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This dissertation explores the 'lived' experience of seven primary school teachers co-creating drama in an Irish context. Co-creating drama can best be described as the coming together of teacher and students in a creative enterprise. The experience centres on the notion of the teacher as a co-artist, whereby they enliven qualities of creativity such as a "willingness to play, experiment, be a partner with learners, and to take risks" (Craft 1997, p89). Co-creating is distinguished by the autonomous behaviour of the students and the artistic act of creating something of value to the group. It resonates distinctly within the theoretical frame of constructivism, as well as with more current inquiries of collaborative and creative drama practices.Classroom drama in an Irish context remains largely under-researched. It is argued that the knowledge base for teacher education should come from the teachers' experiences in the classroom, but there has yet to be an in-depth study of teachers' lived experiences of drama education in Ireland. In order to address this, a phenomenological inquiry was conducted into the experiences of teachers cocreating drama, with a view to gaining an in-depth understanding of the experience as perceived by them. Through a series of interventions and interviews, the teachers' experiences and reflections were explored in order to portray the essence of the phenomenon. The analysis of the interviews has led to a multi-faceted understanding of co-creating drama. Three main themes emerged. The teachers discuss the practical implications of navigating the co-creating experience, the importance of teacher commitment, and the outcomes of co-creating drama.

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Anglo-Irish author Maria Edgeworth was one of the most prominent writers of adults’ and children’s literature at the turn of the nineteenth century. Having written six plays for children, we may now consider her one of the first Irish Theatre for Young Audience (TYA) playwrights. TYA is a theatrical experience intended specifically for an audience of children. In 1801, Edgeworth wrote The Knapsack, a home theatrical as part of her Moral Tales collection. The play, set in Sweden, deals with a family waiting on news of its loved one’s survival at war, and at times it presents complicated truths about war and social classes. In this chapter, two TYA practitioners consider how this play might be staged in contemporary times. They explore possible performance choices, concerns and challenges that they might negotiate as they ask how this play might speak to a young audience now.

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