dren wanted to take. Slade stood for 'personal circles' and 'child-centred activity' and individualisation. It was not until Dorothy Heathcote came along that the focus went back to the "importance of the collective experience and in doing so brought again to the fore the possibility of group members becoming united in their shared response to dramatic symbols"(Bolton 31). Dorothy Heathcote concentrated on the material objects that the drama was based on. She took a scientific approach; to her "the material objects of the world provide the common source of" the scientist's view of knowledge (Bolton 59). Content is very important to her; the action must be focused on some topic or object. The child will be aware of the object and by examining and exploring it, he/she will celebrate it. Brian Way, another celebrated dramatist, has a different view of drama and development from Dorothy Heathcote. He is very close associate of Peter Slade, and hence their styles are similar. Way tried to educate teachers to understand that children were capable of more than just clowning around on a stage. They could reach into themselves and explore feelings such as sorrow and pain. There are four things that Brian Way concentrated on: (1) the individual, (2) exercises, (3) expanding horizons of what may be included in a drama lesson and (4) intuition. Some teachers who felt as if they had to train each child by itself and who subsequently ignored the group unfortunately misconstrued his work on the importance of the individual. Way included in his books a number of exercises that teac...
