Στην παρούσα εργασία παρουσιάζεται μία απόπειρα εισαγωγής της μεθόδου του Θεόδωρου Τερζόπουλου ως θεατρικής τέχνης στην Α/-θμια εκπαίδευση, με σκοπό να διερευνηθεί αν αποτελεί χρήσιμη διδακτική πρακτική στο μάθημα της Θεατρικής Αγωγής.... more
Στην παρούσα εργασία παρουσιάζεται μία απόπειρα εισαγωγής της μεθόδου του Θεόδωρου Τερζόπουλου ως θεατρικής τέχνης στην Α/-θμια εκπαίδευση, με σκοπό να διερευνηθεί αν αποτελεί χρήσιμη διδακτική πρακτική στο μάθημα της Θεατρικής Αγωγής. Πιο συγκεκριμένα, αυτό που μελετάται είναι, αν η καλλιτεχνική φιλοσοφία για τις έντονες σωματικές πρακτικές, τις οποίες υιοθετεί ο εν λόγω σκηνοθέτης για να προετοιμάσει τους ηθοποιούς στο έργο του, είναι εφικτό να προσομοιωθούν στις συνθήκες διδακτικής πράξης για μαθητές/-τριες εννέα με δέκα ετών. Για το εγχείρημα αυτό χρησιμοποιήσαμε ως μέθοδο έρευνας την έρευνα δράσης και ως βασική τεχνική για τη συλλογή των δεδομένων μας την παρατήρηση. Τα όσα διερευνήθηκαν, συλλέχθηκαν και αναλύθηκαν ως δεδομένα, μας οδήγησαν στη διαπίστωση πως τα παιδιά αντέδρασαν θετικά στις ιδιαίτερες αυτές σωματικές τεχνικές και κατάφεραν να εκφραστούν δημιουργικά με το σώμα τους, να χρησιμοποιούν σωστά τη διαφραγματική αναπνοή, να εκτελούν μία θεατρική δράση με ορθή εκφορά του λόγου και να δρουν ως ομάδα για την παραγωγή ενός καλλιτεχνικού αποτελέσματος.
“The Smashed Taiwan Project” was a theatre-in-education program devised by ThinkFeelMove and toured to fifteen senior high schools in Taiwan during April and May in 2016. Theatre-in-Education features a professional production bearing educational objectives and with interactive episodes. This program is targeted at young audiences and may probably offer them some artistic inspiration as an outcome. Accordingly, this essay begins with in-depth descriptions of the procedures of the performance along with the interactions among the facilitator, actor-teachers, and the audience. It then explores and evaluates the significance of the work in respect of theatre-in-education and youth theatre.
Answering Augusto Boal’s call for further explorations of Legislative Theatre, this thesis asks how Canadian Legislative projects have contributed to our understanding of “theatre as politics” over and above the original Rio mandate.... more
Answering Augusto Boal’s call for further explorations of Legislative Theatre, this thesis asks how Canadian Legislative projects have contributed to our understanding of “theatre as politics” over and above the original Rio mandate. Utilizing a distinctly Anishinabe research methodology, I reflect upon my own practice as a Theatre of the Oppressed Joker from an Indigenous epistemological perspective. This thesis searches for how Legislative Theatre could be useful within the public education system, First Nations and Canadian state/settler relationships and negotiations, within municipal government, community-based organizations, and grassroots social justice initiatives. I conclude that Legislative Theatre is an innovative think tank methodology that potentially balances expert knowledge and experiential knowledge in respectful partnership. “Plays that make Policy” counter hegemonic forces using the performing arts. For Legislative Theatre to intervene successfully in law making it must empower citizenry to work with listening government. Therefore it requires cross-sectorial institutionalization to thrive.
En este artículo se parte de que la metáfora del mosaico es la que mejor caracteriza la cultura actual y de la propuesta que hacen los ecologistas para la recuperación y defensa de la biodiversidad y la alternancia de especies y el... more
En este artículo se parte de que la metáfora del mosaico es la que mejor caracteriza la cultura actual y de la propuesta que hacen los ecologistas para la recuperación y defensa de la biodiversidad y la alternancia de especies y el paisaje en mosaico. Es necesario que la cultura que se desarrolle en las instituciones sea el resultado del cruce de razas, lenguas y disciplinas, pues el antídoto contra el nacionalismo y la xenofobia está en el mestizaje. Y a esto pueden contribuir las actividades teatrales, que son un espacio privilegiado para la identidad y el diálogo en la educación en el trabajo social y en las organización.
In this paper, we begin by offering a definition of TiE which places audience participation at the centre of both the theatre and the learning. However, we also acknowledge the rich potential of learning offered through other forms of... more
In this paper, we begin by offering a definition of TiE which places audience participation at the centre of both the theatre and the learning. However, we also acknowledge the rich potential of learning offered through other forms of engagement in theatre and drama, which are not included here. We identify three concepts which we believe to be central to the kind of participation that is both immersive and critically reflective and which engages audience-participants within the 'here and now' of fiction and reality:
critical spectatorship; protection; the adoption of fictional role.
We suggest that a) the learning potential of children adopting role would benefit from further detailed analysis and b) that TiE continues to offer radical, social, artistic and cultural alternatives which can facilitate deeper levels of exploration for children, artists and teachers.
Children are spending significantly less time in nature than ever before. The decline in nature based play has been precipitated by many factors, including: increased risk aversion and fear amongst parents, poor play opportunities for... more
Children are spending significantly less time in nature than ever before. The decline in nature based play has been precipitated by many factors, including: increased risk aversion and fear amongst parents, poor play opportunities for children and the rapid embrace of digital technology as recreation by young people. These factors all contribute to a collective and individual loss of childhood experience with nature. At the same time, young people are increasingly aware of the unprecedented level of climate change, pollution, habitat destruction and species extinction and the effect it could have on their futures. Thus, there is an urgent need for new approaches to environmental learning that celebrates children's agency, supporting them to directly contribute to ecological systems and global sustainability across communities. This paper explores the potential of creative nature-based play to contribute to children's identity and understanding of the natural world through a practice-led research project, Running Wild (2016). Running Wild was conducted with Polyglot Theatre in collaboration with Year 6 students from Mahogany Rise Primary School (Frankston North) and the Royal Botanic Gardens (Cranbourne). The aim of the project was to introduce the students to their natural reserve ('The Pines') through participatory art-making in collaboration with local artists, scientists and Indigenous elders. This included the opportunity for children to build their own habitats or 'cubbies' , make animal costumes and plant native seedlings at The Pines, resulting in an outdoor performance for their families and friends. Running Wild not only demonstrated increased nature-connection amongst the students, but also the importance of creative nature-based play in improving learning capacities and wellbeing, as well as promoting opportunities for environmental leadership.
Collective Creation in Contemporary Performance examines collective and devised theatre practices internationally--with emphasis on Russia, Europe, and North America--from the late 20th century, into the present. Building upon the... more
Collective Creation in Contemporary Performance examines collective and devised theatre practices internationally--with emphasis on Russia, Europe, and North America--from the late 20th century, into the present. Building upon the authors’ previous work, A History of Collective Creation, this volume situates contemporary collective creation in a tradition which emerged at the beginning of the twentieth century, and traces the aesthetic, social and political shifts that have marked this mode of theatre making, from mid-century manifestations as a theatrical expression of the New Left, to present-day devising practices.
The recent refugee flow in Greece has found Greece unprepared both on a political, financial, but more importantly on a social level. At a time where humanities, social studies and arts are considered low priority subjects in Greek... more
The recent refugee flow in Greece has found Greece unprepared both on a political, financial, but more importantly on a social level. At a time where humanities, social studies and arts are considered low priority subjects in Greek curriculum, teachers are met with a challenge of how to maintain a human rights respecting culture with their students. This paper attempts to offer a valuable bridge between human rights education elements and educational drama as a methodological approach. A 20-hour drama workshop training was given to 170 in-service teachers of all disciplines and levels in Greece, during the first semester of 2019-2020, focusing on human rights and more specifically on refugees. The research was conducted in three phases (a. before the training, b. after the training and c. after the end of school year), with questionnaires consisting of closed questions and 5-point Likert scales and multiple choices possibilities of answers. The paper focuses on the participants' assessment of the training, regarding their expressed teaching challenges. It also presents how the teachers evaluated the tools and methodologies of the educational drama training as per item, in terms of immediate utilization by themselves. Most importantly, they give information of actual implementations they took under, as a result of their training, as well as the factors that enabled or discouraged them in actual applications-including the Covid-19 effects in everyday school life, due to a 2,5-month lockdown in the country.
In this chapter, we describe the concept of translanguaging (trans langager) at the intersection of Francisco Varela's enaction paradigm (1999) and the performative turn in cultural studies (Fischer-Lichte, 2004; Sting, 2012). We will... more
In this chapter, we describe the concept of translanguaging (trans langager) at the intersection of Francisco Varela's enaction paradigm (1999) and the performative turn in cultural studies (Fischer-Lichte, 2004; Sting, 2012). We will shed light on two processes that unfold in relation to each other: empathising and living aesthetic experiences that 'anchor
abstract knowledge in a sensitive and embodied knowledge of the world'(Aden, 2008: 11). Linking the biological roots of language (Maturana & Varela, 1987) and the aesthetic roots of poetic languages (Lecoq, 1997), we pave the way for an enactive-performative pedagogy for languages (Aden, 2017a; Aden & Eschenauer, 2014). From here we map out language education with in a framework of translangageance that we define as the process of emergence of a common language that makes sense, through all forms of language (Eschenauer, 2017).First, we present translanguaging (translangager, Aden, 2012) within Varela’s paradigm of enaction, then we introduce the perfor-mative approach that allows us to implement an enactive pedagogy. We go on to illustrate our translanguaging model with a study led by the second author carried out in a plurilingual and pluricultural lower secondary school in the suburbs of Paris. We followed a cohort of 20 students aged 11 to 14 over a period of four years (2011–2015). We assessed the impact of theatre workshops co-led by artists and teachers and used as part of the students’ language education.
This article addresses the potential use of applied theatre in facilitating new language acquisition among refugees who are resettled in European countries such as Germany. The article charts the applied theatre work carried out by one of... more
This article addresses the potential use of applied theatre in facilitating new language acquisition among refugees who are resettled in European countries such as Germany. The article charts the applied theatre work carried out by one of the authors with Syrian refugees in Europe, with a special focus on participant reactions to the host country’s expectations surrounding language acquisition and identity-making. The authors challenge current ‘integration’ practices that prioritize focused language learning as a major indicator for the refugees’ re-nationing process, arguing for higher consideration of the trauma surrounding displacement, especially when refugees have first arrived in their host community.
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... more
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.
