Trauma-Informed Practices for 9-12 Theatre Education

This resource bridges the worlds of education, mental health, and the performing arts to offer a comprehensive roadmap for 9-12 theatre educators looking to promote safe, supportive, and creative spaces for their students. Written by a seasoned theatre educator and a licensed mental health clinician, this book explores trauma-informed teaching techniques tailored specifically for theatre classrooms, encompassing both acting and production processes. Chapters cover a broad range of topics, from fostering resilience in students to collaborating with caregivers, administrators, and communities across the educational journey. The authors introduce essential concepts such as intimacy direction and consent, ensuring ethical and inclusive practices. They also provide strategies for teachers to prioritize their own self-care. Core themes and objectives include: trauma-informed teaching, holistic theatre production, community engagement, ethical theatre practices, and educator wellness. Packed with practical exercises for exploration, discussion questions for book studies, and meticulously researched insights, this resource strikes a balance between therapeutic guidance and professional development. Ideal for 9-12 theatre educators in drama classrooms, after-school programs, and more, this guide equips you with the tools to support students who may have experienced trauma, empowering them in performing arts environments while maintaining healthy boundaries.

Jimmy Chrismon is Associate Professor of Theatre Teacher Education at Illinois State University, USA. Adam W. Carter is the CEO of PATH, Inc., a nonprofit dedicated to providing access to help services in Illinois, USA.

Part 1: In Theory 1. Introduction 2. The Essential Role of Self-Care for Theatre Educators 3. Intersectionality 4. Intimacy Direction, Consent, and Boundaries Part 2: In Practice 5. Pre-Production Processes 6. During Rehearsal and Run of Production Processes 7. Post-Production Processes 8. Trauma-Informed Practices in the Theatre Classroom 9. Conclusion