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Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
Some genres of applied drama & theatre
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Some genres of applied drama & theatre

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Jouni Piekkari (ed.) …

Jouni Piekkari (ed.)

Centre for extension studies,
University of Turku

Published in: Education
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  • 1.  
  • 2. Some Genres of Applied Drama & Theatre Jouni Piekkari, Finland
  • 3. Jungle of concepts ! different people different intentions
  • 4. 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
  • 5. 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
  • 6. 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...
  • 7. Learning
  • 8. 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
  • 9. 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
  • 10. Learning classical play texts and theatre styles with a theatre group Photos: Titi Lillqvist
  • 11. 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
  • 12. Exploring
  • 13. 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
  • 14. Polytechnic of Seinäjoki students constructing their understanding on technology: fight between the sexes Photo: Jussi Kareinen
  • 15.  
  • 16. 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
  • 17. Healing
  • 18. 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
  • 19.
    • ” 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
  • 20. 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
  • 21. 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
  • 22. Participating and empowering
  • 23. Theatre for Development Photo: Idalotta Backman
  • 24.
    • 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
  • 25. MASUZYO/ AFRICAN DIRECTIONS Lusaka, Zambia Photo: Idalotta Backman
  • 26.  
  • 27. Theatre for Awareness Natya Chetana, Orissa, India Photo: Tarja Ervasti
  • 28.
    • 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
  • 29. Theatre of the Oppressed
  • 30.  
  • 31. Pamodzi Zambian-Finnish experiments of Theatre-for-Development in Finland, 1994 photos: Mikael Rönkkö
  • 32. 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
  • 33. Building communities
  • 34. Drama & ritual Photo: Leena Jokinen
  • 35. ” 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?
  • 36. Celebratory drama
  • 37.
    • 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
  • 38. Sampocak – Finnish myths and Balinese body rhythm workshop in Keuruu, Finland
  • 39. S.Cucufate´96 project in Alentejo, Portugal Directed by Luis Cruz Photo: Paulo Chaves
  • 40. 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
  • 41.  
  • 42. More info & links: www.tkk.utu.fi/dramaway
  • 43.  

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