ABSTRACT
We are now faced with the problem of how to design curriculum in drama, given the ephemeral and transitory nature of its praxis. As the previous chapters have identified, the spontaneous and improvisational nature of drama praxis makes it difficult to pinpoint in functional quantitative terms what the attainment targets are. It is perhaps not surprising that some educators have tried to fit the dynamic and evolving drama curriculum into an outcome-oriented programme, with the outcomes essentially being those extrinsic skills and attitudes which can be observed and measured, rather the intrinsic changes which happen inside humans when they experience a work of art. The examples of drama praxis given to date (e.g., the wolf drama, the seal-wife, the invaders, and the patriots) are characterised by their exploration of values and attitudes, and how such can be interrogated and transformed. Such praxis does not lend itself easily to numerical attainment.
