Drama Boreale - Åbo Akademi

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theses at Åbo Akademi University, as part of the symposium Arts Rich Education at the Drama boreale conference. The conference had four invited key note speakers, all connected to the main theme of the conference. The film director Klaus Härö invited the audience to obtain an insight into his artistic working process connected to his films “Elina as if I did not exist”, “The best of mothers”, “The new human being” and “Letters to father Jacob”. He was addressing important existential questions through telling with images. He opened some paths into his personal life story and his childhood experiences of films, which had made an impact on him. Thus he demystified the work of an artist, and in a very touching way showed how personal stories can give material to address more collective, existential themes. He has not written an article based upon his presentation, which in fact was very oral and visual. Liora Bresler, Erkki Laakso, and Kari Mjaaland-Heggstad have built key note articles on their research into the field of drama and theatre education. The articles are quite different, comprising an ethnographic approach to young audiences in performing arts centres in the USA, a phenomenological study of trainee teachers´ experiences of process drama in Finland, respectively a study in rhetoric of the notion of framing in theatre in education built upon a British master company “Big Brum”. The report contains texts from the invited senior researchers illuminating some central issues in drama and theatre education research right now – in a Nordic perspective. This perspective cannot be characterized as having one common focus. Ida Krøgholt discusses the notion of applied drama, thus touching upon how the art form theatre can be transformed into learning processes through the notion of aesthetic doubling. Bjørn Rasmussen and Hannu M Heikkinen open up a discussion about how to perform artistic, or art informed, or art based research in drama and theatre education. Eva Österlind offers a Swedish pedagogical discourse discussing drama educational leadership. The two following articles can be described as research and development papers. Tor Helge Allern applies dramaturgical thinking in a project about the Norwegian poet and priest Petter Dass. He discusses the learning potential connected to the use of the dramaturgy metaphor in drama education. Wendy Lathrop Meyer, describes a NORAD project with theatre for development carried out in an African context by Norwegian drama educators. 9
10 In the concluding article Anna-Lena Østern makes a discourse analysis of the Nordic field of drama and theatre education in terms of the way it is visible in two statements directed to politicians and departments in Finland and Norway in autumn 2009. Educators in the field of drama and theatre education participate in a dialogue about values in arts education through research and development aiming at producing knowledge. This report intends to be part of that dialogue.
Page 1 and 2: A-L. Østern, M. Björkgren & B. Sn
Page 3 and 4: A blind review report 29/2010 Facul
Page 6: Contents Introduction: Drama boreal
Page 9: his seven years with Calypso, about
Page 13 and 14: forbundet med Viktor Sjklovskij i p
Page 15 and 16: Det ble lett etter en fremstillings
Page 17 and 18: distanseringseffekt; den har humor
Page 19 and 20: Referencer Ben-Chaim, D. (1984). Di
Page 22 and 23: 2. Fantasins bilder - om estetiska
Page 24 and 25: Mötet mellan skolpraktik och pedag
Page 26 and 27: pedagogik möts, vilka kvaliteter s
Page 28 and 29: Avslutande ord Barn, unga och vuxna
Page 30 and 31: 3. Theatre youth performances as ed
Page 32 and 33: Youth performances consisted of dra
Page 34 and 35: Many teachers talked about the “r
Page 36 and 37: scenarios of temptations that are c
Page 38 and 39: Conversations and commotion start i
Page 40 and 41: the interpretive zone, we combined
Page 42: Klein, J. “Performance Factors th
Page 45 and 46: esearch task was approached using t
Page 47 and 48: also noted. The significance of dis
Page 49 and 50: The motivation among students was h
Page 51 and 52: eality. The most broadly-based cate
Page 53 and 54: If both learner and instructor have
Page 56 and 57: 5. TIE - In Winds and Calm - an att
Page 58 and 59: freedom by stealing the key and unl
Page 60 and 61:
shall we say ‘starting point’,
Page 62 and 63:
to ponder points of view. She doesn
Page 64 and 65:
interaction and represent meetings
Page 66 and 67:
Theatre in Education (TIE) creates
Page 68 and 69:
6. Applied theatre & drama - A well
Page 70 and 71:
asically is different from drama in
Page 72 and 73:
What can Theatre AND Drama add to s
Page 74:
References Nicholson, H. (2005). Ap
Page 77 and 78:
‘…firstly research which is ini
Page 79 and 80:
potential implicit onlooker, there
Page 82 and 83:
8. Drama måste byggas i vardagen -
Page 84 and 85:
Frågeställning och förutsättnin
Page 86 and 87:
nonchaleras på skolorna framgår i
Page 88 and 89:
9. Researching Drama and Theatre Ed
Page 90 and 91:
diaries again I see that the invest
Page 92 and 93:
• While you are subjectively invo
Page 94 and 95:
Perhaps the question should be exam
Page 96 and 97:
10. Dramaturgy in teaching and lear
Page 98 and 99:
In the third and final phase with e
Page 100 and 101:
The learning processes we observed
Page 102 and 103:
ways of teaching still dominate, bu
Page 104 and 105:
Figure 3. ‘The Digestion Plant’
Page 106 and 107:
Table 1. Characteristics of three d
Page 108 and 109:
Creating these kind of situations,
Page 110 and 111:
Conclusion Dramaturgy is not only a
Page 112 and 113:
References Allern, T.H. (2003). Dra
Page 114 and 115:
11. The Theatre’s Voice in Commun
Page 116 and 117:
that separates the concept of drama
Page 118 and 119:
In the Marangu region, which basica
Page 120 and 121:
Through the students’ projects th
Page 122 and 123:
dramaturgical problems. The student
Page 124 and 125:
Tanzania Institute of Education (19
Page 126 and 127:
12. Discursive constraints in Nordi
Page 128 and 129:
Text producers: an ad hoc group of
Page 130 and 131:
art prevents bullying, mental ill-b
Page 132 and 133:
schools outside of compulsory educa
Page 134 and 135:
Appendix 1: Statement from an ad ho
Page 136 and 137:
Appendix 2: Comment from the nation
Page 138 and 139:
Notat vedrørende St.meld. 11 (2008
Page 140 and 141:
About the Authors Stig A. Eriksson
Page 142 and 143:
Ida Krøgholt is associate professo
Page 144 and 145:
Article 1: 14. Figures & Tables Fig
Page 146:
Drama in three movements A Ulyssean
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Drama Boreale - Åbo Akademi

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