and serve people، nations determine the fields of theater، education، and learning as well as the level of cultural and civil understanding that is to come. Children's theatrical development has always been at a low level in the Kurdistan Region due to ongoing occupation and abuses of sovereignty، and this weakness is increasingly apparent between 2003 and

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39

Петрова and A. Petrova. "Auditorium of the Bolshoi Theater Journey As a Form of Aesthetical Education of Younger Schoolchildren." Primary Education 4, no. 4 (2016): 32–34. http://dx.doi.org/10.12737/21359.

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The article discusses the educational potential of the excursions in the auditorium of the Bolshoi Theatre for introduction to younger students the peculiarities of architecture, interior design of the theater building, initiation to understanding the creative life of the theater group. The aim of the tour is the aesthetic education of children, development of their imagination and the ability to co-creation, conscious perception of theatrical art.

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40

Fletcher-Watson, Ben. "Learning though theatre: the changing face of Theatre in Education; Theatre in Education in Britain: origin, development and influence." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 4 (2016): 590–92. http://dx.doi.org/10.1080/13569783.2016.1228451.

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41

Datoo, Al Karim, and Zainab M. A. Chagani. "Street Theatre: Critical Pedagogy for Social Studies Education." Social Studies Research and Practice 6, no. 2 (2011): 21–30. http://dx.doi.org/10.1108/ssrp-02-2011-b0002.

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This paper aims at exploring the usefulness of street theatre as critical pedagogy in teaching of social studies education. It gives a brief background of street-theatre and its linkages with critical pedagogy. In the light of theoretical underpinnings of this arts-based pedagogy, the paper deliberates upon the relevance and efficacy of street theatre in a social studies classroom. This paper uses a street theatre performance case to look at the techniques such as: body motion, body work, props, use of visual and audio aids, etc.; processes such as: conscientization and catharsis; and dialogic

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42

Jakšić Balaž, Kristina, and Iva Gruić. "PARTICIPATORY THEATRE AND SEXUAL EDUCATION." Metodički obzori/Methodological Horizons 9, no. 1 (2014): 77–91. http://dx.doi.org/10.32728/mo.09.1.2014.06.

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43

Kun, Attila. "The Hungarian Dance Theatre Education." Tánc és Nevelés 2, no. 2 (2021): 101–13. http://dx.doi.org/10.46819/tn.2.2.101-113.

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The purpose of the paper is to give an overview of dance theatre education related to Hungarian contemporary dances and relying on the results of current and still ongoing research. The paper surveys the embeddedness of participational dance education programmes in the structure of prose/drama theatre education, as well as the historical antecedents of its diverse methodology, its forms of financing throughout times and its activities.

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44

Zazzali, Peter, and Jeanne Klein. "Toward Revising Undergraduate Theatre Education." Theatre Topics 25, no. 3 (2015): 261–76. http://dx.doi.org/10.1353/tt.2015.0034.

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45

Jackson, Anthony. "Diversity in Theatre-in-Education." New Theatre Quarterly 8, no. 29 (1992): 95–96. http://dx.doi.org/10.1017/s0266464x00006382.

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46

Whybrow, Nicholas. "Theatre in Education: What Remains?" New Theatre Quarterly 10, no. 38 (1994): 198–99. http://dx.doi.org/10.1017/s0266464x00008733.

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47

Exarhopoulou, Mina scorthou. "Synthetic theatre through museum education." International Journal of Early Childhood 28, no. 2 (1996): 53–56. http://dx.doi.org/10.1007/bf03174503.

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48

Singh, Asha. "Humanising Education: Theatre in Pedagogy." Contemporary Education Dialogue 2, no. 1 (2004): 53–84. http://dx.doi.org/10.1177/097318490400200104.

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49

Nichols, Glen. "Roles of Theatre in Higher Education: Liberal Education and University Theatre Programs in Canada." Theatre Research in Canada 39, no. 1 (2018): 77–79. http://dx.doi.org/10.3138/tric.39.1.77.

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Heinrich, Anselm. "WILLIAM GLADSTONE AND THE THEATRE." Theatre Survey 52, no. 1 (2011): 83–103. http://dx.doi.org/10.1017/s004055741100007x.

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Abstract:

William Ewart Gladstone, four times prime minister (1868–74, 1880–5, 1886, and 1892–94), the “greatest colossus of the Victorian Age,” the most influential prime minister of the nineteenth century, and the Grand Old Man (G.O.M.) of British politics and statesmanship, seems an unlikely advocate for the theatre. Deeply religious, conservative, and serious, Gladstone is not easily imagined as an avid theatregoer. It is difficult to imagine him supporting the ephemeral, often subversive, and suggestive character of the theatre. And indeed, in his early years Gladstone despised the theatre and call

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