This study will explore the nature and the scope of the Theatre of the Oppressed practices within the broader educational terrain of experimental learning. The aim of the study is to extend and elaborate on current established understandings of experimental learning by acknowledging and recognizing the facilitative and educational significance of the aesthetic domain. Although there has been a substantial level of theorizing about experiential learning very little attention has been given in defining the educational uses of the aesthetic domain of experience.\ud \ud Some experimental learning theorists have acknowledged the multi-dimensional nature of experience and their work supports the use of drama in the context of experiential learning. Yet there is very little distinctive educational role of the aesthetic domain of experience. It is against this background that this study asks how do we learn from the "experience of drama" and how is this learning different and or similar to our current understandings of experiential learning?\ud \ud In addition to mapping experiential learning as a distinctive terrain the study signposts the conceptual dimensions of the area by delineating the generic features that set experiential learning apart from other models and theories of learning and instructional practice. Against this background, a review of the Theatre of the Oppressed practices will be undertaken and attention will be given to "image theatre" as a mode of communication that works outside the boundaries of everyday language. The specific properties of the "aesthetic space" are explored and related to the educational implications of the carnivalesque motif that defines the distinctive critical sensibilities of Theatre of the Oppressed. Following this the study moves to a conceptual elaboration of experiential learning and the delineation of the educational and facilitative role of "the aesthetic domain".\ud \ud While the study's methodology is grounded to Schon's (1987) understanding of the reflective practitioner, there has been a concerted effort to establish an interpretative framework that corresponds with the refractive qualities of Theatre of the Oppressed. The main purpose is the achievement of an illuminative synthesis of perspectives. Short descriptive accounts of practice provide practical "real life" examples, while the philosophical and theoretical contributions of Dewey and Freire are used to establish the discursive parameters of the study. The overall goal of this largely integrative focus is to contribute to the area of adult and continuing education by illuminating an important but so far largely unrecognized area of practice
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