초ㆍ중등학교에서의 연극지도 - 정규 교과목으로서의 연극, 그 교과 운영을 위한 기본 전략(2)

The high status of a curricular subject not only exerts a benefical influence upon good treatment in curriculum planning and in the process of schooling, but also operates to control teacher`s safety in standing. The indicators of status for any curriculum work are: `how much time is allocated to it and when,` `whether it is compulsory or optionary.`<BR> Status is a position in a hierarchy, a rank. It reflects judgments about the importance and value in relation to other subject. It refers not to absolute to relative importance. It therefore is inevitable to ask about `relative importance to whom` and `relation to what` in discussing the status of drama(theatre) in school.<BR> We need to consider these separately from the points of view of those who are not involved in teaching drama(theatre) and of those who are, point of view of the general educational context and of drama(theatre) teaching. It also is needed to consider that any attempt for higher status of drama(theatre) will be constrained by the pressures of vocationalism, academism, conservatism of education, and others.<BR> Any work to improve the educational quality of drama(theatre) in school should begin from establishing the `standards.` The issue of `standards` should be seen in its wide political context. Apart from the universal all-time complaint that standards are Dot good enough and could always improved, nothing about the word can be taken for granted. Standards `for what and for whom?` are central questions to be asked On the questions any attempt to discuss should be done through the three areas of `standards in drama work,` `standards for examination,` `standards in teaching drama.`<BR> The criteria to judge the standards of any work in drama(theatre) depends on prevalent trends and existing knowledge. In the early days of drama(theatre) in school, standards of received pronunciation and elocution loomed large. But these were superceded by standards of spontaneity and extended play and in turn, by a stress on group development.<BR> It is true that examination of drama(theatre) in school imposes a competitive element on what should be a noncompetitive activity, and stresses academic attainment in a process which is subjective, qualitative and practical. Non-examination subject has no status in school and therefore has limited drawing power except as a recreation activity. To be taken seriously in school, examination of drama should be offered. However at least three questions are needed to ask: `is the examination syllabus a natural extension of the drama(theatre) work,` `are the criteria used in examining relevant to standards of drama(theatre) work,` `has it been made clear to students and parents what students should expect to gain through the course.`<BR> Teaching drama(theatre) is not easy work. It is complex process which involve in-service training. Drama(theatre) teacher needs to have an academic knowledge of all facets of the process(creative, aesthetic, soci