Abstract
The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom drama.2 At the heart of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3
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