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Theatre pre-university education must be guided by the concepts, means and methods used according to the authentic method of the Actor's Art, centered on the principle established by professor Ion Cojar – The Actor's Art is a way of thought, only then after it becomes a way of doing. The theatre pedagogue must be freed from preconceptions, prejudices, fixed ideas, „aesthetic” concepts. He is not a director, he works with a raw material of extraordinary freshness - the mind, the soul and the body of the children-actors in a continuous development-transformation. Basically, the theatre pedagogue has to relate, alive, constantly, here and now, to the living subjects in front of him and to the work material they offer. He has at hand the principles of the Actor's Art stated by the great theorists and practitioners of the theatrical art. The principle of authenticity should be compulsory from the simplest approach of the pupil and the working material to the most complex one – the theatre performance. The student must always remain himself, without asking false questions such as: How is the character? Or how does the character feel? The pupil must be taught from the first theatre workshop that the „character” does not exist, but is just a literary construction, and that we will see together „not how” but „who” he is and „what” he does. Theatre techniques must use authentic methods and aim for authentic results. Situation and the genuine relationship with the partner are the other two landmark methods for any game, improvisation exercise or theatre exercise that is attempted during the Actor's Art workshop. The article ends with a list of the skills practiced and developed with the help of theatre techniques.
More...TEHNICI ȘI METODE APLICATE ÎN FUNCȚIE DE PRINCIPIILE DIDACTICE DE BAZĂ
The process of teaching-learning of drama in the pre-acedemic educational system needs to be done following the main didactic principles, as, it should not be forgotten the fact that in school, the class that it is called generical Theatre or Drama does not form actors, but creative people. Using specific drama methods and techniques the teenagers’ skills can be discovered and intensified in order to create artistic and nontheless human competences.
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The problems of the world we live in - the crisis of the environment, globalization, poverty, unemployment, social failure, equality of chances, human rights, democracy and so on, have become problems of the educational sciences, which have integrated them in what is called the „new education”. „New educations”, such as environmental education, participation and democracy, equal opportunities, development – these are just a few more meaningful ones – is proof of the ongoing concern of society and educational systems to overcome the problems of the contemporary world, the curriculum being adapted on flexible socio-professional profiles, so as to provide the opportunity for an education appropriate to the needs and different personalities of the young generation, while maintaining the balance between the two categories of disciplines, general and specialized culture. The teacher is in a position to learn permanently, to reform his work strategies, educational methods and objectives, in order to be able to give the trained ones an education in line with the realities of the world today, to have a change-oriented attitude in order to form the capacity of young individuals to adapt to a constantly changing competitive environment. The educational and pedagogical importance of theatre within school is recognized and proved long ago in other countries and in recent years in our country as well. About 20 years have passed since the Actor's Art specialization was introduced in the pre-university education system in vocational high schools. The meeting with students and specialists at the National Acting Olympiad held in Bucharest between April 22-25, 2019, confirmed to me that the actors in the world of education are facing a major problem: restoration of the objectives, redesigning of programs, definition of the most appropriate „teaching and learning” methods in order to prepare students for the world of tomorrow – artists, scientists, or business leaders.
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This article aims to present a theoretical transposition of the practical steps undertaken in order to prepare students to participate at the National Acting Olympiad. The subject is the specific problem of the objectives of the highschools drama education when preparing a performance. Theater pedagogy is an area explored with effervescence in the context of repositioning of the education philosophy regarding the efficiency of alternative pedagogies in order to improve and appropriate the didactic act from the individual’s perspective to actively integrate into a society of speed in which a well-defined educational ideal or purpose can no longer be announced. In our practical approach we have exploited the theatrical education from heterogeneous perspectives related to learning, personal development and professional specialization.
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The goals of dramatic art must be rethought in the current context of education, which leads to a fierce struggle with the lack of authentic values. Therefore, in order to reform the pre-university education a close collaboration with the university environment is required. The introduction of theatre techniques into education makes it possible to move towards an active teaching process stimulated by the game in accordance with the needs of the younger generation.
More...REPERE ŞI PARADOXURI TEATRALE PENTRU ELEVI ŞI PROFESORI
We all dreamed, at least once in our life, to become actors. All of us or almost all of us. Acting is a miracle. Or at least it should be. It is not an easy task, but, with patience and understanding, with a correct look at the art of the actor, on its teaching pedagogy, we can make this miracle happen. In the words of Professor Florin Zamfirescu: „Acting or magic?“ Let's hope for both.
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Theatre and dramaturgy have been and still are the mirror of society in a certain historical period, and society is the reflection of the history of that period. The various metamorphoses of Romanian history and society call for a re-evaluation of the objectives of dramatic art and, consequently, of the academic and pre-university theatre education in Romania. The time of the active art and of involved artists, with spirit of initiative, versatile, original and authentic, has arrived. In the many universities and pre-university theatre schools set up after the Revolution, masters are no longer formed, but the discovery or definition of the individuality, the creativity and personality of each artist is guided and supported.
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The scientific communication „The Reevaluation of Methods and Objectives for Highshool Theatre Classes“ starts from the idea that this digital generation tends to consider lecture, reading itself, as less important for their development. The acting techniques on the other hand could help the entire educational system. Through this exercise of reading, young individuals will gain a better personal - emotional, psychological, professional orientation; they will be better prepared for life. Improvisation, theatre exercises, the study of a scene, the lecture of plays, the exercise of the reading parts of a novel out loud - all of these are methods offered by the technique of the art of the actor to the general education and must be the strengths of pre-university theatrical education.
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It is important to prepare our students for the future, yet we do not know exactly what that future will bring. What we do know is that our brains and the way they work did not significantly change in millennia. IQ is very important but our schools focus almost exclusively on it while neglecting the EQ of the student, although emotional intelligence of the individual is a better predictor of his quality of life. Taking all of this into account, we should capitalize on the learning opportunity acting workshop activities represent in this field, if chosen and conducted appropriately for that purpose. While few of the students that take pre academic acting classes pursue a career in acting, teachers that address that stage of learning must adapt and be of better service to the grown-ups their student will eventually become. Thus, high school acting classes should focus on the child’s emotional development just as much as they focus on the development of expressive skills or even more. At that age, social emotional learning is essential for the future actor as well as for the future chemist, teacher, policeman or lawyer.
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The goals of dramatic art must be rethought in the current context of education, which leads a fierce struggle with a lack of authentic values. Therefore, in order to reform the pre-university education a close collaboration with the university environment is necessary. The introduction of the theatre techniques into education makes way for an active teaching process, stimulated through game, in accordance with the needs of the younger generation.
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The relationship between the spectator and the theatre performance is mutual, influencing each other. This relationship is part of a wider social, economic, cultural and political context, whose influence acts both on the spectator and on the theatre performance, the place where people confront each other, and is also the prelude to meditations on their existence. Young audiences have their own aspirations and motivations, expressed in a specific culture, and their reactions to a performance are sometimes different from those of other socio-professional categories.
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In this article I speak about my professional observations and the importance of acting in education, since hopefully theatre will become mandatory in the Romanian educational system. On the other hand I report upon my experience and occurring questions about the use of mother tongue at the National Acting Olympiad in Romania.
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Theatre education is one of the main objectives of pre-university actor's art education. This type of education, through theatre techniques, develops the individual on all levels, develops his cognitive, physical and, last but not least, his emotional skills. From this point of view, theatre improvisation, the study of the scenes, the involvement in various situations from texts chosen by a teacher or suggested by the curriculum, helps the young high school student to configure his own personality, to recognize emotions and express them, to communicate with others, helps self-esteem, reduces anxiety, an exaggerated sense of pity, the dependence on being liked by others, eliminates inhibitions, facilitates freedom of expression overall. Another result of participation to actor's art workshops is the improvement of diction, language, communication due to Stage Speech classes and scenes work.
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The aim of the following article is to describe how devising can be used as a modern educational method for creating collaborative dramatic texts. This method is student centred, putting the focus on the pupils’ interests and needs, developing the collaboration skills, and allowing them to express themselves freely and creatively, without restraints from the teacher or the other peers. By applying this method, pupils become more self-aware and they practice coacting, which consist in abilities that forge the participatory individual both needed for the artistic area, as well as for other fields. Therefore, the method can be successfully applied in order to achieve the objectives in the pre-academic theatre education, such as: fostering creativity and triggering imagination, strengthening collaboration skills, developing critical thinking.
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Generally speaking, personal development gathers under its umbrella all the activities designed to bring well-being, balance, self-discovery to an individual, of its own physical and psychological resources, vulnerabilities, and an increase in self-control. Thus, sports activities, exercise of artistic talents and practical skills, dancing, enrichment of cultural knowledge by viewing movies or theatre plays, enrichment of literary knowledge, or general culture are part of an individual's personal development. Theatre techniques have multiple utilities in general education, especially when experienced under specialized guidance. The theatre workshop provides a learning context based on the discovery and valorisation of acting skills of both adults and young individuals, based on reflection and self-reflection, discovery and self-knowledge, continuous experimentation.
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Ovo je prvi dio rada koji se bavi aktivnostima pozorišta u opkoljenom Sarajevu u periodu od 1992. do 1996. godine. S obzirom na okolnosti u kojima se našao glavni grad Bosne i Hercegovine u tom periodu, veoma značajna činjenica jeste da su pozorišta i dalje aktivno radila. Tema je izabrana jer do danas ne postoji nikakav ozbiljan rad koji se bavi ovim fenomenom, izuzev svjedočanstava pozorišnih radnika koje je sakupio Davor Diklić u knjizi Teatar u ratnom Sarajevu 1992.-1995. S obzirom na to da je ovo jedan od prvih radova posvećenih pozorištu u opkoljenom Sarajevu, nastavak će biti faktografski jer se u ranoj fazi istraživanja nije bilo moguće posvetiti dubljoj analizi i interpretaciji ili antropološkom istraživanju.
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The article looks at the intangible cultural heritage and its importance as a resource that creates economic revenue in the context of rapid transformations currently taking place in Cuba, and integrated in a complex network of tourism imaginaries and representations. Given the increased demand for “experiential tourism” (Salazar 2011), dance practices become central not only to institutions in charge of safeguarding and promoting heritage, but also to emerging small businesses as alternative forms of revenue outside the state sector. Dance schools aimed at foreign tourists, and the increased popularity of Cuban dance genres outside Cuba, indicate how parts of the tourist imaginary are adopted and adapted in Cuban narratives about Cubanness, and how bodies become transactional in more than one way. Economic realities and social inequalities that stem from contact with foreigners result in creative approaches for financial gain, perpetuating expectations about Cuban fantasies. The phenomenon is often racially marked, as many of the darker skinned Cubans, with no access to legal jobs in the tourist industry, seem to be capable of exploiting the appearance of ‘authenticity’ in dance spaces commonly associated with blackness. The article is based on the findings of long term fieldwork conducted in Havana in 2015 and 2016 and from March to May 2018 among professional dancers, instructors and dance school owners.
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The author indicates a few crucially significant issues arisen after the Second Vatican Council, namely the revival of music and singing in liturgy, particularly the role of a choir, and the questions of a repertoire, choir composition and voice arrangement during liturgy entailing the problem of women’s inclusion into the choir. Through his most exhaustive, against the paper limitations, historical analysis, the author demonstrates how the role of the choir in liturgy was understood at the beginning and how this understanding has evolved over the years. The author emphasizes as well a vital role of children choirs in liturgy, advocated by the liturgical movement which originally assumed children’s singing in a schola or a choir as a “pioneering function for singing of the faithful”. One of the main propagator of the above pioneering function of children’s singing was Pius Parsch, founder of the Volksliturgiche Bewegung. Pope Paul VI used beautiful words to describe the role of singing children when addressing Pueri Cantores: “We trust that you will become co-participants or even the pioneers of a concrete and practical liturgy revival of our liturgical assembly. Wherever children sing, the faithful pray and wherever children are silent, the faithful reluctantly open their mouths to sing”. Just like sacred music plays a servicing role in liturgy (cf. CL 112) “the primary and the most essential function of a choir or of a cantor is to serve the faithful in their singing during liturgy, not to replace them. The secondary function is to perform by the choir the singing parts which the faithful are not capable of performing on their own and on a high artistic level” (the Austrian liturgist Philipp Harnoncourt). In his letter celebrating the 100th anniversary of publishing motu proprio by Pius X on 22 November 1903, Pope John Paul II highlighted the double role of a choir: “The task of the schola has not decreased: it indeed develops in the assembly the role of guide and support and, at certain moments of the Liturgy, has its own specific role“. Pope Benedict XVI defied the exclusive singing of the faithful and of liturgical music, ascribing to the choir singing an equivalent value: „there are a good number of people who can sing better «with their heart» than «with their mouths», but their hearts are really stimulated to sing through the singing of those who have the gift of singing «with their mouths». It is as if they themsleves actually sing in the others; thankful listening is united with the voices oft he singers in the one worship of God”.
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