Theatre Pedagogy

The theatrical design process is rooted in a deep and careful examination of a "text", be it traditional script or a devised process.  This paper examines the importance of a dramaturgical analysis of that text, one which allows for an immersion into the material, and it's relationship to the designer's process which requires a designer to dwell within that text and be "baptized" by the process.

Eds. Andrew Filmer and Juliet Rufford
Bloomsbury / Methuen Engage series eds. Enoch Brater and Mark Taylor-Batty

BOOK DESCRIPTION
Performing Architectures examines the relationships that exist between theatre, performance and architecture within an expanded field of spatial and artistic practice. The essays that make up the collection ask what new terms, what modes of thinking, and what techniques and practices have emerged (or might emerge) through encounters between architecture and performance. This enquiry is located in three key areas. First, the book focuses on theatre projects – that is: built, speculative or utopian architectural projects for theatre and performance. Second, it focuses on interdisciplinary practices that critically re-examine and transform our experiences of architecture, performance and the built environment. Third, it focuses on interdisciplinary pedagogies that are driven by the question of what is gained for students of one discipline in the encounter between that discipline and the other. The volume provides an essential introduction to the ways in which performance and architecture – as socio-spatial processes and as things made or constructed – operate as generating, shaping and steering forces in understanding and performing the other.

CONTENTS
Essays by a distinguished list of international authors including: Himanshu Burte, Dorita Hannah, Klaus Van Den Berg, Evelyn Furquim Werneck Lima, TAAT collective, Andrew Filmer, Mike Pearson and Cathy Turner, David Roberts, Natalie Rewa, Alex Schweder, Juliet Rufford, Beth Weinstein and Robert Wilson.

PRAISE FOR THE BOOK
This wide-ranging and stimulating collection offers major new insights into our performative relationship with the world around us. 
Marvin Carlson, City University of New York, USA


A provocative volume that reaches across the world and through time to offer new theoretical and practical perspectives on architecture, dramaturgy and scenography.
Joanne Tompkins, The University of Queensland, Australia


This well conceived and implemented volume brings together thinking on the complex relationship between performance and architecture. Timely and fascinating, Performing Architectures works towards an architectural dramaturgy appropriate for our post-dramatic concerns and practice.
Maurya Wickstrom, City University of New York, USA

This chapter begins with Aristotle’s famous statement (Poetics 1453a) that a good tragic plot is one that arouses in its audience fear and pity. It presents strategies for recovering the emotional and moral dimensions of Greek tragedy through teaching ancient drama through performance. It introduces workshop exercises and writing assignments that I have used in the Theatre of Greece and Rome course to help students engage with the formalistic theatrical register of Greek tragedy, to recover the emotive potentiality of silence, and to respond on an affective level to the weighty issues explored in ancient drama.

Keywords: theatre pedagogy, education, personal development, social development, aesthetic development
Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatre education from the perspective of the students. We interviewed 20 primary school students of the German-speaking school in Cluj-Napoca, who had theater pedagogy as optional courses for four years about their personal experience with theatre. Results demonstrate the development of personal, social and aesthetic skills. The data obtained show that students themselves recognize the significant and positive impact of the education through theatre regarding the emotional, social and aesthetic development (as components of personal development), and the relationship between them. Zusammenfasung Schlüsselworte: Theaterpädagogik, Bildung, persönliche Entwicklung, soziale Entwicklung, ästhetische Entwicklung Können Schule und Theater als Symbiose gesehen werden? Die Wurzeln des Schultheaters reichen bis ins 15. Jahrhundert zurück. Schon früh erkannten die Pädagogen und Pädagoginnen die Bedeutung des Theaterspiels für die Entwicklung der Schüler und Schülerinnen. Aber was denken diese selber über die Theaterstunden für ihre eigene Entwicklung? Die vorliegende Arbeit präsentiert die Ergebnisse einer qualitativen Forschung, die die Rolle der Theaterpädagogik für die persönlichen, sozialen Fähigkeiten und die ästhetische Entwicklung der Schüler und Schülerinnen untersucht hat. Zu diesem Zweck wurde ein halbstrukturiertes Interview verwendet. In unserer qualitativen Studie haben wir die Auswirkungen der Theaterpädagogik aus Sicht der Schülerinnen und Schüler untersucht. An der Studie nahmen 20 Grundschülerinnen und-schüler der deutschsprachigen Schule in Cluj-Napoca/ Rumänien teil. Diese hatten vier Jahre lang Theaterpädagogik als Wahlfach und wurden über ihre persönlichen Erfahrungen mit dem Theaterspiel befragt. Die erhaltenen Daten zeigen, dass die Probanden selbst die signifikanten und positiven Auswirkungen der Theaterpädagogik in Bezug auf die emotionale, soziale und ästhetische Entwicklung (als Bestandteile der persönlichen Entwicklung) und deren Beziehungen untereinander erkennen.

This thesis identifies the junior musical as an umbrella term for commercial American musical theatre adapted for youth performers and explores the value of these adaptations in schools. Interviews and survey responses comprise this qualitative study that examines interest in and opportunities created by Broadway Jr., a specific musical theatre program for middle school students. Through an analysis of current practices and statistics in performance and education, this thesis positions the Broadway Jr. program as an educational theatre model that flexibly responds to the needs of the particular schools and communities it serves. Findings invite practitioners and scholars to consider what comprises quality musical theatre education for young people in schools in the twenty-first century.

Abstract

Theatre pedagogy is a rapidly developing area of research in teaching. The concept originates from the parallels between a child’s symbolic play and an actor’s playing experience. However, dramatic activity and child play differ in intention, quality of spontaneity, practice and demonstration. Teacher's guidance is crucial in transforming quality of dramatic experience, awareness and meaning into creative classroom drama. Distance devices, which a qualified teacher uses, are essential for reaching the curriculum goals through the very important phase of every dramatic activity – reflection. With a teacher's guidance symbolic play can transform into creative drama and becomes a meaningful learning experience for students.

Keywords: theatre pedagogy, symbolic play, creative drama, creativity, holistic teaching.

Abstract

In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity – play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.

Key words:: drama in education, theatre pedagogy, participatory practices, holistic teaching, sensitive topics.

Η τάση για ποσοτικοποίηση της εκπαίδευσης σήμερα και η εμμονή στην αποτελεσματικότητα και στα μετρήσιμα μαθησιακά και διδακτικά αποτελέσματα έχουν δημιουργήσει νέα δεδομένα και μέσα στη σχολική τάξη. Τα περιθώρια για δημιουργική, κριτική και ελεύθερη σκέψη των μαθητών/ριών και των εκπαιδευτικών στενεύουν και εξασθενίζει ο αμφίδρομος και διαδραστικός χαρακτήρας της σχέσης μεταξύ διδασκαλίας και μάθησης. Στο ίδιο πλαίσιο, το σκεπτόμενο και μετασχηματιστικό υποκείμενο αποδυναμώνεται, αφού οι γρήγοροι ρυθμοί και οι απαιτήσεις για αξιολόγηση με ποσοτικούς δείκτες αποδυναμώνουν τα φανταστικά και ελεύθερα −και γι’ αυτό ωφέλιμα− ταξίδια του νου. Το μελέτημα εστιάζει στον ρόλο που μπορεί να διαδραματίσει η θεατροπαιδαγωγική στα μέλη της ομάδας αλλά και στην αλληλεπίδραση θεατροπαιδαγωγού και παίχτη/ριας στο πλαίσιο ενός θεατροπαιδαγωγικού εργαστηρίου. Οι βασικές αρχές του εγχειρήματος αντλούνται από το θεωρητικό και πρακτικό έργο τεσσάρων σημαντικών θεατρανθρώπων και στοχαστών, του Μέγιερχολντ, του Αρτώ, του Μπρεχτ και του Μποάλ. Στόχος είναι να αναδειχθούν οι κοινωνικοπολιτικές διαστάσεις ενός θεατροπαιδαγωγικού εργαστηρίου ως τόπου κοινωνικής και πολιτικής εξάσκησης για τους/τις συμμετέχοντες/ουσες σ’ αυτό. Η έρευνα στρέφεται εν μέρει στα εργαλεία και τις πρακτικές, κυρίως στον τρόπο με τον οποίο ο/η θεατροπαιδαγωγός τα χρησιμοποιεί για να δρομολογήσει την υποκειμενική έκφραση. Σ’ αυτή την κίνηση ερευνάται εν τέλει η μορφή του πλαισίου επικοινωνίας και των σχέσεων που δημιουργούνται και αν μια τέτοια προσέγγιση συνομιλεί με τις αρχές του σύγχρονου κριτικού παραδείγματος της ισότητας, της αλληλεγγύης, της δημοκρατίας και της κοινωνικής απελευθέρωσης και δικαιοσύνης.

La Pedagogía Teatral como Ciencia de la Educación Teatral. El
objetivo de este trabajo es presentar una visión panorámica de las diferentes prácticas educativas que configuran el campo de la educación teatral, y proponer, como consecuencia, la necesidad de desarrollar, en su dimensión  científica y académica, aquella disciplina llamada a ofrecer una descripción sistemática, rigurosa y normativa de lo que es la educación teatral en tanto ámbito específico de educación, y de sus características pertinentes y diferenciales frente a otros ámbitos próximos. También se señalan procesos básicos a desarrollar en la construcción de la Pedagogía Teatral como ciencia y disciplina, en la formación de formadores y en una investigación específica.

Amongst the many abiding oddities of the English academia in India is a strange inability or aversion to practice. Though many of us teach—and love—drama, only very few are able to transition from the happy amateurism of collegiate theatre into the more demanding realms of commercial and street theatre. Anuradha Marwah is one of those increasingly rare English professors who have been able to do so. As much a novelist as a theatre practitioner, Marwah’s brand of socially committed, left-feminist theatre poses many challenging questions for the nature and direction of theatre pedagogy and practice in and outside the English literary academia in India. Anubhav Pradhan and Sonali Jain discuss theatre, feminism, and society with Marwah in a wide-ranging conversation.

The norm that regulates the curriculum of the Higher Diploma in Dramatic Art in Spain establishes that the graduates should be trained and qualified in teaching, and so among the subjects of basic training, Pedagogy is included. This paper, written from my own experience as teacher of Theatre Pedagogy and after a review of pertinent scientific literature, proposes a possible development of the subject in order to achieve successfully the qualification of the students as theatre teachers, considering the scenarios where such activity can take place, but also in order to share experiences, inquiries and problems as the development of Theatre Pedagogy and theatre education must be a task shared by different agents, schools and colleges. Finally, it shows the way in which the subject proposes an experience where students and teachers share a common framework to tackle the training in expression and scenic creation, which involves cognitive, psychomotor, emotional, relational, ethical and aesthetic processes.

This paper is an attempt to propose multidimensional research projects and therefore it is addressed to researchers and theatre/drama-pedagogues. Our principal aim of this paper is to suggest ways to investigate the role of drama both as a methodology in itself in the fields of education and lifelong learning, and as a means suitable for implementation in many other arenas. Our focus on alternative dramatic forms such as puppetry, dramatised narration and creative writing in role, enhances the implication of a rather broad spectrum of prospective participant groups beyond students, such as immigrants, prison convicts and the elderly. We also aim at the facilitation of the involvement of all people who seek ways of improving their professional competence and who could benefit from the implementation of drama techniques in workplaces such as museums, public libraries, and in some sectors of the tourism industry. We firmly believe that the role of educational drama deserves to be consolidated in many areas of social science and social work.

A History of Collective Creation examines collective and devised theatre practices in Europe and North America, beginning in 1900. Long associated with U.S., British and French theatre collectives of the 1960s, collective creation in fact has its roots in the theatrical experiments of the early 20th century, emerging just after the rise of the modern director.  Tracing a lineage from explorations of collective creation in the work of Meyerhold, Stanislavsky, Copeau, St. Denis, Piscator, Reduta, Grotowski, and early documentary theatre, through mid-century manifestations as a theatrical expression of the New Left, A History of Collective Creation proposes that collective creation played a pivotal role in the evolution of the modern theatre.

This article focuses on the CLIL approach as it was integrated into the teaching curriculum for a complete school year (2014-2015) and implemented with 6 th year students at the 1rst Experimental Primary School of Alexandroupolis, Thrace. Driven from the theoretical principles underpinning CLIL, the article argues for Geography as the most appropriate subject area justified by the students' linguistic profile and the sociocultural context in Thrace. The specific pedagogic experience views CLIL as a highly dynamic alternative to current mainstream teaching practices and a challenging approach, mutually beneficial for both content and language learning as well as for students' and teachers' linguistic and intercultural competence enhancement. The CLIL experiences in the particular educational context offer useful pedagogic insight with regard to • learners' active and meaningful classroom engagement • enhancing learners' cognitive and metacognitive skills according to Bloom's revised taxonomy • developing a sense of community belonging into the classroom culture • constructing cultural and intercultural awareness in a non competitive learning environment. • fostering learner empowerment On the microstrategy level, the article focuses on a lesson plan detailed analysis, thus justifying its main argument that CLIL has a role to play in shaping future flexible, enriching and empowering multifaceted language learning and content learning experiences alike into current multilingual /multicultural contexts.

"In this era of globalisation and digitalisation of knowledge and of cultural and artistic activities, the interaction between theatre and scientific/artistic research, theatre, education and society has become fundamental in the academic, teaching and artistic worlds in order to address the challenges pertaining to the sociocultural, economic, and political domains. Moreover, considering that cultural meetings and related interactions also occur in the digital and virtual world, the University of Lomé, through its new Professional Master’s Degree programme in “Theatre and Education”, intends to offer a suitable answer to the aforementioned challenges: this, especially, involves putting in place strategies geared towards the interaction and reinforcement of mutual exchange between universities, cultural sectors, and artistic fields under the banner of theatre and education."

Recent studies on the current college generation note that our students face challenges including: weak communication and non-technological social skills, reduced coping skills and emotional resilience, unrealistic assessment of their own abilities, and a vision of themselves as consumers rather than participants, all of which can undermine a student's potential success in their college education. In 2014, I joined a Faculty Learning Community on our campus who embarked on teaching fall Gateway courses, first year seminars geared towards student retention and development by "encouraging our students to consider themselves as part of a larger intellectual world, participants rather than consumers of their education" (First Term Seminar Proposal). My pedagogy is disruptive pedagogy, rooted in bell hooks and the belief that "dialogue is an act of love and a necessary part of learning" and learning comes from creating community. This paper is a case study of my approach to teaching Introduction to Acting: Exploring Diversity through Performance as a means to help first year students transition into the intellectual community of college as critical and creative thinkers as well as helping our new students find balance mentally and emotionally through the lens of performance.

Con el objetivo de contribuir a repensar los procesos de enseñanza-aprendizaje propios de la educación superior en arte dramático, el texto que presentamos propone tres líneas de reflexión-acción: de un lado, la reivindicación de la creación teatral y de la interdisciplinariedad como prácticas que alientan nuevas formas de saber, ser y hacer; de otro, la puesta en valor de los quehaceres pedagógicos y artísticos aplicados en la complejidad inherente a la formación y profesionalización en arte dramático; finalmente, la necesidad de articular un proyecto formativo integrado, cuyos «métodos» y trayectos no pueden realizarse al margen de los aportes del trabajo cooperativo y la investigación en la acción, a los que están convocados todos los que de un modo u otro, como profesores y/o alumnos, participan en el tránsito de la formación a la profesión, y de ésta a aquélla. En este trabajo, que emerge de un análisis sistemático de algunas experiencias de creación escénica desarrolladas en u...

The conversation with Justyna Lipko-Konieczna and Justyna Sobczyk summarises the ten-year history of establishing theatre pedagogy in Polish institutional theatres in which they've played key roles. It also attempts a critical reflection on assumptions and values which are fundamental to theatre pedagogy, such as community, creative process and its anti-hierarchic character. The interviewees are pioneers in contemporary Polish theatre pedagogy. They refer to democratic values which are constitutive for their activity, and discuss these in the context of contemporary political changes in Poland. Based on their artistic projects and workshops they've conducted, they talk about difficulties and challenges faced by theatre pedagogues, as well as discussing the range of responsibility they have towards their own institutional environments in schools and theatres.

Resumen: El objetivo de este trabajo es presentar una visión panorámica de las diferentes prácticas educativas que configuran el campo de la educación teatral, y proponer, como consecuencia, la necesidad de desarrollar, en su dimensión científica y académica, aquella disciplina llamada a ofrecer una descripción sistemática, rigurosa y normativa de lo que es la educación teatral en tanto ámbito específico de educación, y de sus características pertinentes y diferenciales frente a otros ámbitos próximos. También se señalan procesos básicos a desarrollar en la construcción de la Pedagogía Teatral como ciencia y disciplina, en la formación de formadores y en una investigación específica.

Povzetek

Gledališka pedagogika se v zadnjih desetletjih v svetu hitro razvija, pri nas pa si šele utira pot v šolsko prakso. Sam koncept izhaja iz pomenske bližine otroške (simbolne) in gledališke igre, ki se praktično udejanja skozi ustvarjalno dramo v razredu. Od bodočih generacij učiteljev je odvisna prihodnost gledališke pedagogike v osnovnih šolah. V pričujočem prispevku analiziramo refleksije, ki so jih študentje 1. letnika 2. stopnje programa Razredni pouk iz Pedagoške fakultete Univerze na Primorskem sestavili po obiskovanju izbirnega predmeta Gledališče in lutke v razredu. Njihova stališča razčlenjujemo v več najbolj izpostavljenih kategorij, ki jih razvijamo s pomočjo gledališke pedagogike: Gledališče kot mediator, Spodbujanje ustvarjalnosti, Celostno učenje, Gledališki elementi pri posamičnih predmetih in medpredmetno povezovanje, Javno nastopanje in grajenje pozitivne samopodobe, Gledališče in refleksija. Študentje so izkazali izrazito naklonjen odnos do gledališke pedagogike, izpostavili njeno širšo uporabnost znotraj kurikuluma ter poudarili nujnost gledališkega izobraževanja učiteljev razrednega pouka.

Ključne besede: gledališka pedagogika, simbolna igra, ustvarjalna drama, ustvarjalnost, celostno učenje.

Abstract

Theatre pedagogy is a rapidly developing area of research, though it remains a non-vital part of an everyday school experience in Slovenia. The concept results from the parallels between child and actor’s playing experience, which can drive creative classroom drama. In this article, we analyse written reflections that students in the last year of their Master’s studies on Primary School Teaching wrote as part of the facultative subject Theatre and Puppet Shows in Classroom. In the course of the research, we divided their feedback in six main categories: Theatre as Mediator, Stimulating Creativity, Holistic Teaching Approach, Theatre Elements in Certain Subject Areas and Curricular Connections, Public Speaking and Building Self-esteem, Theatre and Reflection. Students expressed very positive approach towards theatre pedagogy, its broader use within the curriculum and emphasized the importance of theatre teacher training.

Keywords: Theatre Pedagogy, Symbolic Play, Creative Drama, Creativity, Holistic Teaching.

My reflections concentrate on nationwide projects of Z. Raszewski Theatre Institute in Warsaw: "Summer in Theatre" (since 2008), "Theatre and School" (TISZ - 2006-2008), and most recently The School of Theatre Educators, which encourage the creation of activities in a spirit of performative projects on Polish stages and influence the renewal of discussion about the role of cultural education at the theatre, not only at school, and include in the cultural studies discourse the concept of theatre pedagogy. I also refer to my own ten-year experience of work as a literary manager of the "Baj Pomorski" Theatre (2001-2011), in which I gradually discerned more and more distinct participation of activities drawing me to the role of a theatre educator. Given examples and the analyses of activities are designed to draw attention to the values and principles of cultural animation which focuses on experiencing an artistic event understood, according to the anthropological concept, 'as that which is experienced', an expression of subjectivity, action and performance, but also the meaning commonly attributed to it, such as: practising, experimenting, trying, experiencing, participating and going through. I perceive the phenomenon of experiencing theatre in performative actions which are based on the turn to the agency of the public in the theatre (the viewer becomes a performer), which finds its fulfillment in such practices as, among others: performative workshops during performances, theatrical actions giving rise to new forms of communication with the audience, participation in the creative process on stage and events which open the theatre space to the public. The development of performative model of theatre activity is the foundation of the emerging Polish theatre pedagogy, framed on German tradition of the field of science and on Berlin stage projects. In theatre pedagogy I see one of the opportunities to overcome the schematic perception of theatre as the only temple of art, to which young viewers drop in reluctantly, often only because of the fulfillment of duty of improving and ennobling themselves in the course of school education.

La legislación educativa vigente en España establece que las escuelas superiores de arte dramático serán competentes en investigación científica en las áreas de conocimiento que les son propias. La norma traslada a las administraciones educativas, a los centros, y a las comunidades educativas, retos y responsabilidades especialmente relevantes considerando la historia pasada y reciente de estas enseñanzas, pues si bien la investigación teatral cuenta en España con una notable trayectoria, hay ámbitos que, aún resultando transcendentales, carecen de un desarrollo básico. Con este artículo mostramos posibilidades para la puesta en marcha y consolidación de aquellos ámbitos de investigación teatral más relevantes en una perspectiva educativa, en tanto pueden promover el desarrollo de las disciplinas que le son propias al campo, el fomento de una cultura científica en los propios centros o la actualización permanente de los docentes, sin olvidar la trascendencia  que la formación en investigación pueda tener en la consolidación de competencias profesionales de los titulados en arte dramático. Finalmente resaltamos que el desarrollo de una cultura investigadora en las ESaD es la mejor garantía para su integración efectiva en el Espacio Europeo de la Educación Superior.

Resumen: Con el objetivo de contribuir a repensar los procesos de enseñanza-aprendizaje propios de la educación
superior en arte dramático, el texto que presentamos propone tres líneas de reflexión-acción: de un lado, la reivindicación
de la creación teatral y de la interdisciplinariedad como prácticas que alientan nuevas formas de saber, ser y hacer; de
otro, la puesta en valor de los quehaceres pedagógicos y artísticos aplicados en la complejidad inherente a la formación
y profesionalización en arte dramático; finalmente, la necesidad de articular un proyecto formativo integrado, cuyos
«métodos» y trayectos no pueden realizarse al margen de los aportes del trabajo cooperativo y la investigación en la acción,
a los que están convocados todos los que de un modo u otro, como profesores y/o alumnos, participan en el tránsito
de la formación a la profesión, y de ésta a aquélla. En este trabajo, que emerge de un análisis sistemático de algunas
experiencias de creación escénica desarrolladas en un centro superior de educación teatral, proponemos considerar los
procesos de creación a la luz de lo que se conoce como currículum integrado, asentado en el método de proyectos, para
potenciar la dimensión pedagógica y cívica que todo proceso debe tener para definir, desarrollar y alcanzar sus objetivos.
Concluiremos ofreciendo algunas orientaciones teóricas y metodológicas para la necesaria transformación de la creación
teatral en una experiencia educativa significativa.

Since 2008, I have been teaching a large (100–120 students), one-term Introduction to Theatre course, whose goal is to teach . . . I am still not sure what. When I first inherited the course it was a lecture survey perceived as a recruiting tool for the drama program at my technology-oriented institution—the University of Waterloo—as well as an outreach tool for the program, since many students from the science, mathematics, and engineering faculties were taking it to fulfill degree-program requirements for courses outside of their major disciplines. It might have been a theatre “appreciation” course, if appreciation could be aligned loosely with “information” and “enjoyment.” Then again, the course also needed to introduce humanities research, writing, critical-thinking, and academic-integrity skills. These tend to crowd out some of the space devoted to information in a traditional lecture survey and rarely contribute to anyone’s anticipation of enjoyment. To complicate matters further, since this was a required course for aspiring drama majors, it was also supposed to teach foundational knowledge that would prepare students for further study in the discipline. It looked like a recipe for failure: take something students think they will enjoy, ruin it for them, and tell them that this is what it means to study theatre.
Over the last four academic years, as I have struggled with the course, I have been confronted again and again with three questions: What is foundational knowledge in theatre studies? How does it align with the scholarly skills that we teach across arts and humanities departments at the undergraduate level? And how can we teach this, whatever it is, to students whose interests and expectations seem less and less compatible with our own? I am reporting here on the development of an exercise and also on the new approach to pedagogy that it has required of me, an approach I now think of as an “auto-ethnographical” version of what is more broadly termed “explicit instruction.”

A girl's journey through first love, obsession, competitive swimming, road rage, fare evasion, getting fired, facing her past and moving on. Don't Breathe A Word Of It is fast-paced physical theatre which rollercoasts through an environment of hanging objects and the rhythmic click of metronomes. Post-modern theatre at its best. "a surreal peep into the world of secrets that girls must keep." Sarah Palmer, West Australian Aug. 2002. "The performers utilise text, metaphor, movement and various theatrical devices to present content... in a highly original, engaging way. This is thought provoking, profound theatre..." Santha Press, Melbourne Fringe Judge 2000.

O artigo aborda a recepção da cena teatral contemporânea a partir do conceito
pós-dramático, com foco na formação do espectador. Para a execução da pesquisa
foi tomado como objeto de análise o espetáculo “Intrínseco” realizado pelo grupo
de estudos da Universidade Estadual do Paraná/UNESPAR, campus Faculdade de
Artes do Paraná/FAP. A investigação se utilizou de um questionário que apontou a
concepção da encenação, para fazer um levantamento dos aspectos da peça que
causaram maior impacto no público. A coleta de dados subsidiou uma reflexão acerca
da recepção dos espectadores envolvidos, e também sobre o questionário como
recurso metodológico para ampliar a percepção do público, sobre as proposições de
um determinado espetáculo teatral

espanolCon el objetivo de contribuir a repensar los procesos de ensenanza-aprendizaje propios de la educacion superior en arte dramatico, el texto que presentamos propone tres lineas de reflexion-accion: de un lado, la reivindicacion de la creacion teatral y de la interdisciplinariedad como practicas que alientan nuevas formas de saber, ser y hacer; de otro, la puesta en valor de los quehaceres pedagogicos y artisticos aplicados en la complejidad inherente a la formacion y profesionalizacion en arte dramatico; finalmente, la necesidad de articular un proyecto formativo integrado, cuyos «metodos» y trayectos no pueden realizarse al margen de los aportes del trabajo cooperativo y la investigacion en la accion, a los que estan convocados todos los que de un modo u otro, como profesores y/o alumnos, participan en el transito de la formacion a la profesion, y de esta a aquella. En este trabajo, que emerge de un analisis sistematico de algunas experiencias de creacion escenica desarrollad...

The graduate program in Theatre at the Pennsylvania State University-which offers the MFA degree in scenic design, costume design, costume technology , musical theatre directing, and music direction-requires students to take four theatre history, theory, and criticism seminars in addition to studio courses, shop hours, mainstage production jobs, and assignments as teaching assistants for undergraduate courses. Jeanmarie and Michael met as instructor and student in the first course of this sequence, Research Methods, a course that contains a module of intensive critical theory instruction. 1 This chapter advocates for teaching critical theory to design students not only to enhance their artistic work, but also to encourage their awareness of how structures of power organize academic and professional theatre, and to show how emerging artists can produce satisfying work despite the time pressures that come with a life in professional theatre production. Research methods revisited (Jeanmarie) When I first arrived at Penn State in Fall 2017 I had never taught MFA students. Having only my own graduate student experience as a guide-and having never taken a research methods course in my MFA or PhD studies-I began by engaging students in a lackluster survey of, well, research methods. The first classes involved library orientation: here's how to find a journal article; here's how to request a book through interlibrary loan. I soon realized that my course syllabus had no argument other than "research is important," or worse, "all research should be modeled on how I do research." It was only when I asked students to introduce their own approaches that I learned how to teach them. From cosplay websites, costume technologist, Heather, showed us how to build period-specific armor; Mark, a music director, showed us where to find orchestrations for musicals online; Michael showed us the American Theatre Wing's Downstage Center podcast, which features interviews with creatives and actors. I added to the conversation by showing students how to find evidence of 1930s concert dance in the unindexed publications that I consulted as the dramaturg for a modern dance reconstruction (Higgins 2015).

This contribution is a conversation between Avia Moore and Sarah Hart on our experience as North American students in the MA Devised Theatre at Dartington College of Arts during the final two years of its existence. We are now PhD students in Performance Studies, at York University (Toronto) and the University of California Davis respectively. This issue of TDPT comes at a moment when the uniqueness of our Dartington experience has become a reference point for our process of reverse migration back into North American academia. We reflect on the tension between looking back and moving forward through the lens of Dartington’s Devised Theatre approach: ‘These people, this time, this place
what do they produce?’ Most significant was the crosspollination of disciplines, diverse skills brought together in an isolated, idyllic environment that stimulated creative play. Dartington taught us a way of thinking, which we continue to cultivate. This is a self-reflexive conversation drawn from personal experiences at and beyond Dartington. We asked questions, recording and notating our conversations. We paraphrased these answers through correspondence, compiling an edited version here. Finally, responding to the peer review process, we recorded an additional conversation and integrated parts of it into our previous responses. This methodology reflects our shared and divergent perspectives, and the constant balancing act between theory and practice that we found so important to the Dartington ethos.

O ensaio comenta a obra "Entre o Mediterrâneo e o Atlântico – Uma Aventura Teatral", de Maria Lúcia Pupo, a qual narra a experiência da pedagoga paulistana em torno da prática
do jogo teatral e da criação literária. A relação entre teatro e educação e as mudanças no estatuto do texto e na noção de dramático são alguns dos temas destacados.

La question des sens a souvent joué un rôle fondamental dans l'éducation des jeunes enfants. Nous pouvons penser à la Sorbonne qui, dès le XIIIe siècle, réglemente la vie de son internat pour s'assurer que la masturbation n'est pas pratiquée

 Michel Foucault, Histoire de la sexualité, tome 1, Paris, Gallimard, 1976, mais aussi, à la Renaissance, aux manuels de civilité puérile, comme celui d'Érasme, qui donnent aux enfants des règles pour manger, saluer, se moucher etc. Bien après la période étudiée, il subsiste, à travers l'enseignement de l'hygiène dans les classes du XIXe
 Alain Corbin, Le Miasme et la Jonquille, l'odorat et l'imaginaire social (XVIIIe-XIXe siècles), Paris, Flammarion, 2008 , une forme d'apprentissage d'un toucher et d'un odorat se voulant civilisés.
Le théâtre pédagogique peut-il, lui aussi, participer à cette éducation sensorielle ? Peut-on, plus largement, livrer une leçon sur les sens au théâtre ?
Pour tenter de répondre à cette question fort complexe, nous nous appuierons sur une pièce de Pierre Heyns, Judith, publiée en 1596
 Pierre Heyns, Le miroir des vefves, tragédie sacrée d'Holoferne et Judith. Représentant les troubles de ce monde, la pieté d'une vraye vefve, et la curiosité d'une follastre, Zacharie Heyns, Amsterdam, 1596.

Nous nous appuyons, pour notre part, sur l'édition de Joan Manley. Pierre Heyns, Tragédie sacrée d'Holoferne et Judith, texte édité par Joan Manley, annoté et présenté par Mariangela Miotti, in La tragédie à l'époque d'Henri III, vol. 3 (1582-1584), Leo S. Olschki, Florence, P.U.F, Paris, 2002., mais jouée à Anvers, les 1er et 2 Juillet 1582. Nous verrons qu'elle propose un discours de maîtrise et de tempérance, mais aussi que son usage des sens, dans le style, comme dans l'intrigue, n'est pas sans ambiguïtés. Doit-on pour autant nier au spectacle toute velléité pédagogique sur la question des sens ?

Celina is a researcher at the Centre for Popular Education, University Technology, Sydney. She undertakes research in adult community education, especially projects focusing on Community Cultural Development, Health Promotion and Community Leadership. She is also a ...

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