Theatre Education

This article is a very short guide to navigating institutional racism within universities. Focal points of this piece are how institutional racism works, how it can be diagnosed, and how one can invent ways to survive it. The first section of this article is an overall analysis of how institutional racism is set up, particularly in the humanities and arts departments of North American universities. The second section is a step-by-step guide to surviving institutional racism in the university, and particularly in graduate programs. This article is distilled through and explained by first-hand experiences and observations and is written both to archive the structure and affect of the current atmosphere of institutional racism and to document and propose some strategies of awareness and resistance.

Στην παρούσα εργασία παρουσιάζεται μία απόπειρα εισαγωγής της μεθόδου του Θεόδωρου Τερζόπουλου ως θεατρικής τέχνης στην Α/-θμια εκπαίδευση, με σκοπό να διερευνηθεί αν αποτελεί χρήσιμη διδακτική πρακτική στο μάθημα της Θεατρικής Αγωγής. Πιο συγκεκριμένα, αυτό που μελετάται είναι, αν η καλλιτεχνική φιλοσοφία για τις έντονες σωματικές πρακτικές, τις οποίες υιοθετεί ο εν λόγω σκηνοθέτης για να προετοιμάσει τους ηθοποιούς στο έργο του, είναι εφικτό να προσομοιωθούν στις συνθήκες διδακτικής πράξης για μαθητές/-τριες εννέα με δέκα ετών. Για το εγχείρημα αυτό χρησιμοποιήσαμε ως μέθοδο έρευνας την έρευνα δράσης και ως βασική τεχνική για τη συλλογή των δεδομένων μας την παρατήρηση. Τα όσα διερευνήθηκαν, συλλέχθηκαν και αναλύθηκαν ως δεδομένα, μας οδήγησαν στη διαπίστωση πως τα παιδιά αντέδρασαν θετικά στις ιδιαίτερες αυτές σωματικές τεχνικές και κατάφεραν να εκφραστούν δημιουργικά με το σώμα τους, να χρησιμοποιούν σωστά τη διαφραγματική αναπνοή, να εκτελούν μία θεατρική δράση με ορθή εκφορά του λόγου και να δρουν ως ομάδα για την παραγωγή ενός καλλιτεχνικού αποτελέσματος.

Como en otros campos del saber y del hacer, también en el teatro se han desarrollado procesos de formación, sea como parte de la educación integral de la persona, sea en la cualificación de los profesionales de su campo de expresión artística. En ambos casos, quedan por reconstruir las historias de esas actividades educativas; una tarea compleja que precisa de una propuesta previa de sistematización, con la finalidad de determinar el campo y sus ámbitos de estudio. Este trabajo se plantea como unas consideraciones de inicio necesarias para visualizar con una cierta sistemática el campo de la educación teatral en su dimensión histórica, proponer el desa rrollo de un área nueva de estudios denominada Historia de la Educación teatral y señalar ámbitos prioritarios de investigación.

В статье рассматривается проблема реконструкции исторического спектакля как художественного явления и как методики изучения истории и практики российского режиссёрского искусства. Представлен первичный опыт интеграции методики в систему театрального образования Крымского университета культуры, искусств и туризма.
This article studies the problems of reconstruction of a historical performance as an artistic phenomenon and as a method of studying the history and practice of Russian stage directing art. Primary experience of integration of a technique to system of theatrical education of the Crimean University of culture, arts and tourism is presented. The primary experience of integrating the methodology into the system of theatre education of the Crimean University of culture, arts and tourism is also presented. Ключевые слова: театральная реконструкция, история режиссуры, театральное образование, высшее театральное образование, театральное пространство региона, theatre reconstruction, history of stage directing, theatre education, theatre higher education, theatre space of the region.

This thesis identifies the junior musical as an umbrella term for commercial American musical theatre adapted for youth performers and explores the value of these adaptations in schools. Interviews and survey responses comprise this qualitative study that examines interest in and opportunities created by Broadway Jr., a specific musical theatre program for middle school students. Through an analysis of current practices and statistics in performance and education, this thesis positions the Broadway Jr. program as an educational theatre model that flexibly responds to the needs of the particular schools and communities it serves. Findings invite practitioners and scholars to consider what comprises quality musical theatre education for young people in schools in the twenty-first century.

Task of the educator, regardless of his rank in the educational hierarchy, is to be an active mediator in the full contact of the student with the aspired knowledge, provided by him. Education therefore constitutes the indubitable point of reference and meaning of the educational process, as it is structured and activated each time within its concrete frames of function.

Theater has always been considered, from ancient Greece to the present day, an important device to educate, train and teach which potentialities, manifested in various forms, have been repeatedly put at the center of pedagogical debate. These many forms, taken place into formal, informal and non-formal italian contexts, would be investigate in this paper. Therefore, it would try to chart the various perspectives in which the theater-school relationship developed from the second half of the Twentieth Century highlighting some of its most significant steps. Steps in which you breathe how theater, done today in the school, is the result of a history of contradictions alternating between attraction and repulsion, envolvement and detachment, openings and closings . Odi et amo, indeed.

Este trabajo quiere mostrar la necesidad de que los estudios superiores de arte dramático, como ya ocurrió con otras enseñanzas superiores reguladas en la Ley Moyano de 1857, se integren en el sistema universitario público para lograr su incorporación real, y no nominal, al Espacio Europeo de Educación Superior, potenciar la calidad de los procesos de enseñanza y aprendizaje, e igualmente el desarrollo de los procesos de investigación que les son propios. Para ello se propone una panorámica histórica de lo que ha sido el desarrollo de tales estudios hasta el momento actual, analizando los retos que la legislación les demanda, mostrando cómo en otros países de nuestro entorno cultural forman parte de la oferta universitaria pública, propia o adscrita, y considerando diferentes propuestas formuladas en los últimos años para su normalización académica e institucional.

Con el objetivo de contribuir a repensar los procesos de enseñanza-aprendizaje propios de la educación superior en arte dramático, el texto que presentamos propone tres líneas de reflexión-acción: de un lado, la reivindicación de la creación teatral y de la interdisciplinariedad como prácticas que alientan nuevas formas de saber, ser y hacer; de otro, la puesta en valor de los quehaceres pedagógicos y artísticos aplicados en la complejidad inherente a la formación y profesionalización en arte dramático; finalmente, la necesidad de articular un proyecto formativo integrado, cuyos «métodos» y trayectos no pueden realizarse al margen de los aportes del trabajo cooperativo y la investigación en la acción, a los que están convocados todos los que de un modo u otro, como profesores y/o alumnos, participan en el tránsito de la formación a la profesión, y de ésta a aquélla. En este trabajo, que emerge de un análisis sistemático de algunas experiencias de creación escénica desarrolladas en u...

The extent to which Shakespeare is a true catalyst (an idea suggested by theme of this issue), a substance that is chemically unaltered by the reaction that it initiates or speeds up, is a concept that deserves critiquing. This article seeks to expand the critique, problematising the possibility that Shakespeare is a cultural catalyst. Narratives of Shakespeare as a cultural catalyst involve him unilaterally conferring kudos onto individuals, corporations and other organisations that associate themselves with his person, life and works, or acting as a spur to further creativity and greatness. However, demonstrate that Shakespeare is altered by the interaction between his works; institutions and audiences. Furthermore, this article examines the way in which the phrase, ‘Shakespeare as cultural catalyst’, fails to acknowledge that not all reactions are naturally occurring, unaided by human intervention. It contends that the phrase attributes Shakespeare – a body of literary works or a long-dead playwright, poet and person (to name but a few of the labels ascribed to him) – with agency while obscuring the power of those who act on him. These agents include editors, directors, conservators, teachers and the institutions to which they belong, as well as independent scholars, Shakespeare enthusiasts and bloggers. I argue that these organisations and individuals, like chemists, facilitate reactions, or processes, around Shakespeare by bringing together the necessary ingredients. These might include Shakespeare and readers, Shakespeare and students, as well as Shakespeare and tourists, among others. Furthermore, the phrase neglects the different subjectivities, contexts, objectives, and assumptions of those contributing to the catalytic process.

Exilio, separación y teatro cubano en Miami se mezclan en este artículo para dar una idea de la trayectoria del arte de las tablas en el enclave Floridano. Un repertorio de sainetes, farsas, comedias musicales, zarzuelas y dramas, han dado marco a una obra de casi seis décadas. La transmisión de la cultura cubana de ambos lados del estrecho y la diáspora le debe al teatro gran parte de su legado. El entrenamiento del actor y el montaje de obras del teatro absurdista han sido el método. Expresionismo, corporalidad, ritualidad, ensayos y puestas, han servido de marco a la escuela de actuación cubano-exiliada miamense.

Nel nostro precedente incontro 1 ci siamo impegnati a ricercare e a proporre semplici modalità per richiedere ai bambini di esercitare la loro capacità mimesica, e abbiamo accennato all'importanza di questo esercizio per lo sviluppo dell'umanità di quel cucciolo che oggi è affidato alle nostre cure e che domani sarà un uomo o una donna. Ci proponevamo in quella sede di utilizzare il gioco delle scatoline per far giungere i bambini alla realizzazione, mediante il corpo, della propria libera interpretazione delle diverse forme che può assumere in natura l'elemento "acqua".

Resumen: La educación fue para los ilustrados españoles un elemento clave en su propuesta reformista y modernizadora, en un país anclado en las estructuras estamentales de un Antiguo Régimen que se resistía a desaparecer. Por ello, la cuestión educativa recorre los escritos y la acción pública de los más destacados intelectuales, y, del mismo modo, la organización teatral, en tanto la escena se quiere convertir en un espacio para difundir un ideario de modernización y convergencia con Europa. Con este trabajo, realizado a la luz de una revisión de diferentes fuentes documentales de la época y de otra literatura pertinente, mostramos que la cuestión educativa impregna la obra de numerosos autores, en tanto entienden que la creación dramática constituye un instrumento privilegiado en la transmisión de principios, valores y normas para construir la ciudadanía de una sociedad nueva. Al mismo tiempo analizamos diferentes iniciativas que persiguen «arreglar» los teatros y las obras que en ellos se presentan como medio de educación popular y para fomentar un nuevo modelo de espectador, espejo de esa nueva civilidad.

The paper presents the Oratorium Dance Project and its impact on the activities of the CHOREA Theatre after 2011.

In 2010-2011, the Chorea Theatre carried out the groudbreaking project for its biography: the Oratorium Dance Project. It was inspired by the project of Simon Rattle, the conductor of the Berlin Philharmonic, and Royston Maldoom, choreographer, who attempted to popularise classical music by engaging 250 people from local community into performing it. The Chorea Theatre responded to a similar challenge. A group of one hundred participants, led by an American choreographer Robert Hayden, Earthfall Dance group and Chorea Theatre artists, featuring the Orchestra and Choir of the Łódź Philharmonic Orchestra, created a dance and music performance. Maciej Maciaszek and Tomasz Krzyżanowski composed a musical piece Oratorium Antyk/Trans/Orchestra especially for this project. It was based on the arrangements of music from ancient Greece. This project's purposes were primarily educational. It was addressed to young people aged 13-24, children and and seniors (50+) from Łódź and the Łódź region. The group of young participants included people from disadvantaged environments and at risk of social exclusion. Implementing Oratorium Dance Project required from the artists a risky undertaking of going "into the city", many months of engagement with workshops and difficult stories of people's lives, as well as a test of their own maturity, that this team had not experienced before. This project and its results determined  new directions of development for CHOREA and new scales to measure its success and failure. For the Chorea team, the existential and social resonance of the project became the fundamental validation for art they wanted to create and promote. The Theatre's activities after Oratorium were essentially a consequence of experiences resulting from Oratorium. They determined the programme of two consecutive editions of the Retro/Per/Spectives festival and its smaller special editions, Perspectives, the only festival in Poland which, in 2015, was entirely devoted to presenting so called engaged theatre, working for and in the communities at risk of social exclusion and raising the issues of defavorisation. Currently, the CHOREA theatre is composed of  three groups born out of experiences from the workshops preceding Oratorium.

The legacy of convivencia or cultural exchange among the Muslims, Jews and Christians of medieval Iberia has an important contribution to make to education in the 21 st century. Creating a bridge between the history of convivencia and our own global society, this article aims to bring into the classroom a subject that is both timely and relevant, given its multicultural and interdisciplinary content. Highlighting the interaction of Iberia's 'three cultures' over almost eight centuries we illustrate issues of diversity, emphasizing how these medieval Iberians built community by interacting with each other and melding their contrasting, often conflictive traditions, languages and religions into a remarkable pluralistic narrative. To demonstrate how convivencia can serve education we offer a framework for interdisciplinary learning, as well as two examples of action research and role playing: a successful theatre program for high school students of the Jenin refugee camp in Palestine that is effecting social change; and a collaborative classroom activity in which students do research, brainstorm, and experiment with representation to give voice to conflict as they search for creative solutions to some of today's pressing issues.

This article studies the problems of reconstruction of a historical performance as an artistic phenomenon and as a method of studying the history and practice of Russian stage directing art. Primary experience of integration of a technique to system of theatrical education of the Crimean University of culture, arts and tourism is presented. The primary experience of integrating the methodology into the system of theatre education of the Crimean University of culture, arts and tourism is also presented.

Resumen: Con el objetivo de contribuir a repensar los procesos de enseñanza-aprendizaje propios de la educación
superior en arte dramático, el texto que presentamos propone tres líneas de reflexión-acción: de un lado, la reivindicación
de la creación teatral y de la interdisciplinariedad como prácticas que alientan nuevas formas de saber, ser y hacer; de
otro, la puesta en valor de los quehaceres pedagógicos y artísticos aplicados en la complejidad inherente a la formación
y profesionalización en arte dramático; finalmente, la necesidad de articular un proyecto formativo integrado, cuyos
«métodos» y trayectos no pueden realizarse al margen de los aportes del trabajo cooperativo y la investigación en la acción,
a los que están convocados todos los que de un modo u otro, como profesores y/o alumnos, participan en el tránsito
de la formación a la profesión, y de ésta a aquélla. En este trabajo, que emerge de un análisis sistemático de algunas
experiencias de creación escénica desarrolladas en un centro superior de educación teatral, proponemos considerar los
procesos de creación a la luz de lo que se conoce como currículum integrado, asentado en el método de proyectos, para
potenciar la dimensión pedagógica y cívica que todo proceso debe tener para definir, desarrollar y alcanzar sus objetivos.
Concluiremos ofreciendo algunas orientaciones teóricas y metodológicas para la necesaria transformación de la creación
teatral en una experiencia educativa significativa.

The abundant use of musical terms as prestige words in artistic and educational theatre discourses seems to indicate that musicality – in some sense of the word – is generally considered an important quality in acting. Music is part of the curriculum of the BA programme in acting at Malmö Theatre Academy. However, the students’ musical backgrounds are extremely heterogeneous. Further, it is my experience as a theatre musician that professional actors often lack self-confidence regarding musical tasks. When teaching music at Malmö Theatre Academy I have thus considered a sufficient musical self-confidence to be an important general purpose of the actor’s musical education. I have developed teaching methods in order to cope with the heterogeneity in the students’ musical background and at the same time utilize their shared interest in and aptitude for teamwork and textwork. Students are given the opportunity to develop their musical creativity by carrying out composition exercises.
The aim of this study is twofold. Its first part consists of a description of the author’s teaching methods focusing on composition exercises. The second part of the study presents an evaluation and discussion of how acting students perceive these methods and exercises.
The music composing exercises in question use text as a point of departure. After a number of preliminary exercises, the students carry out more extensive tasks during their second term of study. Everyone sets music to a text (most often a poem) of their own choice. The result is a number of songs which are subsequently rehearsed, performed and recorded by the composer together with a number of fellow students.
Interviews with students point unanimously to a significantly improved musical self-confidence as a consequence of the composition exercises. The students describe their relation to music as having become more independent and less respectful. While enhancing the ability to produce a coherent musical structure as well as the ability to communicate in music and about music, the exercises have also diminished the students’ fears of performing music together and in front of others. Sets of problems associated with composing are further expounded in the interviewees’ individual descriptions of their respective creative processes.
In the concluding discussion of the study, some fields for further research are outlined, one urgent future investigation being a qualitative study of professional actors’ views on how music, musicality, musical experience and self-confidence relate to their work.
Key words:
Composition, composition exercises, acting, theatre, musical self-confidence, creative processes.

A finalidade última deste trabalho é apresentar alternativas para novos processos de formação de professores de teatro, discutindo diferentes aspectos que possibilitem uma capacitação profissional desta natureza e abordando a compreensão do campo artístico de forma indissociável do campo pedagógico. Partindo do pressuposto que ensinar e aprender são atos de construção de conhecimentos, essa proposta pedagógica tem como objetivo o desenvolvimento de práticas teatrais educativas nas quais a produção de representações teatrais sejam atos pedagógicos sistematizados. Enquanto prática cultural espetacular organizada, o teatro é abordado como um sistema de representação, cujos elementos são construções de diferentes atos de conhecimento, gerando diversos campos de atuação teatral, articulados de modo policêntrico através do conceito de encenação e problematizados segundo questões de natureza textual, corporal e espacial. Os referenciais teóricos e metodológicos desta tese situam-se no pensamento do educador Paulo Freire acerca da organização dialógica de processos de ensino, na produção do GEPEM – Grupo de Estudos de Práticas Educativas em Movimento (PPGEd/UFRN) e em diferentes contribuições na área da Pedagogia Teatral, particularmente aquelas que privilegiam uma compreensão do fenômeno teatral como uma prática coletiva e em processo, dialogando com diferentes formas teatrais presentes tanto nas contribuições já incorporadas às tradições do teatro ocidental, como também, com sínteses e reflexões produzidas por pesquisadores e pensadores contemporâneos do teatro. A proposta pedagógica aqui apresentada consiste de três eixos básicos: a) concepção de área; b) organização curricular; c) produção de materiais para alunos e professores.

More than artistic goals, theatre can be useful as a teaching methodology in order to sensitizing different people. Despite of that, in order to preparing the students who participate of the Programa Fronteiras da Diversidade  (Programme Boundaries of Diversity) to the reflection about the thematic discussed during the events organized by this group in 2012, we did several workshops for that. These workshops were called: Mask, Preparing to Theatre, Body and Voice, Thrusday Workshops, Body Sensitization, Constructing Identities, Cinema Discussing Differences and Bullying, Body in Performance, Dancing in the Dark, Speaking with the Body, Histories Box,  Singing Histories - Roots and heart. These activities showed us how the different artistic languages could be useful for helping the development of educational and reflective actions in the most different contexts of our society.

LA EDUCACIÓN TEATRAL: NUEVOS CAMINOS EN HISTORIA DE LA EDUCACIÓN 99 REAL DECRETO 1467/2007, de 2 de noviembre, por el que se establece la estructura del bachillerato y se fijan sus enseñanzas mínimas, publicado en el BOE del 6 de noviembre de 2007. 100 VIEITES, M. F.: «Sobre promesas y programas. Reflexiones en torno a la enseñanza teatral y su necesaria normalización»,

espanolCon el objetivo de contribuir a repensar los procesos de ensenanza-aprendizaje propios de la educacion superior en arte dramatico, el texto que presentamos propone tres lineas de reflexion-accion: de un lado, la reivindicacion de la creacion teatral y de la interdisciplinariedad como practicas que alientan nuevas formas de saber, ser y hacer; de otro, la puesta en valor de los quehaceres pedagogicos y artisticos aplicados en la complejidad inherente a la formacion y profesionalizacion en arte dramatico; finalmente, la necesidad de articular un proyecto formativo integrado, cuyos «metodos» y trayectos no pueden realizarse al margen de los aportes del trabajo cooperativo y la investigacion en la accion, a los que estan convocados todos los que de un modo u otro, como profesores y/o alumnos, participan en el transito de la formacion a la profesion, y de esta a aquella. En este trabajo, que emerge de un analisis sistematico de algunas experiencias de creacion escenica desarrollad...

The paper presents the Oratorium Dance Project and its impact on the activities of the CHOREA Theatre after 2011.

In 2010-2011, the Chorea Theatre carried out the groudbreaking project for its biography: the Oratorium Dance Project. It was inspired by the project of Simon Rattle, the conductor of the Berlin Philharmonic, and Royston Maldoom, choreographer, who attempted to popularise classical music by engaging 250 people from local community into performing it. The Chorea Theatre responded to a similar challenge. A group of one hundred participants, led by an American choreographer Robert Hayden, Earthfall Dance group and Chorea Theatre artists, featuring the Orchestra and Choir of the Łódź Philharmonic Orchestra, created a dance and music performance. Maciej Maciaszek and Tomasz Krzyżanowski composed a musical piece Oratorium Antyk/Trans/Orchestra especially for this project. It was based on the arrangements of music from ancient Greece. This project's purposes were primarily educational. It was addressed to young people aged 13-24, children and and seniors (50+) from Łódź and the Łódź region. The group of young participants included people from disadvantaged environments and at risk of social exclusion. Implementing Oratorium Dance Project required from the artists a risky undertaking of going "into the city", many months of engagement with workshops and difficult stories of people's lives, as well as a test of their own maturity, that this team had not experienced before. This project and its results determined  new directions of development for CHOREA and new scales to measure its success and failure. For the Chorea team, the existential and social resonance of the project became the fundamental validation for art they wanted to create and promote. The Theatre's activities after Oratorium were essentially a consequence of experiences resulting from Oratorium. They determined the programme of two consecutive editions of the Retro/Per/Spectives festival and its smaller special editions, Perspectives, the only festival in Poland which, in 2015, was entirely devoted to presenting so called engaged theatre, working for and in the communities at risk of social exclusion and raising the issues of defavorisation. Currently, the CHOREA theatre is composed of  three groups born out of experiences from the workshops preceding Oratorium.

Źródło: https://e-teatr.pl/gra-wieksza-niz-zycie-17569

Alice Theatre Laboratory (ATL) jest grupą teatralną z Hong Kongu zarejestrowaną jako organizacja charytatywna, która otrzymuje trzyletnie granty z Hong Kong Arts and Development Council. ATL jest w swojej działalności oddana teatrowi eksperymentalnemu. W poprzednich sezonach Siedem skrzyń Franza Kafki, (Hong Kong, Szanghaj, Pekin, Macao, Taipei oraz edycja z 2017), Strach i nieszczęście Trzeciej Rzeszy (Hong Kong, Pekin), Becktett na scenie II: Wspomnienia i Ślady, Trzy pokojówki, 1001 Nocy Pasoliniego, Sto lat samotności (Hong Kong, Pekin), Endgame (Hong Kong, Szanghaj), Kiedy przemówi Muza (Hong Kong, Szanghaj, Pekin), HamletMaszyna (Hong Kong, Wuzhen) oraz Trzy siostry z Hong Kongu zostały uznane przez krytykę, a także były nominowane i wygrały wiele nagród na Hong Kong Draama Awards i Hong Kong Theatre Libre. CNNGo uznało ATL za jeden z najbardziej oglądanych teatrów z Hong Kongu.
ATL jest również pionierem w Edukacji Teatralnej i Dramatycznej. Popularyzacja Dramatu w edukacji i dramatu jako przedmiotu, jest elementem programu Teatru w Edukacji (TIE), który wspiera lokalny system edukacyjny od 2002 roku. Na Hong Kong Arts Development Awards ATL otrzymało Nagrodę za Edukację Teatralną (w kategorii Pozaszkolnej) za zasługi.

Andrew Chan ukończył Hong Kong Academy for Performing Arts (HKAPA) z wyróżnieniem na kierunku reżyseria i otrzymał od Akademii nagrodę za Wybitną Reżyserię za spektakl dyplomowy — Woyzek. W 2009 roku otrzymał nagrodę za Najlepszą Reżyserię (Tragedia/Dramat) na 18th Hong Kong Drama Awards i podczas 1st Hong Kong Theatre Libre za Siedem skrzyń Franza Kafki. Za 1001 Nocy Pasoliniego został nominowany do nagrody Najlepsza Reżyseria podczas 3rd Hong Kong Theatre Libre. W 2013 Andrew otrzymał nagrodę za Najlepszą Reżyserię na 5th Hong Kong Theatre Libre za Endgame. Ostatnio został również nominowany do nagrody za Najlepszą Reżyserię (Tragedia/Dramat) na 27th Hong Kong Drama Awards za Trzy siostry z Hong Kongu.

The paper presents the Oratorium Dance Project and its impact on the activities of the CHOREA Theatre after 2011. In 2010-2011, the Chorea Theatre carried out the groudbreaking project for its biography: the Oratorium Dance Project. It was inspired by the project of Simon Rattle, the conductor of the Berlin Philharmonic, and Royston Maldoom, choreographer, who attempted to popularise classical music by engaging 250 people from local community into performing it. The Chorea Theatre responded to a similar challenge. A group of one hundred participants, led by an American choreographer Robert Hayden, Earthfall Dance group and Chorea Theatre artists, featuring the Orchestra and Choir of the Łodź Philharmonic Orchestra, created a dance and music performance. Maciej Maciaszek and Tomasz Krzyzanowski composed a musical piece Oratorium Antyk/Trans/Orchestra especially for this project. It was based on the arrangements of music from ancient Greece. This project's purposes were primarily ...

The abundant use of musical terms as prestige words in artistic and educational theatre discourses seems to indicate that musicality-in some sense of the word-is generally considered an important quality in acting. Music is part of the curriculum of the BA programme in acting at Malmö Theatre Academy. However, the students' musical backgrounds are extremely heterogeneous. Further, it is my experience as a theatre musician that professional actors often lack self-confidence regarding musical tasks. When teaching music at Malmö Theatre Academy I have thus considered a sufficient musical self-confidence to be an important general purpose of the actor's musical education. I have developed teaching methods in order to cope with the heterogeneity in the students' musical background and at the same time utilize their shared interest in and aptitude for teamwork and textwork. Students are given the opportunity to develop their musical creativity by carrying out composition exercises. The aim of this study is twofold. Its first part consists of a description of the author's teaching methods focusing on composition exercises. The second part of the study presents an evaluation and discussion of how acting students perceive these methods and exercises. In the concluding discussion of the study, some fields for further research are outlined, one urgent future investigation being a qualitative study of professional actors' views on how music, musicality, musical experience and self-confidence relate to their work.

Στην παρούσα εργασία παρουσιάζεται μία απόπειρα εισαγωγής της μεθόδου του Θεόδωρου Τερζόπουλου ως θεατρικής τέχνης στην Α/-θμια εκπαίδευση, με σκοπό να διερευνηθεί αν αποτελεί χρήσιμη διδακτική πρακτική στο μάθημα της Θεατρικής Αγωγής. Πιο συγκεκριμένα, αυτό που μελετάται είναι, αν η καλλιτεχνική φιλοσοφία για τις έντονες σωματικές πρακτικές, τις οποίες υιοθετεί ο εν λόγω σκηνοθέτης για να προετοιμάσει τους ηθοποιούς στο έργο του, είναι εφικτό να προσομοιωθούν στις συνθήκες διδακτικής πράξης για μαθητές/-τριες εννέα με δέκα ετών. Για το εγχείρημα αυτό χρησιμοποιήσαμε ως μέθοδο έρευνας την έρευνα δράσης και ως βασική τεχνική για τη συλλογή των δεδομένων μας την παρατήρηση. Τα όσα διερευνήθηκαν, συλλέχθηκαν και αναλύθηκαν ως δεδομένα, μας οδήγησαν στη διαπίστωση πως τα παιδιά αντέδρασαν θετικά στις ιδιαίτερες αυτές σωματικές τεχνικές και κατάφεραν να εκφραστούν δημιουργικά με το σώμα τους, να χρησιμοποιούν σωστά τη διαφραγματική αναπνοή, να εκτελούν μία θεατρική δράση με ορθή εκφορά τ...

El objeto de la educación es formar seres aptos para gobernarse a sí mismos y no para ser gobernados por los demás. (Spencer) En todos los tiempos, la educación ha sido una de las herramientas principales para imponer un determinado sistema político-social. Las fuerzas vivas de nuestra época no actúan de manera distinta y están empeñadas en que en todos los niveles educativos se inculque la ideología neoliberal y la cultura del entretenimiento. La cultura del entretenimiento tiene como misión propagar el conjunto de valores y creencias que fundamentan el sistema neoliberal. El objetivo es que la población naturalice el orden social y, por lo tanto, que se mantenga sumisa a las decisiones tomadas desde arriba.