UOD -IS-070511

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University of Derby
BA (Hons) Joint Honours: Theatre Arts and Education Studies
‘What is the effectiveness of Theatre
In Education, in Alcohol Education,
when measuring Attitude and
Behaviour Change in a secondary
inner city school setting?’
By Victoria J Woods
6th May 2011
Word count without reference list: 9,168 words
Word count with reference list: 9,728 words

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Acknowledgements
I wish to acknowledge the following people without whom this Independent
Study would not have been possible.
Firstly I would like to thank the support of my family, Ross Woods, my
husband, who has never once complained, despite the number of times I have
asked him to read through it. My children, Rowan and Niamh, who have been
as patient as young people can be when their parents work. Also for the
support of my wider family who have looked after the children for me while I
have been writing, reading and getting stressed – Susan, Emily and Alexandria
Cooper, Julia and George Hunter, Kim and Pauline Woods to name but a few.
Secondly I would like to thank all the people who have helped me through the
amount of time and effort they have put in. David Johnston and Gary Lagden
from Tangere Arts, for providing me with the relevant documentation and
taking the time to speak to me. Richard Pinner for information on his
independent report and taking the time to go through this with me, and all the
students and staff from Da Vinci Technology College, including Marc Bellingall
and the student council.
Finally, I would like to say a huge thank you to Ava Hunt, my supervisor, for
her endless support and guidance throughout this process.
To anyone I have missed, I say a further THANK YOU!

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Abstract:
The effectiveness of Theatre In Education (TIE) in alcohol education, when
measuring attitude and behaviour change long-term, is rarely explored. This study
explores a TIE programme by Tangere Arts a year after the original programmes
were undertaken. Chapter one focuses on the History of TIE and how the Tangere
Arts programmes developed. From the study of literature in chapter two, there a
number of opinions which led to questions that remained unanswered, which the
research conducted aimed to answer. The research focuses on the post-
performance evaluations carried out by the company and funding body, as well as
quantitative and qualitative research conducted a year later. In chapter three the
results are analysed and discussed. Drawing to the conclusion and summary,
Chapter four: that TIE does help promote attitude and behaviour change though a
number of factors which all need to be taken into account.
Word count of whole document: 41,213 words

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Contents
Introduction.................................................................................................................................4
Aims and purpose of the study ..................................................................................................4
Methodology............................................................................................................................ 5
Chapter One: History and Development of TIE............................................................................... 8
Background to TIE..................................................................................................................... 8
Background to TIE Project by Tangere Arts............................................................................... 11
Chapter Two: Literature Review .................................................................................................. 14
TIE, Alcohol Education and Effectiveness.................................................................................. 14
Learning, Development and Memory....................................................................................... 16
Attitude and Behaviour Change............................................................................................... 17
Chapter Three: Results, Analysis and Discussion........................................................................... 20
Results................................................................................................................................... 20
Analysis and Discussion........................................................................................................... 28
Chapter Four: Summary and Conclusion....................................................................................... 32
References................................................................................................................................. 34
Bibliography............................................................................................................................... 37
Appendices ................................................................................................................................ 42
Appendix One – Drink aware evaluation report, Payne 2010 ..................................................... 42
Appendix Two – Sample of questionnaire................................................................................. 66
Appendix Three – Semi-structured interview schedule.............................................................. 69
Appendix Four – Staff questionnaire........................................................................................ 71
Appendix Five – DrinkAware evaluation questionnaire.............................................................. 72
Appendix Six – Full evaluation reportfrom Lichfield 2006.......................................................... 85
Appendix Seven – Drinkaware extract for evaluator.................................................................. 91
Appendix Eight – Independent evaluation report...................................................................... 98
Appendix Nine – Results from questionnaire...........................................................................107
Appendix Ten – Transcript from semi-structuredinterviews.....................................................113

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Introduction
Aims and purpose of the study
The purpose of this study is to research changes in ‘attitude’ and ‘behaviour’ towards
alcohol education, based on the Theatre in Education (TIE) company programme1,
developed by Tangere Arts and funded by Drinkaware, an independent charity to
help tackle alcohol misuse. The study will focus on these changes a year after the
initial TIE programme, assessment and evaluation was undertaken at one school; Da
Vinci Technology College.
The majority of literature supports the theory that Theatre In Health Education (TIHE)
is effective in some way, such as Cooper (2004), Cousins (2001), Douglas et al
(2000) and Somers (2008), as well as independent or commissioned reports such as
Sykes (2001), drug and alcohol education and prevention team (2007) Payne (2010,
see appendix 1) and Bellis et al (2007). Although, literature often supports that TIE is
evaluative and effective, it is not always in agreement as to what extent. The
research has also rarely been conducted after a period of 8 months.
However, others believe that drama and TIE is nothing but ‘story telling.’ Bullen
(cited by Lagden, 2011) “If TIE is nothing else than that young people have
something different not double maths.” Best states that, “It is widely assumed that
the arts are merely for entertainment or enjoyment, from which nothing of
significance can be learned.”(1992, p.xii) Mamet concurs, stating that, “People have
tried for centuries to use drama to change people’s lives, to influence, to comment,
to express themselves. It doesn’t work…”(1994, cited in Jackson 2007). Cooper
(2004, p.83) highlights the point that “A child will not engage, or at best only engage
half-heartedly, with a stimulus that has no significance.”
Due to the literature, and the original project undertaken by Tangere Arts, the overall
aim of this project is to assess the overall impact and on-going effectiveness of TIE,
a year after the performance has taken place. In order to achieve this aim a number
of objectives have been set, to enable a complete thorough and reliable assessment.
1 ‘Programme’ refers to the overall Theatre in Education (TIE) programme: performance and
workshop/discussion element.

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The objectives are:
 To collate and record a sample of students’ current
responses/attitudes/behaviour towards the themes of the performance.
 To investigate how the responses/attitudes/behaviour of students have
changed a year after seeing the original performance.
 To analyse the extent to which the company achieved their original aims.
 To evaluate the effectiveness of TIE in response to research findings and
critical academic literature.
 To compare and draw on conclusions from my data and the data provided by
the TIE company and independent assessors.
In order to carry out this research, as Bell (1999, p.102) suggests, it is important to
“cross–check findings… [and] to use more than one method of data-collecting.” This
is known as Triangulation, “…comparing and contrasting one account with another in
order to produce as full and balanced a study as possible.” (Open University course
E811 1988, cited by Bell, 1999, p.102) Using these combined methods the study will
gain an efficient, accurate and in depth assessment of the research thus providing a
triangulation of evidence.
In light of Bell, the study will combine a number of different data-collection methods,
from a number of informants and resources.
Methodology
Quantitative Closed StudentQuestionnaires (see appendix 2)
Quantitative closed questionnaires according to Baumfield et al (2008, p.22) “that the
statistical evidence can be looked at and analysed with ease.” And this in turn, can
generate more responses and could be more reliable. Newby (2010) states, that it is
also ideal when working with children as it is objective and versatile.
The questionnaire design and structure reflected the purpose of the evaluation, the
responses from the original post questionnaires taken by Tangere Arts and the
original questions themselves. This in turn will distinguish how much of the
information they have retained over the year and the effects it has had on them, if
any. “Non-response is a problem because of the likelihood –repeatedly confirmed in

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practice- that people who do not return questionnaires differ from those who do”
(Moser and Kalton 1971, cited by Bell 1999, p.130)
Qualitative Semi –StructuredGroupInterviews(see appendix 3)
The use of qualitative semi–structured group interviews, as stated by Hantas (2010,
p.231) “helps to ensure coverage of the researchers agenda…providing
opportunities to interviewees… to gain both breath and depth.” This method provides
an in-depth insight into the extent and ways in which practice, understandings and
behaviours have changed or developed since seeing the performance/workshop.
Newby (2010) comments, that this method allows questioning to explore an issue
and can confirm the majority of answers provided on the questionnaires.
The interview schedule will reflect the purpose of the evaluation and the group
discussion that took place in March 2010 as the post evaluation for Drinkaware.
Some of the questions replicate the ones used in the original group discussion
(2010) but others have been added to see what they remember including the
performance itself, statistics and their attitude and behaviour change after a year.
Qualitative Staff questionnaires (see appendix 4)
Qualitative staff questionnaires allow the staff to comment freely on pre-determined
questions, however as stated by Bell (1999, p.119) this can “produce useful
information but analysis can present problems.” This provides an in-depth insight into
the extent and ways in which TIE practice is perceived, how often it is used, and
why. The qualitative questionnaires provide: credibility, dependability and
confirmability as they are more in-depth and subjective.
Questionnairesprovidedby Tangere Arts
Tangere Arts sent out questionnaires post-performance in order to assess the value
of the programme. However, they are aware that this has it limits to validity as “pupils
are eager to please and get things right so write what they think they want you to
hear.” (Johnston 2010, informal interview) As well as the post questionnaire taken
within a month of the performance, an independent evaluator conducted a group
discussion with 16 children to assess what they learnt from the programme.

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Limitations onthe project
For this project, an immediately apparent limitation from the start was the Year 11’s
who had seen the project had left the year before. This meant that it was not
possible to gain questionnaires from these as well as interview this year group to
gain opinions or comments on the impact this had on them or the performance itself.
Due to the number of people involved ethical considerations needed to be taken into
account. Newby (2010) states how an ethical code; provides guidance, avoids harm
and ensures the researchers’ aims are beneficial by providing a need for accuracy
and autonomy. Bell (1999, p.38-45) sums up that research ethics are in integral part
of any study. It protects everyone who is involved in the research by providing
informed consent.
IntroductionWordcount:1,130

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Chapter One: History and Development of TIE
Background to TIE
In the 1960’s the UK was being encouraged to spend. We had survived 2 world
wars, and the economy was finally starting to bloom. “Worldwide there was all kinds
of protests, change and revolutions forming. All aspects of society were affected by
this – including education and theatre.” (Cope, 2010) TIE emerged as an individual
and separate entity, as a new art form in the 1965, Belgrade Coventry. TIE is not a
new development. The distinct “origins of Theatre in Education (TIE) are earlier,
rooted in a number of only loosely related activities” (O’Toole 1976, p.10).
TIE programmes were “designed to operate within the school system” (O’Toole
1976, p.13) and the funding enabled companies to set up projects within schools and
to “demonstrate vividly the value of theatre as an educational method” (Jackson
2006, p.3). This was the lead needed in which many companies, theatres and local
authorities followed, starting TIE companies across the country. TIE works with a
group of individuals usually around the same age, and shows them the issues or
problems centred on a particular subject, National Curriculum. TIE creates “theatre
for social change” (Jackson 2006, p.18) an awareness of important themes and
“issues of everyday life in society, and it can show and help us to understand the
choices we make” and the decisions we take. (Cope, 2010) Wooster (2007, p.13)
develops this by highlighting that the facilitation is vital in TIE in order “to slow down
action and thought processes to allow analysis and consideration of consequences.”
The audience is asked to comment and allows them to question, argue and develop
the different outcomes. Sextou (2003, p.186) states how “TIE is not a traditional
teaching process.” It has its value is as a “medium of personal contact that offers
knowledge of social problems through involving pupils in a process so they can learn
critical skills in assessing social issues and the impact of their decisions on other
people’s lives.” Cooper (2004, p.84) echoes this point as “theatre and drama, are
ideally equipped for learning because they engage children as individual, social and
cultural beings.” This highlights that the social and emotional aspects that theatre is
good at which pushed the move guided by these areas into PHSE of the national
curriculum, as this is where these aspects are mainly found.

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As Boal (1992 p.230) states “it is more important to achieve a good debate than a
good solution.” It can explain fears that can shape our thoughts and actions; it can
explore preconceptions, ways of thinking; and most importantly, what makes us who
we are. “The important thing about emotion is what it signifies. We cannot talk about
emotion without reason or, conversely, about reason without emotion; the former is
chaos, the latter pure abstraction.” (Boal 1992, p. 48) This process, in turn, should
help the individual to make informed choices in the future, as well as raising an
awareness of the issue in the present.
Vallins (cited by Jackson, 2006, p.3) stated that “TIE was created out of an
awareness of the limitations of the national curriculum and the lack of impact theatre
had on ordinary people’s lives.” Over the last few decades, TIE has changed to cope
and challenge current contemporary society, through modern changes and
developments such as; technology, attitudes and behaviours. This provides a
structure that makes the audience participate, question, reach solutions and evaluate
the way they think and feel. “TIE have included recognition of the value of the play,
the ability of drama to encourage social and personal development and the use of
‘role’ and ‘reflection’.” (Wooster 2007, p.6)
In 1988, with the takeover of the new conservative government, led by Margaret
Thatcher, TIE decreased dramatically. This was partly due to the “introduction of the
education reform act (ERA) which established the national curriculum,” (Sextou
2003, p.177), which set specific targets for the various key stages. This had great
implications on the impact of TIE in a number of ways, as TIE companies had to find
new means to acquire sources of funding. “Funding was required from a variety of
national and local agencies and charities”, (Winston 2005, p.309). In order to gain
funding, as well as for schools and companies to hire them, they had to fit into the
curriculum which led them to be more issue or subject based as well as to provide
what they do works. “Theatre in education developed as a hybird of these new
theoretical and educational undercurrents and created a methodology that offered a
child centred approach to learning within a theatrical context.” (Wooster 2007, p.1)

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“One of the most provocative and exciting developments in TIE… in recent years has
been the emergence of Theatre in Health Education (TIHE).” (Ball 2003, cited by
Jackson 2006, p.227) The development of TIHE is due to a number of reasons.
The requirements of TIE to be more subject-based on individual areas of the national
curriculum has led many TIE groups to areas in Personal, Social, Health and
Economic education (PSHE). “In the secondary curriculum PSHE education is
described in two new interrelated programmes of study for both key stages 3 and 4:
one for personal wellbeing and one for economic wellbeing and financial capability.”
(PSHE Association) “Anecdotal evidence” suggests that health educationalists are
rightly suspicious of those theatre companies that they perceive to have “jumped on
the bandwagon’, and exploited funding opportunities and produced poor work.” (Ball,
cited by Jackson 2006, p.235) It has evidenced that if the work is of poor quality, the
pupils will find it hard to make connections between the fiction of the performance
and the reality of it being an issue, so will not engage. The programmes of study
should be used flexibly to ensure that they are appropriate to pupils’ abilities… and
they should provide opportunities to address real life and topical issues and show
pupils that they can make a difference to their own and others’ lives.” (PSHE
Association website, date not included) The programs of study are based on the
‘Every Child Matters’ outcomes and build on the existing frameworks and guidelines
in these areas. This is where many TIE companies feel they can be best involved
within the curriculum, due to the impact and awareness that TIE has to offer to
individuals on social and emotional development. It is often the case that teachers
cannot offer support in this development as often as they would like. Way (cited in
Wooster 2007, p.10) states that TIE worked on “developing the social and
psychological value of drama for the individuality of the individual.”
There have been numerous studies in the area of TIE, since the funding changed, on
evaluation and effectiveness as these would be prove that TIE has an impact. As
companies and individual schools needed to pay for the chance to be able to see
TIE, it is necessary for them to have evidence of how effective it is in order to justify
spending vast amounts of money.

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Background to TIE Project by Tangere Arts
Tangere Arts are a renowned Theatre in Education Company to many educational
settings in and around Derbyshire and Nottinghamshire.The TIE Company, Tangere
Arts, developed an alcohol awareness programme, ‘Digger’ in 2003, when there was
a “gap in the East Midlands on this subject matter.” (Tangere Arts, 2010 – see
appendix 5) From this they were approached by a school nurse situated in Lichfield.
The company were invited to do a performance on alcohol education for the whole
school. The school raised the funds and Tangere Arts performed the programme
‘Digger’ in January 2006 of which the school provided an evaluation report to
Tangere Arts.
Below a graph of the evaluation from the school, which was written in March 2006.
(see appendix 6) The question put to the pupils was: “How often do you drink
alcohol?”
The National Centre for Social Research (2010) suggests that around half (55%) of
young people had tried alcohol at the age of 14, rising to 85% by age of 17. This
implies that the normalisation of involvement with alcohol occurs rapidly between the
0%
10%
20%
30%
40%
50%
60%
Percentageofstudents
How often students drink
How often do the pupils drink alcohol?
(not including quantity)
Yr7
Yr8
Yr9
Y10
Y11
6th

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ages of fifteen and seventeen years. Overall the statistics in this table show a rise in
regular drinking habits in year groups ten, eleven and the sixth form.
The ‘Alcohol Concern’ website suggests that over the last twenty years, under 18’s
are drinking increasingly more. They go onto say that there are “an estimated
630,000 11- to 17-year-olds drinking twice or more per week” (Alcohol Concern
Website) The statistics from Tangere Arts suggest that 13% of Year 7 pupils at this
inner city secondary school are drinking alcohol once a week.
One of the objectives of Tangere Arts was to use drama to “be entertained,
challenged, amused at times, and hopefully swamped with information, attitudes and
issues,” (Tangere Arts, 2010 – see appendix 7) which increases young people’s
knowledge, skills, attitudes and understanding of alcohol.” The pupils were asked if
the ‘Digger’ performance had changed their views on drinking alcohol. The results
are outlined on the table below:
This data suggests that the greatest impact was on year eight pupils. But is this
really the case every time?
It was from the evaluation report provided by the school that raised awareness in the
findings and inspired Tangere Arts to develop this further. Tangere Arts went on to
develop two further programmes on alcohol education; ‘Party Time’ and ‘Lauren’.
(Appendix 6)
Tangere Arts “applied to ‘Drinkaware’ for funding in order to deliver alcohol education
to whole schools in areas of deprivation within Derbyshire and Nottinghamshire.”
which they were awarded. “Tangere Arts delivered three programmes for the
different Key stages: ‘Digger’ for Years 7 & 8, ‘Party time’ for Years 8 & 9 and
‘Lauren’ for Years 10 and above.” (Tangere Arts 2011). The aim of engaging a
school for a week, was to leave pupils “entertained, challenged, amused and
Yr7 Yr8 Yr9 Y10 Y11 6th
Yes 30% 39% 33% 32% 23% 23%
No 43% 36% 49% 35% 49% 48%
Unsure 27% 27% 18% 33% 28% 29%

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swamped with information, attitudes and issues.” (Tangere Arts 2010) Overall this
according to the post-performance questionnaires, Drinkaware and independent
reports, achieved a greater impact on behavioural and attitude change which was
evident within a 3 month period when the independent evaluations took place.
Limitations onthe original project
Being absent from involvement in the original programme, I am relying on a number
of sources to provide me with an accurate evaluation, and to critique an account of
what happened and how effective it was. These sources are wide ranging to provide
a triangulation perspective. The sources are from Tangere Arts themselves, the
questionnaires from the audience, staff comments and interview, the independent
assessors report, the report from Drinkaware and other university students that saw
the ‘Party Time’ performance. From these I should have a varied opinion on content,
context and the overall impact of the programme at that time.
One of the limitations for Tangere Arts on the programme delivery was timing. Da
Vinci College had 50 minutes for a lesson, which was also the time allocated to the
performance and workshop aspects per group. This meant that on one occasion
during ‘Lauren’ the workshop was cut, leaving just 5 minutes discussion time.
However, “whether the audience takes part in TIE they are still learning and
understanding by doing rather than seeing.” (O’Toole 1976, p.33)
ChapterOne Word count:1,988

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Chapter Two: Literature Review
There are a wide range of journal articles and texts that have been written in relation
to TIHE and TIE.
The purpose of this written account of journal articles and reports, which include:
Sykes (2006), Cooper (2004), Taylor (2000), Cousins (2001), Drug and Alcohol
Education and Prevention Team (2007), Payne, (2010), Douglas et al, (2000), Bellis
et al (2007) and Somers (2008) is to understand previous research that has already
been carried out (TIHE and alcohol education) and in order to assess if TIE is an
effective long-term resource to help the audience to bring about attitude and
behaviour change.
TIE, Alcohol Education and Effectiveness
According to Alcohol Concern (2001 cited by Skyes 2006, p.12) TIE alcohol
education should be “addressed as a whole school approach.” However, Taylor
(2000), Cooper (2004) and other TIE companies, tend to focus on age range or year
groups staying in school for the duration of the ‘programme’ meaning “a half day or
full day’s work in each school.” (Cooper 2004, p.82) There is no clear evidence to
suggest from the literature why or which approach is best. The reason why not all
TIE companies take on the whole school approach may be due to the expense, and
the subject may be more relevant to certain age/year group. This goes back to
Cooper (2004, p.83) who points out that, “A child will not engage, or at best only
engage half-heartedly, with a stimulus that has no significance.” So in order for a
whole school approach to work, does there need to be a variety of ‘programmes’
aimed at specific target audiences? Cousins (2001, p2) suggests that the audience
“recognise the coincidence of their life-experiences with those of the peer tutors…the
Portman Group (a drinks industry initiative against alcohol misuse), peer tutoring,
followed by theatre, were found to be the most effective methods of raising issues to
do with alcohol education.” The Drug and Alcohol Education and Prevention Team
(2007) further raise the point that “it is important to remember that the a one off visit
in isolation is of limited value.” If this is the case, whether whole school or certain
year groups, the school should use TIE as a basis, to develop the topic and further
investigation with follow-up sessions.

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The majority of research undertaken, such as Payne, (2010) Douglas et al, (2000) &
Cooper, (2004) suggests that there is little or no evidence that the effects, impact
and change is rarely noted beyond 3-6 months after the programme has taken place.
This highlights that the research is concluded as being effective in the immediate or
short term, and not assessing the long term affects. However, the report by Bellis et
al (2007) does note a number of companies, not only TIE, that have followed up their
research after a year. Identifying from the report which are TIE programmes is not
obvious; however, they state that “Health Educators2 have no medium or long-term
effects on alcohol use.” And “other in school approaches to prevent or reduce
alcohol… does not produce reductions in alcohol use behaviours.” From this there
appears to be little evidence of an accurate record for how TIE has altered people
perceptions and behaviour on a particular subject in the long term. This leads us to
question why TIE companies do not find out the long term impact of their
programmes. Few TIE companies have the time, resources or funding to follow up
with the schools or have the opportunity to talk to the pupils about it, either
immediately or long term. This in turn, means that, “companies have to use a fair
amount of intuition and guesswork when assessing the programme’s effect.”
(Redington 1983, p.141) So how much of the guesswork and intuition is actually
reliable and accurate?
Payne (2010) commented that the TIE companies were “delivering well in terms of
best practice.” But allows us to question best practice for whom: the audience, the
TIE companies or the funding company? Each of these has their own aims and
objectives of what they require from the programme, which leads us to ask, which
aspects are important to the audience, the performance, educational elements or the
underlying objectives?
There are two sides to effectiveness of TIE; the academic educational points, (what
the companies and schools want the participants to learn; knowledge and statistics)
and the social and emotional side, (making them think, creating relationships with the
character and how to proceed in the future). To assess the impact and
2 “Health education and educators is any combination of learning experiences designed to help
individuals and communities improve their health, by increasing their knowledge or influencing their
attitudes.” (World Health Organisation website, WHO 2011)

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effectiveness of TIE is a complex issue as there is normally more than one outcome
as the focus of the programme. There is also the way in which it teaches – moral
education, emotional education and cognitive illumination. This also depends on the
attitudes and engagement of each individual pupil and of the whole school. Another
concern is: if the teachers are not interested in it and sit there marking throughout
the programme, does this have an effect on the student perception? if the teacher
isn’t interested why should I be?
Learning, Development and Memory
According to Tarasiewicz (1997, cited by Somers 2008, p.75) the most efficient way
of delivering and retaining knowledge, (how much material remains in the memory of
the participants), is through’ using material in practice’- this is 90% effective. Other
teaching resources are: ‘testing material in practical exercises’ (75% effective),
‘through discussion’ (50% effective), ‘through demonstration’ (30% effective) ‘with a
lecture’ (5% effective) and ‘reading’ (10% effective). This highlights how TIE can help
information be retained in the memory easier and possibly for longer. Readington
(1983, p.14) highlights this “the belief that actually doing something, rather than just
being told it, can be a more effective way to learn, known as ‘learning through
experience’.” The body and brain are connected and both are involved in the
learning process; however, the brain stores jumbled information. Why is it that the
majority of lessons and information is delivered in the classroom sitting down?
Shouldn’t everyone learn through using material in practice? Would that even be
possible? However according to Petty (2004, p.2 -3) delivering the “knowledge isn’t
enough” in order for the information “to be retained in the long term memory.” It has
to be “recalled or subsequently used” otherwise “it will be eventually forgotten.” This
highlights the importance of follow-up work and pitching to the right age. He also
states that there are ‘”exceptions to this rule, that a one off experience will be
remembered for a lifetime if it has a great emotional significance.” Therefore
emotions can help retain the memory and help to store the memory in an easy to
recall way. TIE aims to create empathy with characters, for engagement and social
change, if this does not happen does it subsequently mean that it won’t be retained
long-term? But how much will the participants remember of the programme?

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Greig (2008, p.6) states that “scientific research to the human brain development
suggest that our innate conservatism and its negative or destructive outcomes are
not destiny.” If TIE companies are aware of this, then is it possible to enable change
by developing strategies, thus enabling the participant to gain enlightenment to
challenge perceived ideas and thoughts? By challenging these perceived ideas and
structures and by giving more of an insight into a topic and its consequences, without
saying no, this allows the individual to change the way they think internally.
Therefore, the change can actually be maintained as they have a reasonable and
understandable rationale for why they feel and think this way. But what if the
individual is set against the TIE topic? Would it still be possible for that individual to
incite change?
“There is an intention to excite change… with an intention to achieve change by
creating the circumstances in which people experience optimum conditions in which
shifts of personal knowledge, values and an intention to achieve the best possible
levels of social efficacy and artistic merit.” (Somers 2008, p.84) Do we need the
pupils to have a great epiphany in order to assess change? Surely an awareness of
it is enough to make the pupil informed of their choices and decide what action to
take? But does it highlight that TIE is not that effective if they don’t choose the ‘right’
path or the path we as a society think they should take?
With post-evaluation from the TIE programmes it often focuses on the short-term
memory. A concern that is raises is whether a participant realises what a TIE
programme is about and does it mean the individual will aim to give the answers that
they think the TIE company want to hear?
Attitude and Behaviour Change
“…attitude change is reasonably well researched and documented; behaviour
change less so.” (Somers 2008, p.85)
Although throughout the research the impact on effectiveness to the participants is
disputed, they are all in agreement that it works. What varies is the extent to which
the TIE programmes entice change, as this is not as well defined. Somers (2008,

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p.63) states that “by entering the fictional word created in the drama, we may gain
greater understanding of our own, personal narrative.”, “knowing that the dramatic
experience is not real we can release ourselves safely into it.” These are both key
sources of the claims that TIE state that attitude and behaviour can be changed. But
in order to gain this it poses the question that if a participant does not feel
comfortable or refuses to enter the fictional world, can it still bring about change?
This emphasises a key aim of TIE: it has to be ‘good’, engaging theatre and
discussion. Once seeing a performance, if the TIE programme manages to get the
participant to review the situation and ‘hook them’ at the right time when they are
trying to work it out for themselves. Then the behaviour, according to Cooper (cited
in Jackson 2007, p.229), “can change but it may take years and theatre alone can
not make this happen.” This highlights the value of the follow-up sessions as well as
aiming to the right age range, in order to obtain the most effective results. But how
likely is it that all year 9’s for example are thinking about alcohol and trying drink for
the first time? So is it not the likelihood that it should have greater effect on those
that are not?
Attitudes are not just fixed emotions or reactions. By forcing the audience into a
personalised situation, it makes them assess and rethink from a new angle, not one
that they are personally involved in but one they can assess as seeing how things
can end up. However, It is not possible to predict how TIE will affect individual
participants and “it is this tension between predictability and unpredictability,
consolidation and change, completeness and incompleteness, reality and fiction that
provides the dynamic space for attitude and behaviour change.” (Somers, p.67)
Anyone who has worked in TIE realises that you can’t change an individual’s rooted
opinion, if they don’t want to change, no matter how hard-hitting or honest something
is. So therefore can we only make the participants aware and let them decide for
themselves? As such, this leads us to question whether the whole group have to
change and have an epiphany in order for it to be effective, or whether it is just as
effective if it only helps two or three people? “From the objects into the subjects of
their development, it is much more difficult to assess whether such a personal
transformation has led, in the long term, to the wider social impact envisaged.”
(Etherton and Prentki, 2006:147 cited in Prentki & Preston, p.305)

19
The focus for ‘the effectiveness of Theatre In Education, in Alcohol Education, when
measuring Attitude and Behaviour Change in a secondary inner city school setting,’
is to research into the unanswered questions highlighted in the literature review, as
well as finding out if TIE has a long term effect, on attitude and behaviour change, in
alcohol education.
ChapterTwo Word count:2,033

20
Chapter Three: Results,Analysis and Discussion
Results
Post-questionnairesprovidedby Tangere Arts
Upon reading the 262 post-questionnaires provided by Tangere Arts, it was apparent
that the vast majority of the participants stated that they ‘enjoyed the play’ and they
knew that one of the main messages was ‘know your limits.’ The majority of the
participants identified a range of knowledge and information as well as facts and
statistics, regarding alcohol education. One participant stated that ‘I didn’t like the
play and didn’t learn anything from the play.’ However, in another question the same
participant stated ‘they had learnt from it.’ They did not state any reason why or what
they had learnt.
Another pupil states, ‘the play hasn’t changed my mind about drinking but I will
make sure I know when to stop, so that I don’t make stupid mistakes.’ Therefore,
although they believe the programmes had not influenced or made them think about
drink and their own habits, in essence, by their own admission it has, but more subtly
than being told not to drink.
The independent evaluation (see appendix 8) highlighted how ‘it was clear that the
level and maturity of discussion was deeper on my return.’ This states the change
from the pre to post-performance discussion. ‘As a result, I cannot imagine that this
in-depth discussion would have been possible two months earlier,’ due to the in-
depth and thorough discussions surrounding the interview questions taking place.
Quantitative ClosedStudentQuestionnaires (see appendix 9)
The questionnaires were sent to: 6 x 26 tutor groups = 156 students. Selected by the
PSHE coordinator, this is half the number of tutor groups within the school.3 Two
tutor groups did not respond despite a senior member of staff pursuing them,
therefore the sample size was smaller than expected with only 64 participants
responding. However, this should still provide a range of responses from the
participants that saw the three different programmes.
3 All tutor groups consist of a mixture of students from all years (years 7 – 11)

21
The table below shows the completed questionnaires; 64 students and the gender of
the pupils.
Name of programme Total number of
pupils:
Male Female
Digger 5 2 3
Party Time 26 10 16
Lauren 16 10 6
Never seen or did not
remember
17 7 10
The table above highlights that more females, (35), completed the questionnaires
than males, (29).
The graph below shows the percentages of students that completed the
questionnaires and the programme they saw.
From the graph, 24% had ‘never seen or did not remember’ the programmes, with
the highest at 35% seeing ‘Party Time’ and the lowest with 7% being ‘Digger’.
7%
35%
34%
24%
Percentage of questionnairesreturned showing
which programme they have seen.
Digger
Party Time
Lauren
Never seen or did not remember

22
It is not surprising to discover that ‘Digger’ was the lowest as it was only originally
shown to one year group (year 7). ‘Party Time’ and ‘Lauren’ were each shown to two
year groups. Although, due to the year 11 students not participating in the research,
as they had already left the school, it is surprising that ‘Lauren’ has a high
percentage, it would have been expected to be considerably lower. The reason for
this is not known however, could it be that there are fewer students in one particular
year, or the distribution of the form groups looked at?
There was a surprisingly high percentage that said they did not see it or could not
remember. For the year 7’s, it is true that they would not have witnessed the
programme so could not comment. A member of staff stated that, “as they were in
tutor groups when these were handed out some of the pupils did not want to
complete them so just wrote that they hadn’t seen it.” Also, a high number of new
students had entered the school within the last year. However, as the questionnaire
did not specify how many were in which year group, or who was new to the school in
the last year, we cannot fully determine how many were genuinely not remembering
or had not actually seen.

23
The ‘characters’ are what the participants remember most with ‘Empathy’ being the
lowest. When watching any programme the participants need to connect with or at
the very least understand the characters in order to follow them through the
performance and understand what they are saying. In order to understand the
programmes they need to remember and be able to follow them through the piece. It
is surprising how many people did not empathise with the programmes, though, it is
not clear if they did not understand what empathy means or whether they genuinely
did not feel it. However, it is clear from the comments, in both the post-performance
questionnaires (provided by Tangere Arts), and those a year later, that if they did
understand the reasons behind the programmes, they think that “alcoholics and
people who drink have a choice” so they “do not sympathise with them at all as they
should sort themselves out.” This is shown in the graph below.
0
2
4
6
8
10
12
14
16
Characters What
happened
Facts and
Stats
Feelings Empathy Music Other
Numberofpeople
remember the most
What the pupils remember most?
Digger
Party Time
Lauren

24
Over the three programmes they were asked ‘what were the main message of the
performances?’ The majority thought that the main message was to be ‘careful with
drink’ or ‘know your limits’. The lowest was to ‘challenge thoughts.’
This implies that a high percentage of participants did comprehend the objective of
the programmes. A lower percentage thought the message was ‘don’t drink’. This
highlights Best (1992, p.46) point that people’s perceptions of the programme “rests
on the underlying conceptual grasp and human judgement”. So in essence, if that is
what they were expecting the programme to be about, that is what they perceive it to
be.
0
2
4
6
8
10
12
14
16
18
20
Numberofpeople
Main Messages
What were the main messages fromthe
performances?
Digger
Party Time
Lauren

25
The graph above shows the number of participants and whether their attitudes have
changed to drinking over the last year. The majority of participants said that ‘no’,
their views had not changed, followed by ‘Don’t know’; however only one participant
said their views had changed. From this it is clear that the participants do not belief
their views have been changed.
This question led on to ask ‘why and the reasons behind their answers’ However,
their reasons were not very clear. Two pupils talking about ‘Digger’ state ‘No’, it had
not changed their attitude because ‘there are still people drinking on the streets.’ In
‘Party Time’ the majority of participants stated that they ‘never really wanted to drink
anyway’ or that they ‘already knew about alcohol and the limits’. In ‘Lauren’, they
stated that they ‘already knew it’ or they ‘only get drunk on special occasions’.
Taking on the comments from ‘Lauren’, if this is the case then the programme would
not provide any new insight to instigate change per se but yet, the programme still
highlighted and emphasised the problems and reasoning behind being careful with
drink. This is equally as valid to ensure that they know the consequences and to
make up their own minds.
0
2
4
6
8
10
12
14
Yes No Don't Know
Numberofpeople
Attitude changed
Over the last year has your attitude to
drinking changed in anyway?
Digger
Party Time
Lauren

26
‘Did the production make you think about your views on drinking? (e.g. Good and
bad effects, whether you have sympathy with alcoholics, your attitudes?)’
For ‘Digger’, the majority of participants commented ‘yes’ and went on to say that, ‘it
[alcohol] was bad for you’ and the lowest commented that, ‘because people can
affect other people when drinking’. For ‘Party Time’, the majority stated that, ‘they
didn’t know, it didn’t change their views or they didn’t remember’ with some of the
lowest being, ‘yeah don’t drink too much and keep safe if drinking, don’t drink too
much’, ‘how alcohol can affect you’ and that ‘anyone can stop drinking. They got
themselves into the mess, they can get out of it’. For ‘Lauren’, the majority stated
that, ‘its good with your friends but boring on your own’ and ‘Nope.’ The lowest were
‘it made me think about the effect of alcohol’, and ‘I think there’s a limit you should
know your limit if you do it occasionally it isn't a big deal, but if you’re an alcoholic
you got yourself in that mess so I don't sympathise alcoholics’.
Through the questionnaires, the majority of participants stated that the views hadn’t
changed over the past year. It is clear that the programmes did make them think
about their views on drinking. So, in essence, they may not think anything has
changed over the last year for them as individuals but (alternatively) the programmes
worked by making some of them think about alcohol and its effects.
In order to gain a more in-depth response from the participants, the Qualitative Semi-
structured group interviews took place to enable further development, to
comprehend, and perhaps further question their responses.
Qualitative Semi –StructuredGroup Interviews– (see appendix 10)
The sample size would have been 16; however there were only nine participants in
the group on the day. Again, this is smaller sample than anticipated, but this was due
to forces outside of the research or the schools control. It was due to absence from
the school, as well as, prior commitments to extra-curricular activities. The research
was conducted in 30 minutes rather than the initial 45 minutes. Prior to the research
being conducted with this group, nobody had gone through what was going to be
discussed or anything to do with the programmes.

27
The table below shows how many watched and participated in each show:
Name of programme Total number of pupils who saw
programme from group
Percentage
Digger 1 11.11%
Party Time 3 33.33%
Lauren 4 44.44%
Never seen it 1 11.11%
The table above highlights the control group. There was a lack of participants in the
group that had seen ‘Digger’ and with the majority seeing ‘Lauren’. Ideally there
would have been an even number that had seen each programme for reliability and
validity purposes. However, this does not mean that what was discussed and said
was not valid, but there was more emphasis on two performances, ‘Party Time’ and
‘Lauren’, rather than all three. There was one participant from year 7, who hadn’t
seen any of the programmes.
The participants were nervous on entry and very wary about what they said, but
soon the discussion was flowing. The semi-structured questions were a basis for
discussion but we often found we would delve deeper into certain areas or topics –
especially when there were conflicting opinions. The participants were happy to
discuss their experiences of alcohol and that of their families. The more we talked,
the realisation was that they had an enormous amount to say about alcohol, in
general, and the programmes they had seen.
Staff comments and qualitative questionnaires
This method was chosen, as it was sent to three people. However, the sample size
was incredibly small with just one. This was due to them all being of the same
opinion.
In the school’s experience a ‘TIE programme should never be a one off event but
part of a scheme of work/learning journey.’ This then helps to store the information
within the long term memory, as the more it is recalled, the more you reflect and
bring it to mind. The outcomes for the individuals, schools and wider community is

28
likely to be limited if it is not continued to be developed and explored. “The
characters’ actions, dilemmas and issues throughout a TIE performance give the
perfect vehicle for exploring social and moral issues” (Teacher, 2011) this is a
sounding board to develop further ideas and understanding for the students to make
an informed decision.
We asked the question, “Has there been any attitude or behaviour change since the
performance?” The teacher provided an example of a student disclosing that a
member of her family had died from alcohol abuse. This information was not
provided to the school originally but it was the powerful ‘emotional impact of the TIE
experience that had encouraged the student to speak out.’
While in the staffroom a teacher was discussing a student from their tutor group and
highlighted that the student used to drink a bottle of vodka a night. They were not
sure what had happened but over the past year she is not drinking as much,
consequently not in trouble as much and is more aware. The teacher was really
pleased with the outcome and the path she is going down, although she is still
drinking it is not as bad as it was. Although this was not stated in any other
discussions with teachers, could it be that the performance did have some kind of
effect on the pupils? The fact that it was over the past year could it have been a
coincidence or it could be that TIE really did work on the individual?
Analysis and Discussion
“To entertain us so it stays in our heads better as if you see something really boring
you’re just sat there like ergh…and it’s not going to stay in your head.” (student,
2011)
Both from the questionnaires and the interviews it is clear that the vast majority of
the participants enjoyed the programmes. The interview highlighted that the
programmes were ‘funny and entertaining’ and yet it was further enjoyed as, ‘it
makes you think’, ‘it teaches you a lesson’ and also, ‘kept on actually getting you
involved as the students and the company talked to you about it.’ This is a
reoccurring theme throughout the post-performance evidence. Psychologists and
Petty (2004, p.1) point out that “we remember things that we find significant” and can
“recall easier” as well as those that we have a “strong emotional connection” to.
Meaning that the pitch and topic needs to be aimed at the right age, otherwise it will

29
not work. It is clear that the fact it was entertaining and funny, connected them to the
programme and retained the information in their memory.
They recalled the bad experiences, drunken mistakes and identified the characters.
This links with the questionnaire evidence, as the characters were one of the main
things they remembered most from the three performances.
We had an in-depth discussion about what the benefits and downsides of alcohol
are. This led to a participant stating that ‘regret might be a good point’ as if you
regret then you may not do it again. However, the other participants disagreed
stating that ‘regret is a bad point’ as it shouldn’t have to take regrets to stop you
drinking. The good and bad points of alcohol were explained in-depth in the post-
questionnaires by Tangere Arts. They had a wide variety of responses such as, ‘you
drink to forget the bad things.’ This implies that they learned from the programmes
that there is a cycle to drinking, if you always drink for the wrong reasons. This could
be seen as a positive indicator that they have remembered what happened and why.
This is a step forward just by knowing the good and bad effects, and realising that it
is not just hangovers .
From the original post questionnaires it asked if the performance had changed your
mind about drinking. There were four definite, ‘no’s’ but 20 definite, ‘yes’’. It is a
difference when looking at questionnaires a year on, as it was only one that said,
‘yes’ with the majority stating, ‘No.’ Why is this so different? Is it due to the mind
erasing the programmes over time or is it due to the students believing that the mind
has changed because of them thinking it through? A participant in the interview
stated that, ‘it hadn’t changed his mind as his mind was already made up.’ It was
questioned to what the opinion was to which the response was, ‘would have a drink
every now and again but not much at the same time.’
One of the participants disclosed information that they ‘drank properly for the first
time over the weekend.’ She said that ‘on the Saturday I regretted everything.’
However, when we were discussing if their alcohol consumption has changed since
seeing the performances, this particular student stated that, ‘I drink a certain amount
so I still know what I am doing because then you don’t do anything stupid like the

30
unprotected sex thing4 and stuff like that’. This highlights that the performance did
have an effect on her. Although she still chose to drink, it made her drink within her
own limits, in order to still remember what had happened and not to do things that
may cause regret like the topics highlighted in the programme.
Another participant disclosed that they drink more, he went on to say ‘it’s not about
the performances or anything-it’s because I am older and know my limits.’ Again this
implies that he drinks more, but within his own limits. He made a conscious and
informed decision to drink and perhaps the performance helped him to be aware of
limits. The same participant also told me that a member of his family has a problem
with drink and the effects it has on her. Could this also be a reason that he is aware
of his limits as he has witnessed it first hand?
The year 7 participant, who had not seen the programmes, when discussing about
who we think would benefit from seeing the performance stated that, ‘I don’t really
think anyone would really benefit from it personally, you don’t listen to plays do you,
you just do anyway if you want to do it you are gonna do it.’ This created quite a
heated discussion. One participant said ‘if they see it when they are younger they
might not drink’. Others said ‘adults would not benefit’, and another stated that, ‘they
would as they can see the bigger picture.’ This highlights the power of the
programmes, one student that did not see it did not think that anyone would listen to
plays, however, the others had and provided reasons why certain people would not
benefit and why others would. This is strong evidence that theatre does work, and
that unlike Mamet who stated it is only good for telling stories.
It was suggested that alcohol education ‘works best for year 9-11 as they are more
likely to drink.’ However, it was also stated that they ‘all benefited from it no matter
how small a change’ or ‘if they didn’t like it you still take it in, process it and make a
decision to think for yourself and to do what is right for you.’
The facts and statistics side was not as in-depth – they did not remember the figures,
however, were very insistent that they needed to look up the answer as they were all
interested.
4 This is relatingto the programmes as on one of the programmes it highlighted a resultof being drunk is
havingunprotected sex.

31
The majority agreed that the programmes made you ‘more aware of alcohol’. One
student stated that ‘he had forgotten all about it, until we were discussing it.’ It was
suggested that ‘Especially in year 7 as you probably wouldn’t of been thinking about
it then, but it drums it into their head what happens’. This may be true as they were
not thinking about drinking so it just sits there until you are required to think about it –
the performance, the emotions, mistakes and memory recall will allow you to make
the right decision for you.
‘Everyone has their own decision, and they think they were trying to change their
mind.’ This was suggested as a reason for those students who found it boring. This
would correspond with the post questionnaire by Tangere Arts as those that said it
was boring or they didn’t enjoy it also thought the meaning of the programmes were
‘don’t drink.’
‘Not really no, cos like at the end of the day, they can like help but they are not there
to stop you drinking altogether, just to make a decision, it’s your decision, but saying
that this can happen, if you do get into such a state that you don’t know what you do-
or what can you do.’ This links with the attitude and behaviour change on the
individual. This individual highlights that TIE does not force you to change but
provides you with the information to process so you can make the right decision for
you.
ChapterThree Word count:3,349

32
Chapter Four: Summary and Conclusion
It is first necessary to summarise answers highlighted from chapter two.
 From the interviews it is highlighted that although a whole school approach is
useful, unless the students are given time to recall this information afterwards
it is not always needed.
 ‘Best practice’ is different for different members involved, but the overall aim
for best practice is for the participants to be able to engage, and possibly
change attitudes and behaviours.
 From the questionnaires and interviews it was emphasised that although there
are two sides to effectiveness it is clear that the ‘social and emotional side’ is
more effective in transporting change then the ‘facts and statistics’ however,
these are both linked and valuable in a TIE programme.
 It is clear from the interviews that there is more than one outcome and this
varies for individuals – taking into account their background, home life and
what is important to them.
 It is important for an individual to recall the information regularly in order to
bring about change. Follow-up work, within the school or experiences outside,
is required.
 TIE can excite change through the emotions and impact of a programme. This
requires for the programme to be ‘good.’ This was highlighted through the
interviews and questionnaires.
 It is just as valid for an individual participant to change as it is a whole group.
The likelihood in a whole group is that some will already possess the view that
society wants; it is the individuals that don’t that TIE is important for. So in
essence, the whole group does not need to change in order to have an
epiphany.
It is evidenced throughout the research, that the TIE programme has made a change
towards individuals, attitude and behaviour. Although, any change to an individual,
(on their social and emotional content) as well as through drama itself, is difficult to
fully authenticate. Obviously it is harder to assess behaviour change, as the
behaviour takes place out of the educational settings, usually within the peer groups

33
so unless they actively disclose the information then it is unlikely we will see an
outcome.
Tangere Arts had the intention to achieve change through key TIE techniques and
strategies. Although not all students stated that their views on alcohol education had
changed it was clear from the questionnaires and interviews, that they would be
aware of their limits and aim to not get too drunk in order for undesirable things not
to happen to them. It allowed the participants to make informed, explorative
assessment and make their own choices. It is possible that when deciding their
views that the individual has processed the information and their choice, hence why
they can now say that the programme had no effect. This is further highlighted if they
do not recall the programme often but only when asked to discuss the programme
specifically.
Overall, I have acted upon the original question and literature to develop an in-depth
review of TIE, in alcohol education, and the long-term effectiveness it has on attitude
and behaviour change. It is clear that TIE is still in the memory for certain individuals
a year after the programme has taken place. The extent of this impact varies for
each individual, as the very nature of an individual develops and processes different
aspects and at different speeds to reach a conclusion for themselves. The aspects
and ‘lesson’ are there but transposed into their own views, taking only the parts that
are required, which in turn, results in long-term attitude and behaviour change.
In the future I would like to develop this research further. This could be achieved by
collecting the relevant existing research evidence and by collecting and expanding to
a larger sample size and other TIE programmes. This in turn would provide further
evidence confirming, or disagreeing, on the subject of long-term attitude and
behaviour change.
ChapterFour Wordcount: 644

34
References
Lagden, G. (2011) Informal discussion with Lagden regarding his involvement in
Tangere Arts. Derby: Not published
Tangere Arts (2010) Informal discussion with Johnston regarding Tangere Arts.
Derby: Not published
Tangere Arts (2011) Informal discussion with Johnston regarding Tangere Arts.
Derby: Not published
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learning, Support for Learning, 19 (2), pp. 81-87.

35
Cousins, H. & Somers, J. (2001) The Role of Theatre in Education in Health
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36
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37
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42
Appendices
Appendix One – Drink aware evaluation report, Payne 2010
Drink Aware TIE (Theatre-in-Education) Evaluation
Final report – February 2010
Researcher: BenPayne
Contents
1. Background Page
Aims and objectives of the evaluation 2
Research questions 2
Research methodology 2
Assessment criteria 2
2. Executive Summary 3
3 Project assessments
3.1 London Bus Theatre 4
3.2 2XL Youth Projects 7
3.3 Tangere Arts 10
4. Conclusions 14
5. Recommendations 15

43
1. Background
1.1 Aims and objectives of evaluation
The research that forms the basis of this report was commissioned by Drink Aware in
December 2009. It is based on an independent assessment of the projects of three
organisations that received grants from Drink Aware in 2009 to develop alcohol awareness
projects in schools and colleges using theatre-in-education (TIE). The three companies were
London Bus Theatre Company, based in Essex, 2XL Youth Projects based in Herefordshire
and Tangere Arts, based in Derbyshire.
The overall aim of the evaluation was to assess the effectiveness and quality of these
individual TIE projects in the relation to Drink Aware’s organisational aims. The objectives
of the research are outlined in the research questions below. These were defined by Andy
Law, Drink Aware’s Grants Officer, with Ben Payne, the Researcher, in December 2009.
1.2 Research questions
1. How well does each company's project conform to best practice as indicated by the AERC
literature review (see 1.4)?
2. In what areas, if any, are they particularly innovative or of high artistic quality?
3. In what areas, if any, is there room for improvement?
4. What recommendations from the evaluation can be made to define clear transparent
assessment standards for DA's future work in this area?
5. In relation to the broader DA review of its grantmaking programme, how does each
company perceive its relationship with DA? (*Please note that this specific research ran in
parallel with (but was distinct from) a broader review of the organisation’s grant-making
work that was undertaken by another researcher.)

44
1.3 Research methodology
The researcher reviewed each company’s published information about its work and
evaluation reports of audience members and other stakeholders in relation to its alcohol
awareness programme (where possible). The researcher observed each alcohol awareness
programme in situ and interviewed key members of staff face-to-face. Each company was
also asked to complete a questionnaire about their programme. The questionnaire will be
included in the appendix to the completed report.
Assessment criteria
The criteria for assessment of best practice in alcohol awareness in TIE projects are drawn
from those identified in an undated report commissioned by the Alcohol Education and
Research Council (AERC): Review of Literature Relating to “Theatre in Education” as a
Tool in Alcohol Education by Susie Sykes and provided to the Researcher by Andy Law.
These criteria were used as a basis for the company questionnaire and are summarised in the
review as follows:-
* Programmes based on a universal message of alcohol prevention
should be restricted to younger and lower risk audiences, while older,
higher risk groups and those already experimenting with alcohol
require more targeted messages.
* Programmes should be tailored to suit age, gender, background, ethnicity
and stages of development.
* Programmes should be based on an assessment of need.
* Programme content should relate to the lives and experiences of the
young people and acknowledge the place of alcohol in the lives of young people

45
* Programme content should not exaggerate dangers or perpetuate stereotypes
* Programmes should not be based on scare tactics or adopt a ‘just say
no’ approach but should incorporate messages of harm minimisation.
* Content should be based on clear consistent messages and
incorporate accurate information.
* Programmes should not be purely information based but should
explore values, attitudes and seek to develop life skills
* Content should be based on interactive methods that provide young
people with a safe environment in which to contribute to discussions.
* Programmes need to be delivered by a credible source
* Aims and objectives should be realistic in what they seek to achieve
and brief interventions should be planned as part of a wider
comprehensive programme of personal, social and health education.
* Teachers should be provided with training and support in the
development, commissioning and delivery of alcohol education.
In addition to using this list of more objective criteria in assessing the work, and the
company’s own perspectives and documentation, the Researcher’s approach to the
assessment of artistic quality and process takes into account the specific context in which

46
each piece of work took place. A factual summary of the programme that the researcher
observed is therefore included before the individual programme assessment.
2. Executive Summary
The research revealed the three companies working well to deliver Drink Aware’s alcohol
awareness messages with a range of young people in contrasting contexts. Whilst using
broadly similar techniques and processes, they were broadly successfully adapting these to
the particular demands of their respective audiences, of school timetables and other
stakeholders. The model of an extended residency within a school, in contrast to the more
usual one-off 1 or 2 performances and accompanying workshops, is helping to enhance the
impact of the programmes. However, in some cases, it was also creating greater
organisational problems, particularly where the learning environment is very controlled, and
some related feelings of compromise. Drink Aware funding had also help to contextualise
and define more clearly the aims and objectives around alcohol awareness in each case.
Nevertheless, the need to deliver to other agendas or also to combine information-based work
with that which explored attitudes and behaviour was creating pressures on the delivery of the
programmes within school timeframes. 2XL Youth Projects used theatre devising for the
first time in its programme which was specifically created in response to Drink Aware
support, whilst London Bus and Tangere Arts adapted existing, “tried and tested” pieces of
work by more experienced practitioners. Whilst there was no overall disparity in quality
between the projects, it is clear that devising an original piece of work demands different
kinds of support and resources from adapting extant ones, as does delivering programmes to
challenging or “at risk” groups of young people. Furthermore, the family-focused aspect of
Tangere’s programme had not been worked as intended, indicating more work may be needed
to develop successful ways of addressing alcohol use in families, an issue encountered by all
companies whilst delivering their work. All companies felt that their relationship with Drink
Aware was very positive. However the recommendations highlight that there could be more
of a role for the organisation in supporting innovation, learning and best practice amongst the
companies it commissions.
3. Programme assessments
3.1 London Bus Theatre Company
Company: London Bus Theatre Company

47
Project title: Turn Around Charlie
Contacts: Chris Turner (workshop facilitator); Kathy Austen
Venue: Prospects College, Crompton Close, Basildon, Essex
Date: 11th January 2010, 1-2.15pm
Audience: 15-18 years old. An individual group of about 15 students.
Background to the programme
Prospects College is a college for local young people who are classified as NEETS. The
young people attending are often offenders or at risk of offending and have been excluded
from mainstream education. Students at Prospects are paid to come to college but non-
attendance is still an issue. The timetable and culture of the College is highly regulated and
its curriculum focuses on skills development and vocational training.
Programme description
London Bus has an established relationship with Prospects College and its programmes cover
a range of different subjects. In the morning before the session observed, for instance, the
company was running a workshop on job interview technique. The afternoon session put
alcohol awareness clearly in the context of anti-social behaviour: how easy it could be to get
a criminal record and the implications of this for employment. The facilitator made a clear
link at the outset to the fact that the police believe that 2/3rds of anti-social behaviour is
caused by those less than 19 years old and 90% of this is caused by drinking. The facilitator
also introduced a principle that everyone involved in anti-social behaviour suffers by it,
perpetrators as well as victims.
The programme is based on a previous London Bus show, Nutter, about bullying. At the end
of the first scene of the published version of this play, a gang leader, Charlton and his
girlfriend, Amber bully a young man, Charlie, into stealing a bottle of vodka for him from a
local shop. Overall, Nutter is about the difficulties of confronting bullying and the idea that it
requires identifying “nutters” in the wider community who will intervene and deal with it.
The early scenes of the play guide the audience through Charlie’s experience with the police
when he is apprehended for stealing the vodka. At the end of the published version of the
play, the actors replay the first scene with the facilitator stopping the action, so that issues and
questions in relation to the characters’ behaviour and choices can be explored. The play also

48
includes monologues for the three central characters some years in the future. One of these,
for Amber, explores how alcohol has impacted on her behaviour and choices in the past.
Turn Around Charlie uses the first 4 scenes of Nutter: the scene where Charlie is bullied by
Charlton and Amber (now renamed as Charlotte); Charlie’s police interview; Charlotte’s
interview with a member of the Youth Offending Team and Charlton’s police interview.
After the playing of each scene, the facilitator explained the key facts and issues in it and
imparted factual information about the characters’ situations. For example after Scene 2
(Charlie’s police interview), the facilitator explained the implications of getting a criminal
record on Charlie’s employment prospects. After Scene 2, he explained how the primary aim
of the Youth Offending Team was to prevent a young person going to court. In relation to
Charlton’s police interview scene, where he refuses to answer any questions, the facilitator
explained the legal implications of this strategy and the emotional and psychological
consequences for a young person both of going to court and ultimately to prison. This was
followed by Charlie and Charlton’s monologues from Nutter in which they reflect on the
incident some years later: Charlie has managed to find work and no longer sees Charlton or
Charlotte. Charlton has set up his own business because his record means that many
employers will not employ him. He will not be able to travel to the US, because they do not
allow anyone in with a criminal record. The audience were then invited to look again at the
first scene between the three characters with the facilitator stopping and starting the action
and encouraging interaction, comments and questions. These interactions closely followed
those as written in the published version. For example, the facilitator asked who was getting
bullied in the scene and why; why Charlie might be truanting from school, why he agrees to
steal the vodka.
The section of the programme specifically devoted to alcohol awareness covered the last 20
minutes or so of the session. Using an oversized, inflatable Budweiser bottle as a prop, the
facilitator explained key facts: alcohol is a drug that acts as an anaesthetic and a depressant;
the relative unit levels recommended for men and women, how long it takes the body to
process alcohol; its psychological effects and physiological effect on different parts of the
body: liver, brain, heart, bladder, stomach etc. Towards the end of the session he asked the
group how they might hurt themselves on alcohol and various responses were offered mainly
related to driving: being knocked down in a car driven by a drunk driver or drink-driving
themselves. This section was completed with Charlotte’s monologue in which she describes
the risky choices she has made when drunk. Earlier, the facilitator had said that two of the
performers in the programme were serving police officers and one of these identified himself
at the end of the programme and said he was available to answer any questions, though none
were asked. The police officer then talked about the drug and alcohol situation in Basildon,
the legal situation in relation to drinking in public and the resources that the local police
waste on anti-social behaviour by young people, most of which is alcohol-related.

49
Project assessment
Assessment in relation to the AERC TIE assessment criteria:-
The project was appropriate and relevant to this older “at risk” age group, specifically by
placing alcohol awareness in the context of anti-social behaviour and offending and was
generally engaging to its predominantly white, male audience.
It related to the lives, cultural experience and stage of development of this group and was
appropriate in terms of its representation of the role of alcohol plays in their lives.
Evidence of assessment of need was primarily focused on the indices of deprivation and
incidence of binge drinking among young people in the Basildon area, rather than the specific
needs in terms of alcohol awareness of the client groups. (However, in the research
questionnaire, it was stated that an earlier version of the project had demonstrated evidence of
the need to make earlier interventions, hence the Year 6 strand of this particular programme,
suggesting a clearer assessment of need in this case.)
The programme did not exaggerate dangers or perpetuate stereotypes. Though the facilitator
had a tendency to use extreme examples in illustrating alcohol information and messages,
these were always factually supported, and based on a harm minimisation approach.
As the main alcohol awareness content was confined to a shorter specific slot in the
programme, the delivery of information was quick and in some cases some messages were
not always easy to understand.
The specific slot on alcohol was almost entirely information based, but the programme as a
whole offered some opportunities to interact and explore attitudes and values (see below).
The facilitator, who was the main source of the programme’s delivery was credible,
However, the fact that it also used an ex-student of Prospects College as well as two police
officers as performers could have perhaps been used to more advantage (particularly as the
facilitator identified as one of the key challenges as the need to keep the programme and
references contemporary) and the delivery of the workshop could have been shared more
between company members.
The aims and objectives for the programme are clear and realistic. The section on alcohol
awareness though short was within a wider context of personal, social and health education.
Further resources in the form of a DVD and teaching plans, developed with the local PCT are
supplied to continue work after the workshop, but further information or advice on alcohol
was not specifically offered at the end of the workshop itself. The following assessment

50
suggests that there may be broader issues in how schools like Prospects College approach the
development and commissioning of alcohol awareness programmes that use theatre-based
processes (see below).
Individual assessment
Any further artistic assessment of this programme must take into account the context in
which it took place. In his interview, the facilitator described the work of the college as
offering a “last chance” to young people who might otherwise fall into the criminal justice
system. As such, Turn Around Charlie is clearly intended as another intervention of this
kind, designed to enable young people to find positive alternatives to potentially offending
behaviour. The approach to alcohol awareness is therefore defined by this context and also
by its place in broader programmes that London Bus was running at the College at the same
time. However, it is apparent that there are some issues about how the company feels it has
to adapt its chosen artistic approach to the circumstances in which it works.
In describing its work with young offenders, LBTC states:-
“We have found that our style of work, Forum Theatre, suits this group extremely well as it
confronts them with a disciplined and challenging enviro(n)ment, which at the same time is
creatively engaging, supporting and non judg(e)mental. We create a space in which
disaffected individuals often feel inspired and transported, and in which they are obliged to
consider alternative ways of thinking and expressing themselves. Forum Theatre also
provides a creative medium to impart information and facts on alcohol.” (Quote from
research questionnaire).
Forum Theatre enables participants to interact with a scenario and to explore different
choices and decisions in response. As the above suggests it can be a very empowering
approach. The facilitator defined as a key aim of the programme as attempting to connect to
the empirical experience of the participants and then to open up to them the possible
alternative responses to that experience that they could adopt. Clearly, Forum approaches
have important applications with young people who have offended or are at risk of doing so.
Being able to objectify personal experience and explore different motivations, reactions and
decisions can be a highly effective way of dealing with such behaviour. In his interview, the
facilitator expressed the view that “drama is the most important subject in the curriculum
because, through it, young people can find a safe way of dealing with many of their issues

51
and problems.” Furthermore, at its best, Forum Theatre enables groups to create a group
consensus as to the most positive course of action in response to such scenarios.
However, the facilitator pointed out that, in practice, restrictions of time and lesson
structures; the need to get across certain information and the lack of continuity and
consistency of engagement with young people,where programmes can often only deliver a
one-off project in relation to a specific subject ,hampers the impact of this approach. Given
more time and space, the facilitator would like to deliver a two-part programme that would
enable participants to engage more creatively and deeply with Forum processes and, through
this, greater amounts of change, he believes, would be achievable. Forum approaches are
also not the usual teaching style and there is a lack of familiarity with them on the part of
both students and staff. In the facilitator’s opinion, there is often nervousness in the school
authorities, even among those with whom London Bus has an established relationship like
Prospects College, about any work that goes outside the set timetable or strays too far from
curriculum requirements, even though these students might be the ones who could most
benefit from this kind of intervention.
The facilitator felt that the group was unresponsive to the work. However, the group seemed
attentive and engaged with the opening scenes of the show and, in particular, with the
facilitator’s explanations of the characters’ various encounters with the police and the YOT.
It was over halfway through the session before the facilitator requested interaction from the
group and this participation mostly focused around accuracy of information rather than
exploring attitudes or motivations. However, some of the more expressly theatrical sections
of the programme that did explore these: the three direct address monologues of the
characters, for example, seemed to be less engaging for this particular group.
The company is clearly and justifiably proud of its relationship with the police and feels there
could be more benefit in closer partnerships in its work with other agencies such as
Connections and the NHS. One of the most important discoveries of the work so far had
been the amount of alcohol abuse that was taking place in the homes and families of young
people. It has been discovered that the incidence of this was widespread and not restricted to
any particular demographic. This was a factor also reflected by the other companies in this
research.
The work was performed with commitment by its young cast of 5 performers and strongly
facilitated. It would be difficult to argue that it was particularly innovative, as the theatrical
content was drawn from a previously produced piece of work and using well-established
techniques. It nevertheless had the virtue of having been tried and tested before on a range of
different audiences. The section of alcohol awareness had no specific theatrical content but

52
was more of an illustrated talk by the facilitator. For the reasons outline above, the company
clearly feels that its preferred approaches are circumscribed by the structures in which it must
work. The question remains of how far and in what ways these approaches could be
developed and implemented and still fit in with the agendas of other stakeholders.
3.2 2XL Youth Projects
Company: 2XL Youth Projects
Programme titled: Boxed
Contacts: Sue Carter, Karin Cooke and Saz Thomas.
Venue: Whitecross College, Three Elms Road, Hereford
Date: 12th January 2010, 2-3pm
Age range of audience: 14 (Year 9 single class of about 25)
Background
2XL has an established relationship with Whitecross College. The company runs a number
of different programmes in the college, several staff members were educated there or have
ongoing relationships with it as an establishment (: as a school governor). 2XL is not
specifically a TIE company, neither are all of 2XL’s programmes theatre-based, but the
Creative Arts Programme often uses theatre in its work and theatre-based approaches are also
used in the education work of the organisation, This includes programmes such as XLR8 (a
programme aimed at helping those who may have issues completing the transition from
primary to secondary schools) and Elevate (self-esteem, sexual health and personal
relationships). These have also been run at Whitecross. The company also run a workshop
programme for parents on understanding teenagers. 2XL’s main school relationships are in
the city of Hereford or within a 6 mile radius of the city. However, it also works across the
county, but its rural character means that it can be difficult to maintain consistent
relationships with schools that are further away.
Programme description

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