Drama Boreale - Åbo Akademi

More documents

Recommendations

Info

The central focus of this research is the learning potential of process drama. The research question concentrated on the following themes: goal, consensus, the outsider, bullying. When turning to the more broadly based categories of learning (4-7), we arrive at the area proper of process drama. Because we work in the framework of ‘drama for understanding’, then it is meaning making, understanding of different things (also emotions) and the realities round us that become of focal importance. You may add the possibility of personal change as a small option in the work. Especially category (5), learning as a constructive activity aimed at understanding, is closely connected to process drama because in this category, the active role of the learner is emphasized, and there was an active process going on all the time. In this category the active role of the learner is emphasized - These categories were found in the diary entries. Because the most important outcomes were expected to occur in learning about the theme, the examples are taken from these diary entries: - Learning as a conceptual, qualitative change of meaning. (Category 4). “By means of drama difficult concepts like this are becoming understandable. This thing should absolutely be used more at school.” - Learning as a constructive activity aimed at understanding (Category 5) “I didn’t experience the lack of information as a drawback, rather I was constantly constructing the information in a new way. Information about the environment at that time, the language, patterns of behaviour, rules, values, etc. But also information about yourself so you could perform the role as your own self and because of that be able, like, to look at your own activity from the outside and analyse yourself from the outside.” - Learning as an interpretative process aiming at better understanding of reality (Category 6) “At the experiential level the exercises were good, thinking about both myself and the pupils. Even in Finnish history there are situations like in modern Yugoslavia; the break-up of families, maybe death, sadness, distress.” (Student’s underlining). - Learning as a personal change through drama (Category 7) “How to change to become a more caring fellow human being; how to care about other people in a way that would be really useful.” “For my own part I would warmly welcome the arrival of depth in my life, depth that these dramatizations brought to mind.” This represents an existential layer: the learner may change as a person as a result of the learning process. It is not realistic to argue that a personal change actually happened for somebody as a result of the work, but as the rector of Jyväskylä University, prof. Aino Sallinen, once said: “Most often we get something started and hope that those things will develop as time goes on.” These kinds of sentences, which refer to personal change or aiming at it, could be found in the diaries. There were two extra questions to which the instructor wanted an answer. The first was the usefulness of process drama in teaching concepts. This is something that Dorothy Heathcote says she can guarantee in her teaching. The second was the value of discussions in drama work. What kind of role do discussions have, big or small? The answer was the same through the diaries and the questionnaire. <strong>Drama</strong> proved to be suitable for the learning of universals and concepts. The significance of discussion in terms of opening up viewpoints and deeper understanding of an issue was acknowledged to be central. As far as learning from the themes was concerned, it became apparent that the learning occurring in process drama represents categories that describe broadly-based learning: learning as a qualitative change of meaning, learning as a constructive activity aimed at understanding, learning as an interpretative process aiming at a better understanding of 49
eality. The most broadly-based category of learning, where learning is seen as a personal change, can receive impulses from drama work. The results show that process drama is a suitable working method, when the purpose of teaching is understanding, the discovering of new viewpoints or the extending of learning beyond the learning situation in order to deal with universal or ontological questions. By means of drama one is able to find new viewpoints, understand different ideas and develop a personal stance on the theme being investigated. Thematic study, which is part of process drama, creates the pre-conditions for realizing the artistic work that accompanies it: for learning through and learning in drama. The factors connected to the learning potential of process drama are illustrated in the following figure. Process drama and adult experiential learning The understanding of adult experiential learning is not too well-known and is most important in the practical drama work, where the interaction happens in a special way. For this reason and for promoting field work in drama, the valuable visions from Anita Malinen’s doctoral dissertation (2000) are largely referred in the following lines. According to Malinen, the starting point for learning is personal experiential knowing, where first-order experiences intertwine with personal knowledge. This knowledge has a rigid part and an elastic part. Using concepts created by Lakatos, Malinen believes that this personal experiential knowing contains a rigid part, a ‘hard core’, which includes the most basic opinions of the learner. Around this hard core there is a ‘protective belt’ which contains more elastic ideas. The experiential learning of an adult is a reconstructive process, which corrects defects in personal experiential knowing. The process may affect either the hard core or the protective belt, which from the viewpoint of the learner is a safe area seen. The second category of experience is the ‘second order experience’, which initiates the reconstruction process. Experiential learning in drama is leaning through drama (or with the help of it), because the known becomes unknown. <strong>Drama</strong> work is a source of such second order experiences, both with experiences born out of actual dramatic activity and 50
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 and 10: his seven years with Calypso, about
Page 11 and 12: 10 In the concluding article Anna-L
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: The motivation among students was h
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
show all

Drama Boreale - Åbo Akademi

Create successful ePaper yourself

Delete template?

Save as template?