In my article I focus on the connection between the artistic and social spheres, the transcendence of art education into therapy and I will briefly mention the structure of art education with a focus ...on theatrical pedagogy in the Czech Republic. I divided the article into theatrical pedagogy in practice for younger school age, teenage and youth, adults and seniors, and the following areas: a) Theatrical pedagogy in the structure of the Czech educational system and as a part of leisure activities and Drama education as a subject for future teachers. In this part I shortly present what drama education / theatrical pedagogy in the Czech school system means and I draw the introduction on the studies and ideas of prof. Mgr. Jaroslav Provazník, who leads the Department of Drama in Education at the Academy of Performing Arts in Prague; b) The potential of nonverbal theatre techniques in communication with specific groups and theatre pedagogy in the context of integration and inclusion; c) Pedagogy of substitute subjects – performativity of objects. In this section I present a personal description of one five-year cycle with “object workshops” – drama education: empirical research, comparison, development of methodology of working with the subject in the context of drama education.
Ambientalna avtorska drama Strejčková, Hana
Amfiteater,
6/2022, Volume:
9, Issue:
2021-2
Journal Article
Open access
Prispevek obravnava vlogo dramatikov v sodobni ambientalni drami ter vlogo režiserjev ambientalnih uprizoritev. Raziskava se osredotoča na tri poglavitna področja: na avtorsko dramo, ki temelji na ...novejši zgodovini dvajsetega stoletja; na performativni potencial skupnosti in ustne zgodovine ter na sodobno ambientalno dramo. Kot dramatičarka se avtorica osredotoča na spomine in družbene tabujske teme, kot režiserka pa raziskuje pristope, kako spomine na kraje, zbirke podatkov iz ustne zgodovine ter pereča vprašanja preoblikovati v gledališki jezik. Preučuje razmerja med dramatiki in ambientalnimi uprizoritvami. Opazuje povezave med temo, sredstvi komunikacije in negledališkimi prostori. Longitudinalna kvalitativna umetniška raziskava temelji na izkušnjah iz gledališke prakse, analizi in primerjavi teoretskega znanja. Avtorica navaja primere avtorskih iger in poročil o njihovih uprizoritvah, konkretno gre za naslednje drame: Polnoč v obmejnem prostoru (3./4. maj 1950, samostan), Trije stoli (Alzheimerjeva bolezen, dom upokojencev), Od Majdalenke do Madle (druga svetovna vojna, klet) in Hotel na vogalu (1932–1989, stara gledališka stavba). Raziskava izpostavlja potrebo po ustvarjalnem in pozornem pristopu avtorjev –dramatikov, dramaturgov in režiserjev – da lahko iz dualnosti običajnega in tabujskega ustvarijo povsem nov svet. Kombinacija močne teme, nenavadne lokacije, povezane s temo drame, in participativne vloge (aktivne/pasivne) občinstva se lahko izkaže za učinkovito strategijo in celo za »taktiko« krepitve avtorjeve vloge v drami po letu 2000.
The article discusses the role of the playwright in contemporary site-specific drama and the role of the director of site-specific performance. The study aims at three main areas: the author’s drama ...based on the recent history of the 20th century; the performative potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and burning issues. She looks at the relations between playwrights and site-specific performance. She observes the links among the topic, communication means and non-theatrical places. This qualitative longitudinal art research is based on experience from theatre practice, analysis and comparison of theoretical knowledge. The author gives examples of authorial plays and reports on their productions, specifically stating these dramas: Midnight in the Borderland (3. and 4. 5. 1950, a monastery), Three Chairs (Alzheimer’s disease, a retirement home), From Majdalenka to Madla (World War II, cellar), Hotel on the Corner (1932–1989, old theatre building). The study emphasises the need for a creative and attentive approach by the author, playwright, dramaturg and director to create a whole new world from the duality: ordinary and taboo. It turns out that the combination of a strong theme, an unusual place tied to the topic of the drama, and the participatory role (active/passive) of the audience can be an effective strategy and even “tactic” in strengthening the role of the author in drama after the year 2000.
The article discusses the role of the playwright in contemporary site-specific drama and the role of the director of site-specific performance. The study aims at three main areas: the author’s drama ...based on the recent history of the 20th century; the performative potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and burning issues. She looks at the relations between playwrights and site-specific performance. She observes the links among the topic, communication means and non-theatrical places. This qualitative longitudinal art research is based on experience from theatre practice, analysis and comparison of theoretical knowledge. The author gives examples of authorial plays and reports on their productions, specifically stating these dramas: Midnight in the Borderland (3. /4. 5. 1950, a monastery), Three Chairs (Alzheimer’s disease, a retirement home), From Majdalenka to Madla (World War II, cellar), Hotel on the Corner (1932–1989, old theatre building). The study emphasises the need for a creative and attentive approach by the author, playwright, dramaturg and director to create a whole new world from the duality: ordinary and taboo. It turns out that the combination of a strong theme, an unusual place tied to the topic of the drama, and the participatory role (active/passive) of the audience can be an effective strategy and even “tactic” in strengthening the role of the author in drama after the year 2000.
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