Drama Boreale - Åbo Akademi

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Tanzania Institute of Education (1996). Theatre Art Syllabus for Secondary Schools I-IV. Ministry of Education and Culture, Dar es Salam, Tanzania. Tanzania Institute of Education. (2008). Theatre Art Syllabus for Secondary Schools I-IV. Ministry of Education and Vocational Training. Dar es Salam, Tanzania. Women’s Voices And African Theatre: Case Studies From Kenya, Mali, The Democratic Republic Of Congo And Zimbabwe Article 19, The Global Campaign For Free Expression, February 2003,http://www.article19.org/pdfs/publications/gender-women-svoices.pdf (Accessed July 2009). 123
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A-L. Østern, M. Björkgren & B. Sn
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A blind review report 29/2010 Facul
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Contents Introduction: Drama boreal
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his seven years with Calypso, about
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10 In the concluding article Anna-L
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forbundet med Viktor Sjklovskij i p
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Det ble lett etter en fremstillings
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distanseringseffekt; den har humor
Page 19 and 20:
Referencer Ben-Chaim, D. (1984). Di
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2. Fantasins bilder - om estetiska
Page 24 and 25:
Mötet mellan skolpraktik och pedag
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pedagogik möts, vilka kvaliteter s
Page 28 and 29:
Avslutande ord Barn, unga och vuxna
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3. Theatre youth performances as ed
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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
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interaction and represent meetings
Page 66 and 67:
Theatre in Education (TIE) creates
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6. Applied theatre & drama - A well
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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 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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