Theatre in education
Theatre in education (TIE) originated in Britain in 1965 and has continued to present day. Monica Prendergast and Juliana Saxton cited TIE as "one of the two historic roots of applied theatre practice". TIE typically includes a theatre company performing in an educational setting (i.e. a school) for youth, including interactive and performative moments. The idea of a high-impact child-centred performance for a specifically targeted school audience became hugely popular. Due to small audiences students can be encouraged to participate through work in-role and through debate. Student experimentation can be supported with resource materials  and training or support for the students by teachers. Need. Education is becoming like rote learning. The education the students are getting is not being applied creatively in any area. Contrary to this 'rote' education, TIE presents a different approach including discussions, contributions and creativity through performance. It fulfils all types of learning and enhances the development process. Difference between Drama in Education and Theatre in Education. In the last twenty years many books have appeared describing drama and theatre activities with children. These various labels are indicative of the range of the work and of the possible confusions that  can arise. Some of the main areas of work are: Drama in Education In the school curriculum, this is both a method and a subject. As a curriculum subject it uses various dramatic elements, and acting out. In many high schools drama is now a separate department. In some Primary schools it is used as a method to teach a number of subjects. Theatre in Education A professional team of trained and experienced actor/teachers, who prepare relevant material/project/experiment to be presented in schools often involving more than one visit. These programmes are usually devised and researched by  the team/teachers and are for small groups of one or two classes of a specific age. The aim of the programmes is essentially educational, and uses theatre, drama in education and teaching techniques for educational purposes. This work provides an educational aid, resource and stimulus for both teachers and pupils, but to do so it may vary from place to place, total participation sessions to performance and discussion. Theatre in Education can be considered as a method of work used by some companies all the time, and by others only occasionally. Many companies who use this method of work  have, as their starting point, a strong left-wing or didactic approach to their subject matter, and they cannot be considered as mere tools of the education system. Rather, they act as outside questioners, looking at ideas and values in society. The main element of TIE. These are the following characteristics of TIE How TIE can be used. TIE can create different kinds of productions: In Schools. The Role of Teacher As an alternative to knowledge dissemination, memory-based teaching, Drama games and fun during lessons leads to better engagement. Instead of simply lecturing, the teacher in the TIE  setting can become a conceptual artist who moulds knowledge, feelings, thoughts, sensations and experience into an active and activating educational process. This is not about an artist in a traditional way. It's more a way of thinking, perception of the world and its needs in right - brained way as non-linear, practical, intuitive, and holistic. The personality of a teacher influences the use of drama in lessons. According to Barucha, teacher types fall into four quadrants (see Figure 1). Barucha differentiates two dimensions depending on the teacher's behaviour, perception, values and attitudes: the interactivity level and the level  of logical/emphatic thinking. Both dimensions operate on a whole scale in between the extreme values. The Role of Student In this methodology the student need to understand that the role of the teacher changes. In TIE the student himself takes the initiative and responsibility. TIE demands much greater independence of thinking. In this process of structured learning, drama rehearsals require full dedication. Due to this and closer interpersonal interaction, the process can lead to more clashes compared to traditional class teaching. There are several issues apart from memory training, courage to act, and the ability to emerge from the  shell that each of us adopts at work or at school, there can be language difficulties, stage fright, newness in being expected to adopt a role, confidence etc. Summarizing the main requirements and preconditions as follows: - Some theatre improvisation games. This are some theatre games. 1) Alphabet conversation Having a group of student, start a conversation one by one where each sentence begins with the next letter of the alphabet. Giving a situation before you begin will help the student. Students can also use sounds to start a sentence, for example “Mmmm” or “tut-tut”. This game can be played  in pairs or small groups. Here is an example: A: Anyone seen my cat? B: Black one, with funny eyes? A: Can't say I remember. B: Don't tell me you've forgotten what it looks like? A: Every cat looks the same to me. B: Fortunately, I found one yesterday A: Gee, that's great... 2) People poems Divide the class into small group of four or five. To each group give a topic/word –e.g. “Time”. Now each person in an each group as to write down or remembers some words associated with the theme, e.g.- slow , fast, boredom, quickly and centuries. Now every group has to make an object out of the members, linked to the theme (such as a clock). Ideally the group object should move. Next every group has to bring the object to life and works out a way of bringing in some or all of their words-linked to their movements. And at the end they show the resulting people poem to the rest of the class, who can try and guess the theme. Themes can include: Benefits. These are some benefits of TIE