The
Power of theatre
Drama does not just exist on stage however. Gwyneth Hughes’ ITV series Mr Bates vs the Post Office is a recent example of where television drama has an extremely tangible effect on society. This four-part series brought proper public attention to a scandal where arduous journalistic work and nearly two decades of campaigning by those affected could not. The Post Office scandal saw hundreds of sub- postmasters unjustly prosecuted due to shortfalls in Horizon, an accounting software system developed by the company Fujitsu. But how come it took a television drama for this scandal to reach the British public?
Hughes says, “As a viewer, when you watch even the best documentary, you’re looking at the screen and thinking, ‘Oh, that poor person, that’s terrible.’ But when you watch a drama, you’re looking at the screen, and thinking something different. You are thinking ‘Oh, poor me! Poor me! That could be me!’” Drama has the power to inspire empathy in us when some may feel slightly detached from journalism or documentary; and although we must not denounce the indispensable importance of journalism in exposing miscarriages of justice, drama has a unique power to galvanise a critical- mass audience. Not to mention the brilliance of Hughes’ writing. According to award-winning writer David Hare, “The purpose of political drama is to convey complex information pain- lessly. There were years of research in this, and it let you absorb all of it without seeming to be lectured or having anything explained in text.” Finally, Jack Thorne and Stephen Graham’s Adolesence is an unnerving reminder of how drama responds to its time. This four-part Netflix series follows the story of a 13-year-old boy arrested on suspicion of the murder of a female classmate. While it reflects our increasing levels of knife crime (over the past decade, the number of UK teenagers killed with a blade or sharp object has risen by 240%) it also highlights problems about cyberbullying, social media, toxic masculinity, and online misogyny. The show has sparked conversations nationwide, even leading to a meet- ing hosted in Downing Street between Prime Minister Keir Starmer and the show’s creators, discussing the influence of toxic material online. In answer to my opening question, this is a rather simplistic question – and not really all that useful to us. All subjects are useful at school, depending on what you take from them. Although drama may not be as quantifiable in terms of output in the same way as a STEM subject, it fosters social awareness, emotional intelligence and creativity which are becoming more important in our evolv- ing complex society. ◎
W hat do we consider the most important subjects at school? Maths? English? Science? After all, doesn’t even the sound of the acronym “STEM” seem to inspire some sense of resolve, a really solid thing to do? But what about the arts? What about… drama? A so-called “soft” subject. I mean, it’s not exactly maths, is it? I found myself saying this the other day, inadvertently, to my drama teacher. Perhaps a rather tactless remark for the given circumstances... Although drama may sometimes be overlooked in favour of subjects which seem to provide solid career paths and tangible outcomes, its unique value lies in its enduring influence and relevance throughout history. Drama continues to shape our social and cultural understanding of the world. Worldwide, origins of theatre are thought to come from devotion, in particular ritual and deeply spiritual philosophies. The Nātyaśāstra, the oldest Indian treatise on theatre offers a story for the creation of the art: the golden age (when all human enjoyed a state of enlightenment, complete health and fulfilment) had come to an end. The silver age had begun, and all humans were afflicted with suffering. The gods decided they needed to create a way to permit humans to regain their enlightenment. Brahma, the creator, came up with natya (drama), which was passed down to the human sage Bharata, and in turn to his hundred sons – the first actors. Although theatre has yet to bring back to our original state of enlightenment, the enduring idea is that it has potential to guide us to greater understanding and spiritual awakening. In Western origins are thought to have come from the worship of the Greek god Dionysus (the god of wine and fertility). In 6th Century BC, four festivals were hold in honour of the god. ‘The City Dionysia’, a large festival in Athens, is seen to be the precursor of drama. What began as devotional hymns turned into an actor and a
chorus, known as a tragedy. Soon contests for the best plays became part of the City Dionysia, with prizes for best tragedy, comedy, and actor. Chorus members, who were rigorously trained, were not only paid by the state but were also given special privileges in their role in civic life. Meanwhile, watching plays became a “civic duty” for citizens, who were expected to engage with the ethical, moral, and spiritual dilemmas portrayed on stage. The same can be true in modern theatre, which is not only entertaining but also engages audiences in complex, moral discussions. The plays performed are still very much relevant today. In 1970, a group of inmates including Nelson Mandela staged a production of Sophocles’ tragedy ‘ Antigone ’ at South Africa’s notorious Robben Island prison. This play centres on Antigone, whose commitment to her family and belief in the will of the gods leads her to defy her uncle, King Creon, by burying her brother. This inmate production, performed by political prisoners, symbolised defiance in the face of an oppressive regime. Just as Antigone resonated with citizens in 441 BC, the play resonated with the inmates’ struggles against an Apartheid- era regime, highlighting how themes of moral resistance and individual conscience transcend time and geography. Our 2024 Senior Production, Our Country’s Good, by Timberlake Wertenbaker also demonstrates the force of theatre. The true story about a convict performance of George Farquhar’s The Recruiting Officer in New South Wales shows the humanising and unifying power of theatre, as convict and soldier overcome their differences and work together as actors. The production becomes a conduit for the characters’ transformations in the play, crucially, as a means for the convicts to gain self-respect and speak out for themselves.
by Wilf Patten, Year 13
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