In the era of modernisation, mastering modern technologies and innovative working methods is an important aspect of any business. Modern technologies are no less relevant in the work of future ...directors, because, having mastered them, a specialist can adapt to modern professional trends and improve the quality of their projects. The purpose of this study was to cover the aspects of the use of modern technologies in the training of future directors and to prove that mastering them is necessary for successful professional activity. To fulfil this purpose, the methods of analysis and synthesis, comparison, generalisation, induction and deduction were used. The study revealed the need to use innovative technologies in the work of modern specialists, namely in the activities of future directors. The paper described the specific features of preparing future directors for professional activity in higher education institutions. The study analysed aspects of directing activity in the era of modernisation. The authors described modern technologies and the possibilities of their application in filmmaking. The importance of modern technologies for future specialists in terms of distance education and blended education was covered. The authors described the prospects for the development of film and theatre art if future directors use modern technologies. Positive and negative aspects of the use of modern technologies in filmmaking were covered. Recommendations for improving the process of mastering modern technologies in higher education institutions were provided. It was concluded that future directors need to master modern technologies to develop Ukrainian theatre and cinema. The results of this study can be used by the management of art higher education institutions to develop curricula, by teachers to improve the educational process, and by students when studying and preparing for professional activities.
What is the place of theatre-education within the curriculum? How is the relationship between teacher and theatre educator? These two theme refer to two specific positions, and, ultimately, to two ...theoretical positions: “one that recognizes theatre as an instrument of knowledge in a broad sense, and the other for which theatre would be essentially an aesthetic, creative, psychomotor experience and above all affective” (Guerra & Militello, 2011, p. 42). The observatory represented by the theatrical-performance themed projects carried out between 2018 and 2019 with the three-year plan of the arts (Legislative Decree 60/2017) can provide some indications to try to outline the contours of these two issues at the centre of the debate in the field of theatre-education. The data show the difficulty of inserting theatre-education into the curriculum, but also an impact on the daily way of doing school in the direction of strengthening laboratory teaching.
The objective of this article is to make an approach to how primary education teachers understand that theatre favours the treatment of socio-environmental problems in the classroom in a motivating ...and practical way. Semi-structured interviews have been carried out with teachers who have already used theatre in their classrooms. The results have been structured on the basis of three categories: motivation and values, context and subjects, and difficulties. The potential of theatre in primary school is highlighted, with time and the number of students in the groups being the main difficulties in incorporating them into the classroom.
Acting classes and theater education have long been framed as activities during which children can learn skills that transfer outside the acting classroom. A growing empirical literature provides ...evidence for acting classes’ efficacy in teaching vocabulary, narrative, empathy, theory of mind, and emotional control. Yet these studies have not been based in what is actually happening in the acting classroom, nor on what acting teachers report as their pedagogical strategies. Instead, previous work has been unsystematic and fragmented in its measured transfer outcomes, and absent mechanistic explanation. Expanding research on this topic requires more grounding in teachers’ beliefs about the acting classes they teach, as well as observation of the classes themselves. As a first step, we surveyed 173 acting teachers online, asking them about the activities within acting classes they believed caused change in their students, as well as which outcomes they believed were changed as a result of acting classes. Teachers taught across educational levels (elementary to professional) and had a variety of training in teaching acting. Overall, teachers rated almost every activity within classes as important for and causing impact on students, and almost every outcome as being positively influenced as a result of acting class. When forced to rank-order outcomes, teachers focused on collaboration, communication, creativity, confidence, and empathy as most likely to change. Teachers rated the importance of class activities and outcomes differently depending on what level they taught. This study shows the difficulty of surveying highly motivated teachers, given the globally high rankings, but also proposes candidate psychological skills likely to change as a result of acting classes and the mechanistic behaviors that may cause change.
This paper investigates the concept of energy in the philosophy of theatre education of Viola Spolin, an American actress, director, and educator of the 20th century. It explores what has not been ...elucidated in detail in the practice and theory of education based on the performance and philosophy of modern improvisational theater: the significance of the concept of energy, its relation to other key concepts, and the role of energy in theater games. This study indicates that Spolin's concept of energy suggests several important viewpoints for the analysis of and reflection on education through improvisational theatrical activities. Creative Drama in the USA and Drama in Education in the UK share a methodology in which both students and teachers are expected to play roles improvisationally in drama activities. Recently, a new paradigm of education has been developed on the basis of the performance and philosophy of modern improvisational theater. Energy is considered to be one of the vital factors of education through improvisational theatrical activities in these fields. In most of the studies, however, neither the phenomenon called energy itself nor its role in education is elucidated in detail. In order to develop a new research perspective concerning education, improvisation, and theater, this paper interprets the concept of energy employed by Spolin, the pioneer of modern improvisational theater who created so-called theater games. Each theater game includes a "problem" for players to solve. Spolin explained that the term "energy" means the "level of intensity with which one approaches the problem" and "the inspiration released when a problem is solved." Spolin defined "inspiration" as "energy fortified with intuitive knowledge" in theatrical situations. "Intuition" is understood here as "revelation" that sometimes comes to us beyond everyday logical reasoning and planning. Spolin pointed out that energy as creative inspiration is released when players engage intensely in theater games and solve their problems while involved in the theatrical environment. Conversely, when players resist solving a problem, the flow of energy is blocked. It is the director's job to reduce the resistance, offering activities appropriate for the players' ability, and to give them energy as inspiration. Spolin explained that players experience a moment of spontaneity when they overcome their resistance and solve the problem collaboratively. The released energy then brings about an "explosion" that liberates the players from conventional frameworks of thinking and sets them free to relate to the changing world. This paper concludes that Spolin's concept of energy provides us with valuable insights into the phenomenon called energy and its role in theater games and that these insights suggest several important viewpoints for the analysis of and reflection on education through improvisational theatrical activities, especially in terms of the collaboration among students (and teachers), the integration of means and goals, the implications of players' resistance to solving problems, and personal freedom in the moment of spontaneity.
In this paper, I explore German playwright Bertolt Brecht's conception of the art of acting, and his views on the new actor's conduct towards their craft, as a pedagogical model for Brechts' broader ...view on how we should live our lives. Drawing on his key writings - most importantly, his famous street scene essay - I will show that Brecht's conception of the theory-practice connection in his approach to actor training/acting bears some deeper insight into Brecht's conception of the art of living a flourishing life. The new actor is called to develop a conduct of careful observation and imitation of human action, one that is marked by the pleasure and lightness of exploring the contradictory workings of the social world. By placing the actor's craft at the heart of his educational philosophy, Brecht invites us (the audience) into the theatre as a pedagogical space. Here, not unlike Brecht's actors, we are summoned to hone our ability to boldly engage with a complex world of human actions and ideas. Brecht maintains that there resides an intellectual as well as sensual delight in being challenged to not simply accept theatre's presentations as 'truth'; instead, we are to learn to 'weigh up', 'test', and 'improvise' joyfully with theatre's proposed ideas and practices-so that we may find out if they serve, or hinder, the creation of a larger flourishing life (beyond the theatre): a life in which we can move together, pleasurably.
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The article presents the history and principles of theatre education at Reduta in its successive forms: from Koło Adeptów The Apprentice Circle, established in 1921, through the Reduta Institute, to ...Okop The Trench, which was the last pre-war incarnation of the school. Based on documents and memoirs, the article discusses Reduta’s comprehensive and holistic model of education, in which regular theoretical classes were accompanied by practical and physical exercises. A crucial part of the education process was student participation in the theatre’s daily operations: rehearsals, preparation of stage productions, and tours. The aim of the school was to offer future artists comprehensive preparation for various theatre functions, as well as to produce ideologically engaged social activists, who consider serving the society through art as their primary task and mission. A comparison between Reduta’s schools and other educational initiatives confirms that in terms of scope, curriculum, work methods, practices, as well as atmosphere, the former were indeed pioneering and stood out from traditional pre-war drama teaching. Published as an appendix to the article is its source material: Juliusz Osterwa, Okop, edited and with an introduction by the author of the article. (Transl. Z. Ziemann)
Creative supervision for drama teachers Schubert, Maria
Dramatherapy : the journal of the Association for Dramatherapists,
12/2023, Volume:
44, Issue:
2-3
Journal Article
Peer reviewed
This article seeks to understand and explore the experience of a creative supervision group for drama teachers. The group was organized as part of the network of the Theatre Studies Alumni of the ...University of Athens (Greece) from January to June 2021. The restrictions imposed by the COVID-19 pandemic moved these meetings to the Zoom platform, giving the opportunity for drama teachers living outside Attica to participate. In this article, the author discusses the distinctions between dramatherapy and theatre education, as well as their similarities and differences in practice. The author first presents how theatre education works in Greece and then discusses the results of a questionnaire completed by the participants in the creative supervision group. The results suggest that a creative supervision group can provide the necessary feedback, release, and the safe aesthetic distance for drama teachers to work and reflect on issues that concern their students, parents, fellow teachers, as well as their own role.
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The term “audience development” is entangled with a number of definitions that differ in their meaning. While working with the audiences was considered to be primarily a marketing tool to ensure an ...increase in the number of spectators and lead to the economic stability of cultural institutions, in several European countries and, particularly, at the level of the cultural policies of European institutions, the perspectives of working with the audiences gradually developed into a more inclusive approach and people began to talk about access to culture for all. In this study, the author zooms in on a number of definitions of audience development formulated by theoreticians and culture managers prevailingly in English-speaking countries (Steven Hadley, Nobuko Kawashima) and national and European cultural policy makers. Based on the identification of several aspects of audience development, she also ponders whether discussions about audience development are taking place in Slovakia just like in other European countries, what direction the issues of audience development follow in the field of theatre culture in Slovakia, and who is their initiator.
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