While Meecham’s essay focuses on object-based learning and internationalisation of the curriculum, and Hobgood’s work centres on the mission of the theatre teacher, both texts share a common vision of transformative pedagogy. They highlight the importance of experiential learning, dialogue, collaboration, and cultural context in promoting empathy, critical consciousness, and intercultural competence among students. By integrating innovative pedagogical approaches, both authors offer valuable insights into the potential of education to foster meaningful engagement with diverse cultures and perspectives.

I shall now expand this conversation into a reflection between the Internationalisation of the Curriculum as described by Meecham (2015) and Brazilian Theatre practitioner and pedagogue Augusto Boal’s approach of Theatre of the Oppressed (1974). Here also, despite the apparent differences in their methodologies, there are several parallels that can be traced between their approaches:

• Empowerment Through Participation:
  • Both Meecham’s approach and Boal’s techniques prioritise active participation in the learning process. Meecham emphasises engagement with objects as a means to stimulate dialogue and critical thinking, while Boal’s “Theatre of the Oppressed” encourages marginalised communities to actively participate in theatrical performances, thereby empowering them to voice their concerns and aspirations.
• Critical Consciousness and Dialogue:
  • Both approaches aim to foster critical consciousness and dialogue among participants. Meecham suggests that engaging with objects can prompt reflection and dialogue, challenging preconceived notions and fostering intercultural understanding. Similarly, Boal’s techniques, such as Forum Theatre, encourage participants to critically examine social issues and engage in dialogue to explore potential solutions.
• Cultural Sensitivity and Diversity:
  • Both Meecham and Boal emphasise the importance of cultural sensitivity and diversity in their approaches. Meecham’s concept of internationalisation of the curriculum promotes the integration of diverse cultural perspectives into educational practices. Similarly, Boal’s “Theatre of the Oppressed” recognizes the importance of incorporating the cultural context of participants into theatrical performances, allowing for authentic expression and representation.
• Social Transformation:
  • Both approaches advocate for social transformation and empowerment. Meecham’s internationalisation of the curriculum seeks to broaden students’ perspectives and promote global citizenship, thereby contributing to positive social change. Similarly, Boal’s “Theatre of the Oppressed” aims to empower marginalised communities to identify and challenge systems of oppression, ultimately leading to social transformation.
• Experiential Learning and Reflection:
  • Both Meecham and Boal emphasise the value of experiential learning and reflection in their approaches. Meecham suggests that engaging with objects can prompt experiential learning and stimulate reflection on complex issues. Similarly, Boal’s techniques encourage participants to actively engage in theatrical performances, allowing for experiential learning and reflection on real-world problems.

Pam Meecham’s concept of “Internationalisation of the Curriculum” through object-based learning and Augusto Boal’s approach with the “Theatre of the Oppressed” may seem distinct at first glance, however, they share several key parallels in their emphasis on empowerment, critical consciousness, cultural sensitivity, social transformation, and experiential learning. Both approaches offer fantastic insights into innovative pedagogical practices that aim to promote inclusive education and positive social change, which are paramount to any positive educational process to take place and are principles that guide my own approach to teaching on the BA Acting and Performance.

Encouraging students to explore their own unique voice and perspective through acting and storytelling fosters creativity and self-expression, while also promoting empathy and understanding of diverse perspectives. Furthermore, providing constructive feedback and opportunities for reflection allows students to refine their craft and grow as artists. Ultimately, a student-centered approach that values collaboration, experimentation, and intercultural theoretical and conceptual contexts, in my opinion, lays the foundation for a fulfilling and transformative learning experience in acting and storytelling for undergraduate students.

To be continued…