Browsing by Subject "Pedagogy."

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  • Monni, Kirsi (2015)
    Artikkeli käsittelee ‘työkalujen’ ongelmallisuutta taiteilijan koulutuksessa, erityisesti MA tason koreografian opetuksessa. Aihe on osoittautunut oleellisen tärkeäksi moninaisten ja heterogeenisten esteettisten tavoitteiden nykyajassa, sillä jokainen työkalu, kuten se konventionaalisesti ymmärretään, on käyttövalmis jo aiemmin varmistetun päämäärän ja metodin mukaan, ja siten se on jo osittain ratkaissut yksittäisen ja erityisen taiteellisen kysymyksen taiteilijan ja maailman välillä. Kysymys ‘työkaluista’ taiteellisessa prosessissa näyttäytyy minulle laajempana poetiikan (tekniikoiden, menetelmien, tiedon) kysymyksensä sekä poiesiksen ja taideteoksen ontologiaan liittyvänä kysymyksensä. Poetiikan teemaa käsiteltiin laajasti kuuden eurooppalaisen esittävän taiteen MA ohjelman Erasmus Intensive -projektissa vuosina 2011-2013. Tämä artikkeli raportoi joitain aspekteja tuosta keskustelusta ja kehittelee edelleen koreografian opetuksessa perinteisesti keskeisen komposition käsitteen analyysia. Voidakseni käsitellä poetiikan, työkalujen ja taideteoksen kompleksista suhdetta, pohdin ensin teoksen luomisen kysymystä poiesis käsitteen avulla ja sen jälkeen komposition ontologiaa erityisesti Martin Heideggerin logos käsitteen avulla. Esitän ajatuksen kompositiosta ‘yhteenkuuluvuus suhteisuudessa’ -tapahtumana ja että tällaista näkymää vasten komposition käsite voisi palvella taiteilijan, erityisesti koreografin, koulutuksessa sekä rakenteellisena reflektiona että syvällisenä taiteellisena tutkimuskysymyksenä.
  • Tuisku, Hannu (2017)
    Acta Scenica
    This qualitative pedagogical research examines the nature and the ethics of embodied pedagogies of acting and considers their use in the continuum from youth theatre education to professional actor training. By 'embodied pedagogy of acting' the author refers to an approach to acting and training acting that emphasises the centrality of the actor's sentient body in the theatrical event, the notion of a human being as a comprehensive body-mind entity, and the diversity and complexity of subjective experience. Knowledge presented in this research has emerged through practice, interviews and inquiries, discussions and shared experiences of training with both upper secondary school students, student actors in higher education, and professional actors. In the light of this thesis there are reasons to seek for alternatives to conventional paradigms of acting in youth theatre education. Embodied pedagogies of acting provide such an alternative. This thesis also stresses the importance of delineating workable and applicable terminology for training acting, both in youth theatre education and professional actor training. The traditions of psychophysical actor training provide a basis for the development of embodied pedagogies of acting but there are however aspects in psychophysical training that must be critically and comprehensively considered. The thesis also argues that experiences in the youth theatres and in youth theatre education are important for personal growth. The aim of the commentary at hand is not to address youth theatre education in a wider sense besides the methods of acting used in youth theatre education. A wider scope to youth theatre education is provided in the original publications of this thesis.
  • Takeda, Yuko (2018)
    In this thesis, the author searches pedagogical principles for actor training fueled by two questions: 1. How can the content of the training be made relevant to acting in theatre so that it is not just a physical workout? 2. How can the training be made flexible and sustainable so that it becomes something that not only caters to the individual needs of actors but also provides a structure for continuation? The thesis consists of four major components: the author's personal history of actor training in theatre, the content of actor training, the pedagogical principles for sustainable, flexible actor training, and the case studies for the implementation of the principles. By reflecting on various influences in her life as an actor and pedagogue, the author illuminates the path of forming her point of view for acting and actor training in theatre. Presence in actor training is redefined as the ability to connect with the other and regarded as the element that should be cultivated throughout the actor's life. The author also presents reference points in physical training for actors to make the content of training relevant to acting. The pedagogical principles for sustainable, flexible actor training deal with the concept of practice, the language used in training, the teacher-student relationship, the flexible training content, and the identity of the teacher. The implementation of the principles is evaluated in the case studies. The studies are about two pedagogical projects: a long-term physical training, for which the author has been the leader, and the Imagination of Violence course where the author participated as the second pedagogue. For the first project, the author conducted an interview and collective reflection with a long-time participant in the training to gauge the impact of the long-term process. For the second one, the feedback from the main pedagogue and the interview with the students of the course are presented and assessed to show how the author's pedagogical presence affected others in the course. There are also excerpts from the interview with the author's former acting teacher Amy Herzberg as a concluding phase of the thesis. They give moral support and pedagogical underpinnings for the next step of the author's artistic growth as an actor and pedagogue.
  • Ribeiro, Camila (2018)
    This research delves into the conceptualization, design and implementation of an artistic pedagogic methodology: the 'Fictional Documentary' (FD). Its justification and theoretical framework are in the context of artist's education and autobiographical performance, by outlining the author's background to translate postcolonial theory into pedagogical practice. FD has two main goals: to facilitate the review of one's self-perception in the face of outer contexts and to develop empathy bridges to prevent hierarchized relationships with the Other, opposing the perpetuation of cultural, racial and geopolitical biases. The FD's empirical pilot project, the 'Reinventing Roots' workshop, will be also analyzed, commenting on how it negotiated with complex issues of identity, collaboration and ownership in a context of North-South dialogue. As the author's master thesis international project, the five-days' workshop was held at the Theater Department of the Federal University of Rio Grande do Sul, Brazil, in January 2018. The Reinventing Roots workshop associated postcolonial epistemology, specially focused on Spivak's notions of self-reflexivity and deconstruction (1994, 2008) with a set of multimodal arts-based pedagogical proposals. The workshop's practices encompassed creative writing, performance art, theater improvisation and video-making exercises, from the participants' autobiographical family memories, more precisely the gaps in those memories, potential for fictional, and yet, documental creation. Accordingly, those memories evoke questions related to the paths taken to perpetuate some memory narratives and not others. The methodological structure is set to dissect forms of colonial powers by the observation of the perspectives privileged on personal memory narratives, testing the presence of colonial reasonings. The processes happening in the Reinventing Roots workshop tackled the identity of the individual through approaches based on collaborative practices, embracing one's memories 'not-knowingness' as a provoking state for rebuilding narrative gaps through those practices, embodying the uncompletedness and partiality of the self.
  • Siren, Kenneth (2018)
    The aim of this research is to examine the role of disruption in an artistic process and the possibilities of utilizing disruption in contemporary theatre. The theoretical starting point is John Dewey’s view of disruption as the onset of all learning and problem solving, and hence crucial for all pedagogy and education. The two research questions are: (1) in what ways could disruption be made a more central, productive, and visible element of an artistic process by means of contemporary theatre practices, and (2) what kind of a theatre performance results from an artistic process which aims to provide the audience with experiences of disruption? The basis of this research is the artistic process of the devised theatre performance Names of Plants, as well as its four performances. A group of nine performers, aged 19–48, and myself as the director experimented with various contemporary theatre practices used to create potential for disruption for the participants. An added pedagogical dimension to the process was acknowledging the gender diversity in the group as some of the participants and the author do not identify with binary terms for gender. The resulting performance, staged in an art gallery, was devised from the ideas, elements, autobiographical accounts, and movement sequences which originated in these exercises and practices. The artistic outcomes were created with the aim that the members of the audience would have possibilities to experience disruptions. Material for this practice-led research was collected in a research diary, through questionnaires to the participants and by an exit questionnaire to the audience. The theatre practices used turned out to have different results in cultivating experiences of disruption. Particularly fruitful were exercises that didn’t provide a clear model of a successful completion but rather allowed for the unexpected to happen. Both primarily physical and primarily verbal approaches seemed to produce disruptions and recollections of past moments of disruption. Other useful means included shifting the rehearsal structure multiple times. Some disruptions arose from the concrete aspects of the rehearsal situation itself; some of these fed the creativity while others caused tension and stress. Focusing on experiencing disruptions seems to have fostered a warm, caring atmosphere and acceptance towards mistakes, unfinishedness, and individuality. Aiming to provide the audience with experiences of disruption, Names of Plants combined a collage-like collection of elements with a unified, cohesive aesthetic quality throughout the performance. The elements were created through collecting autobiographical material from the participants as well as crafting scenic ideas from the experiences come upon during the exercises. The collage-like structure allowed for a diversity of autobiographical voices and was intended to provide opportunities for the audience to self-identify with, to recall past unexpected moments, and to experience new ones. The audience members found various unexpected elements in the performance, even in the kind of artistic context where people expect to be surprised.
  • Rouhiainen, Leena (2007)
    Acta Scenica