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Some genres of applied drama & theatre

Some genres of applied drama & theatre



Jouni Piekkari (ed.)

Jouni Piekkari (ed.)

Centre for extension studies,
University of Turku



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    Some genres of applied drama & theatre Some genres of applied drama & theatre Presentation Transcript

    • Some Genres of Applied Drama & Theatre Jouni Piekkari, Finland
    • Jungle of concepts ! different people different intentions
    • What is drama?
      • Drama is collective activity, where people create and share meanings
      • by imitating stylistically or realistically the phenomena of the real or supranormal life
      • Drama does not need special space, costume or separate audience
      • HOMO LUDENS - serious playfullness of drama
    • What is Theatre?
      • Theatre is a composition of dramatic elements or episodes,
      • meant to be performed
      • for a specific audience
      • in a specific space carrying dramatic meanings through visual elements
    • What is applied drama & theatre?
      • in the western world theatre is often seen as a value in itself: it is an entertaining and aesthetic art form
      • In the West theatre does not need to have any other purposes
      • in the rest of the world theatre has usually served other functions: religious, ritual, political, pedagogical, healing, recording history…
      • lately, in the West, too theatre and drama have been more widely applied for other purposes:
      as a tool for healing , politics , learning , creating communities...
    • Learning
    • Drama in Education (DIE)
      • drama as education about theatre art
      • drama as a tool for learning other subjects
      • drama for integration of subjects : holistic & constructivist approach
      • drama for human growth
    • Contemporary paradigma? ” Drama education for me is more a ”space” for creating culture than a ”space” for educating or teaching for something that according to the current norms and general thinking in the society is considered as right and important -- [Drama education] is not teaching in a traditional sense, rather it is creating different viewpoints and alternative possibilities - re-defining the future” Dr. Hannu Heikkinen, University of Jyväskylä
    • Learning classical play texts and theatre styles with a theatre group Photos: Titi Lillqvist
    • Theatre in Education (TIE)
      • research
      • scripted plays
      • clearly focused themes
      • on any school subject (art history, physics…)
      • integrated into the official curriculum
      • professional, travelling theatre groups
      • sometimes interactive parts
      • workshops after and/or before the performance
      • study materials
    • Exploring
    • Devised Theatre
      • theatre without a play script
      • collaborative process (creación colectiva)
      • scripting in a group
      • ” scripting on the feet” - improvisation, movement, interviews, installation, photo…
      • non-linear and non-narrative dramaturgies
      • themes
    • Polytechnic of Seinäjoki students constructing their understanding on technology: fight between the sexes Photo: Jussi Kareinen
    • Sociodrama
      • explores social phenomena for understanding:
      • social problems and interactions, news, political events, trends...
      • distancing from the experiences of individuals (vs. psychodrama)
      • completely improvised
      • created by Jacob L. Moreno
    • Healing
    • Psychodrama
      • created by Jacob L. Moreno in the 20´s
      • drama for therapy
      • concentrates on the problems or traumatic experiences of an individual
      • completely improvised - ”here and now”
      • training in therapy work necessary
      • long training
      • ” Sharing of everyday life experiences is healthy and healing”
      • improvised theatre: a group acts elements of the stories of the audience
      • can be done also as a workshop without an audience - ”easy-for-everyone” techniques
      • inspiration from socio- and psychodrama
      • Jonathan Fox, USA
      Play-back Theatre
    • Drama therapy
      • emphasis on ”now” and the ”future” instead of childhood traumas
      • individual focus: emotional empowerment
      • distancing: use of myths, stories, etc.
      • allegories to the own life experiences of the patients
      • usually workshop, sometimes rehearsed performances
      • more theatricality
    • Hospital Clownery
      • ” laughing is essential for the well-being of a human being”
      • Laughter is proved to have positive physical and
      • mental health effects
      • paradoxically: hospitals are often
      • sad and lonely places for children
      • Patch Adams is the founder
      • for hospital clownery and
      • Gesundheit Institute
      • of alternative health in USA
      Marco Ferreira (Portugal) as a clown in Drama Way workshop in Tallin, Estonia
    • Participating and empowering
    • Theatre for Development Photo: Idalotta Backman
      • theatre as a tool for participatory development
      • method of research
      • dialogue
      • forum for solving conflicts and problems
      • finding concrete solutions
      • field research
      • folk media - local forms of expression
      • tool for illiterate people to express and discuss
    • MASUZYO/ AFRICAN DIRECTIONS Lusaka, Zambia Photo: Idalotta Backman
    • Theatre for Awareness Natya Chetana, Orissa, India Photo: Tarja Ervasti
      • travelling theatre
      • by bicycle from village to village
      • provoking discussion and awareness
      • co-operation with other NGO`s
      • in link with other campaigns for justice
      • talking to politicians
      Cuttack PURI Konark
    • Theatre of the Oppressed
    • Pamodzi Zambian-Finnish experiments of Theatre-for-Development in Finland, 1994 photos: Mikael Rönkkö
    • Other forms of Theatre of the Oppressed...
      • invisible theatre
      • image theatre
      • Rainbow of Desire - drama for therapy
      • legislative theatre - drama for making new laws & descisions
    • Building communities
    • Drama & ritual Photo: Leena Jokinen
    • ” New kind of communities need new kind of rituals: … for healing... ...marking cycles of life... ...for integration... ...for celebration… ...for purification… ...for empowerment… ...for creating harmony… ...for making visible… ...for understanding ...what is important to us.” Why rituals?
    • Celebratory drama
      • building local identity
      • empowerment through the strengths:
      • creating with hands, bodies & hearts
      • use of carnevalistic elements: masks, processions, imaginary spaces, music
      • local traditions
      • less ”intellectual” - more intuitive
      What can we be proud of? Photo: Jussi Kareinen
    • Sampocak – Finnish myths and Balinese body rhythm workshop in Keuruu, Finland
    • S.Cucufate´96 project in Alentejo, Portugal Directed by Luis Cruz Photo: Paulo Chaves
    • Live Action Role Play (LARP)
      • genuine young people´s movement in the 90´s
      • positive escapism from the reality to the imaginary worlds: future, past, mythology…
      • A frame story created by the game leader(s)
      • each participant assumes a role and acts it throughout an improvised role play
      • Sometimes can take several days
      • often in the nature, castles, other interesting spaces
      • virtual sharing
    • More info & links: www.tkk.utu.fi/dramaway