Boy Genius Introduction:
Introduction
Education Pack Introduction
I am but mad north-north-west: when the wind is
southerly I know a hawk from a handsaw.
Shakespeare: Hamlet
The nature of normality has been a central theme for the theatre for centuries. It is the ideal medium for analysing human behaviour, as we observe the interactions of characters in a highly concentrated mode of presentation. In Boy Genius the audience is invited to understand the world of Joe, a young man who may be suffering from bipolar disorder. His complex story unravels, revealing a whole world of issues related to genetics. It is through this 'personal' relationship with the character that the audience begins to question and learn of the huge implications that scientific research and findings have upon our own existence and the choices we make.
Through Boy Genius, participants can explore and gain some understanding of their own and others' views about human genetics and mental health. Creating this space for reflection can enhance participants' understanding of the complexity of the issues at stake. Potential areas of exploration by participants might include the following:
Of Being...
- Destiny. To what extent are we determined by our genes? What is the interplay between genetic inheritance and environmental influences?
- What do I understand as 'me'?
- Can we only understand who we are if we have an understanding of our parentage and our genetic history?
Of Normality...
- What are society's expectations of 'normal'? From where have we derived our notions of normality?
- What are the implications of the discovery of named 'behavioral' genes - i.e. the 'criminal' gene, the 'intelligence' gene, the 'depressive' gene?
Of Eugenics...
- What does 'Eugenics' mean?
- What are the lessons that we should learn from history regarding Eugenics?
Of rights and responsibilities...
- What is the relationship between individual freedom, choice, and social responsibility?
- Do we have the right to know where we come from, who our parents are?
- Do we have the right to choose the [sort of] children we have?
Of genetic research and its applications...
- What are the potential medical applications/benefits of genetic research and treatments? Who will benefit and who will not?
- Why is a [genetic] diagnosis important?
- What drives the scientist? Are there different drives operating?
Of the future...
- What kind of genetic future do we want?
- What are our responsibilities as citizens of the future? What could the future hold? Disease cures? The end to human suffering? 'Designer' babies? Cloning? Eternal youth? A genetic under-class?
It is reassuring to see that the National Curriculum, recognises the importance of drama in education:
The function of drama here is seen as a technique for developing 'skills', suggesting that the skill is central to dealing with issues. Skill without knowledge and understanding is a dubious attribute. The process of involvement in the Boy Genius project is not intended to foster skills. It is an experience which challenges children to question their preconceptions and seek knowledge. It offers opportunities to learn about genetics through close identification with the areas of study. Learning is key to the project.
'Activities should foster curiosity and creativity and be interesting, enjoyable, relevant and challenging for the learner. They should enable learners to initiate, explore and share ideas. Activities should enable learners to extend, refine and apply their skills, knowledge and understanding in new and more abstract situations. They should allow time for thinking, peer discussion and reflection.' (Science in the National Curriculum in Wales: 2007: p11)
Within a 'theatre' the prevalent cautions of school are, to some extent, discarded. With actors as the centre of attention students realise a change in the process of learning. It is important, in the participatory process, that the young people are involved emotionally and intellectually. They are not merely recipients of information or guidance; they need to involve themselves in a process that transforms them. The theatrical conceit has many dilemmas which members of the audience will be solving individually. It questions preconceptions and encourages self-analysis of held perceptions. The theatrical arena is a perfect situation in which to do this where the social nature of the activity of performance allows for an interactive approach to the issues presented and affords opportunities for a distancing from the reality of the drama presented.
By involving teachers with pupils in the process the learning becomes co-operative and opens up possibilities of a pedagogic partnership.
The mode of discovery, whether it be of factual information or an understanding of the moral dilemmas, is inventive and creative. In pursuing and, to some extent, creating the narrative the students learn experientially, forming conclusions that are better retained. Young people in the 'audience' learn about themselves and the culture in which they live through an involvement in what occurs at the theatre event. They act with the 'performers', making judgements, querying behaviour, questioning motives, etc. The theatrical method gives opportunities for discussion, questioning and full participation in quite a natural learning environment which actively engages and entertains.
Paul Gibbins
Education Officer
Gwent Theatre
January 2007
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