In our quickly changing and globalizing world, often focusing on individual assertiveness, we forget about the importance of functional communities and tolerant environments where one can feel safe and supported. One of the most important socializing medium we participate in (after the given family context) is the school community, the classroom. Other important environments for the age group of 6-18 years olds are the communities they participate in through their free time, hobbies, and extracurricular activities. Educators, teachers and youth workers leading classes and groups experience the phenomena of bullying among the students. The long-term effects of bullying are numerous, and can include hyper-sensitivity, anxiety, and depression. Recent statistics suggest that the majority of students will experience bullying at some point in their academic careers. In the early 21st century, increased attention has been given to the importance of teachers, group leaders, educators and parents understanding and recognizing the signs of bullying (among both bullies and victims), and being equipped with strategies and tools to address school bullying and deal with it as a community, in or out of the classroom. Drama and theater in education has demonstrated (DICE research, 2009) that it can effectively improve Lisbon Key competences. We, in accordance with all the partner organizations believe that it can also deal with aggressiveness, power inequality and victimization. We would like to evaluate these beliefs through a research study and based on that, refine our methodology in a collaborative process, in which we explore what elements could be implemented most successfully in order to decrease bullying in a variety of communities. The Drama and Theatre in Education methodology is still a very small and quite unknown discipline. Most of the theatre practitioners and teachers, even art-pedagogists have never met with the methodology before. The methodology itself comes from the UK, also there have been ongoing some initiatives around Europe and some other countries worldwide to work with it, although it lacks a general scope. It has many still-unexplored possibilities and tools, which could be offered to test and implement into everyday practice by anybody dealing with youth communities. We need to measure our impact through a continuous research, which accompanies the testing and the implementation phases.We would like to distribute the results of the strategic partnership and also the methodology itself for a wider global understanding towards the intellectual outputs. We are developing an online application for mobile and PC, which functions as a structured database of drama based lesson plans, trainings, dynamics and exercises. Anybody will have access to the app; teachers, youth workers, educators can search for different aspects of bullying, they are facing with, and apply the found drafts and plans to their age groups and situations. We are developing a second intellectual output, a manual about how to implement, what stages you need to consider, how you should start, and how you can sustain drama based activities in or out of the classroom. The third intellectual output is the research itself.Impact: - Our organizations and the innovation of the methodology- Youth workers, teachers and educators dealing with community building- Youngsters and studentsPartners:Nyitott Kör Egyesület Hungary – NGO – coordinatingTheatrEtc – Cyprus – NGOSigma Art – Romania – NGOCedeum – Serbia – NGOAims:We aim: A) to prove the efficacy of drama-based tools and to decrease bullying in order to nurture functional communities, B) to compare and facilitate drama and theatre in education practices between the participating countries, particularly focusing on bullying, C) to share and exchange working techniques on such topic, exploring the wide range of possibilities, D) to disseminate theatrical practices in non-formal educational methodologies for wider use, E) to widen the area of public TIE works with, F) to provide a tool kit and a manual for youth leaders, trainers, teachers and educators, G) to start an open dialogue between drama professionals and people still interested in art-pedagogy methods.