Following the format proposed by my previous blog posts and in response to the Blog task 3 along with its provocative resources, I offer the perspectives on teaching drama through a race-conscious approach proposed by Harvey Young (2013) in “Theatre & Race” and Sean Metzger’s (2019) Oxford Research Encyclopedia of Literature article “Race in Performance”.

Similarities:

1. Both perspectives emphasise the importance of considering the historical and cultural context of race and racism in the development of theatre and drama.

2. Both authors highlight the need for a critical approach to the representation of race in drama, encouraging educators to critically examine the ways in which race is represented on stage and to challenge dominant narratives and stereotypes.

3. Both perspectives acknowledge the power dynamics at play in representations of race and encourage educators to consider how these dynamics can be used to promote social change and justice.

Differences:

1. Young’s work focuses specifically on the African American experience and the role of theatre in addressing issues of race and racism in the United States. Metzger’s article, on the other hand, takes a broader approach, examining race and racism in global theatre traditions.

2. Young’s perspective is more focused on the importance of engaging with African American playwrights and plays as a way to centre Black voices and experiences in drama education. Metzger’s article discusses a range of plays and playwrights from around the world, emphasising the importance of diversity and representation.

3. Young’s work emphasises the importance of community engagement and participatory practices in drama education, while Metzger’s article highlights the need for a critical analytical approach to understanding race and racism in drama.

Key points from Young’s “Theatre & Race” (2013):

* Theatre has played a crucial role in addressing issues of race and racism in American society.

* African American playwrights have made significant contributions to American theatre, but their work has often been marginalised or ignored.

* Drama education should prioritise centring Black voices and experiences, using African American plays and playwrights as a starting point.

* Participatory practices, such as improvisation and audience participation, can be effective ways to engage students in discussions about race and racism.

Key points from the Metzger’s “Race in Performance” (2019):

* Theatre has played a significant role in representing and challenging racist attitudes and beliefs throughout history.

* Representations of race on stage can be used to promote social change and challenge dominant narratives.

* A critical analytical approach is necessary to understand the ways in which race is represented in drama, as well as to identify potential biases and stereotypes.

* Diversity and representation are essential components of drama education, with an emphasis on centering marginalised voices and experiences.

In the British context, incorporating a race-conscious approach to drama education is crucial for promoting inclusivity and challenging systemic racism, not fearing the discomfort it may cause to groups that may enjoy the privilege of not being racialised. The perspectives of Young (2013) and Metzger’s article offer valuable insights for educators. While Young’s focus on centring African American voices and experiences is essential, the British theatre scene has made efforts to enhance their approach to inclusivity and diversity, including plays by POC British playwrights such as Kwame Kwei-Armah, Tanika Gupta and Winsome Pinnock at the main stages of our capital. Metzger’s article, on the other hand, emphasises critical analysis and representation, as British theatre often struggles to accurately represent marginalised communities. As noted in Supryia Finch’s article “So, Cambridge Theatre has a race problem. What now?”, the UK’s lack of diversity in theatre production is still a pressing issue. By incorporating a race-conscious/anti-racist approach, drama tutors can help address this problem and create a more inclusive and equitable theatre landscape. By centring diverse voices and perspectives, Acting and Performance educators can foster a more representative and nuanced understanding of all hues, races and ethnicities that truly make what we can call British theatre.

References:

YOUNG, Harvey. Theatre & Race (at Theatre &… book series) , Bloomsbury Publishing (2013) London.
METZGER, Sean. Race in Performance (at Oxford Research Encyclopedia – 2019)
https://doi.org/10.1093/acrefore/9780190201098.013.101
FINCH, Supryia. So, Cambridge Theatre has a race problem. What Now? (to Varsity – 2023)
https://www.varsity.co.uk/theatre/25932#:~:text=Her%20biggest%20piece%20of%20advice,or%20you%20can%20abandon%20tradition.