Can mimetics, a theatre‐based practice, open possibilities for young people with learning disabilities? A capability approach

Abstract

Copyright and reuse:The Warwick Research Archive Portal (WRAP) makes this work of researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available.Copies of full items can be used for personal research or study, educational, or not-forprofit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. AbstractWhilst the significance of the social model of disability for articulating inclusive approaches in education is recognised, the application of capability theory to education is less developed. We consider how a particular theatre based practice, here described as 'mimetics', can alter and extend the aspirations and achievements of children and young people with learning disabilities, and might be understood as applied capability theory or 'capability practice'.Mimetics has been crafted from experimental psycho-physical actor-training processes by Open Theatre Company working in collaboration with actors with learning disabilities, and adapted to support the learning and development of young people with learning disabilities.We draw upon an action research project set up by Creative Partnerships with Open Theatre Company and a special school, where children demonstrated increased motivation and capacity for communication and socialisation, improved well-being, learning and wider achievement. To illustrate the process we offer the case of one child with an autistic spectrum disorder.

¿Y si nombramos voz cada minúscula diferencia? Inclusión en jaque: Trayectorias empíricas de la voz desde el modelo social de discapacidad

“…Es importante enfatizar que, aunque distinguimos entre tres trayectorias empíricas, mayoritariamente la voz sigue la macro trayectoria de servir de heurístico para descubrir barreras del proceso de la inclusión de personas con discapacidad (Bartlett, 2017;Bell, 2014;Bunbury, 2018;Collins et al 2018;Gabel & Miskovic, 2014;Genova, 2015;Glaser & Van Pletzer, 2012;Glazzard & Dale, 2015;Jagoe & Roseingrave, 2011;Mantey, 2017;Koca-Atabey et al, 2011;López & Moriña, 2015;Mathews, 2009;Moriña, 2012;Myhill et al, 2012;Parker & Draves, 2017;Parsons, 2015;Pernia, 2008;Saerberg, 2010;Stalker et al, 2011;Trowsdale & Hayhow, 2013;von Benzon, 2010). Sin embargo, deslindamos dos trayectorias más específicas que refuerzan la premisa del modelo social respecto de que la discapacidad se profundiza y se reproduce mediante barreras sociopolíticas.…”

Body Expression-Based Intervention Programs for Persons with Intellectual Disabilities: A Systematic Review

“…On the other hand, articles that analyze variables related to psychosocial aspects highlight: the improvement in self-concept, emotional and personal well-being [ 41 , 43 , 44 , 55 ]; improving social relations and inclusion [ 41 , 54 , 55 , 57 ]; and mastering aspects of verbal communication [ 50 ].…”

“…Likewise, the study by Trowslade and Hayhow [ 57 ] is relevant for three reasons: one, because it is a longitudinal qualitative study (5 years long); two, because it addresses a case study within the research itself; and three, in terms of the quality of the intervention carried out, obtaining a score of 4 out of 5. The program used mime or dramatization as a theatrical technique inspired by the renowned Open Theatre [ 63 ].…”

Imagining Autism: Feasibility of a drama-based intervention on the social, communicative and imaginative behaviour of children with autism

“…They also had training from the first author on autism and providing autism friendly approaches. Practitioners were also trained to be responsive to the children's cues, scaffolding their play to facilitate language, peer interaction and imaginative engagement, as well as mimetics (Trowsdale and Hayhow, 2013).…”