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   <subfield code="a">In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops' for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games' of his own childhood and adolescence. In this article (based on a paper presented in November 1988 at the conference on theatre and education in Mohammédia, Morocco), he considers our changing perception of the relationship between the two senses of ‘play', and the way in which ‘games' have been institutionalized to avoid their inherent threat to an organized, work-disciplined society-a trend still being reinforced, as the improvisatory element of drama in schools becomes subject to the rigours of evaluation and examination. Clive Barker, whose career in the professional theatre began with Joan Littlewood's Theatre Workshop company, is co-editor of New Theatre Quarterly, and now teaches in the Joint School of Theatre Studies at the University of Warwick.</subfield>
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