The document discusses the history and structure of the Theatre of Youth Creativity (TYUT) in St. Petersburg, Russia. It was founded in 1956 by Matvei Dubrovin and has operated for over 50 years, training thousands of students. TYUT follows Dubrovin's pedagogical system of combining acting classes with workshops in technical theatre skills. Students explore various roles and productions while developing their creativity, skills, and personal growth.
The Pavel Krizkovsky High School (Czech Republic) JH4
The document provides information about the Pavel Krizkovsky High School Specializing in Arts located in Brno, Czech Republic. It was founded in 1993 to provide artistic education for students inclined towards the arts. Students can choose from three specializations: music, fine arts, or literary/dramatic arts. The school aims to provide a well-rounded education through its integration of general subjects and artistic disciplines. It cultivates students' talents and allows them to showcase their skills through various cultural projects and performances. The quality of education and student achievements have established the school's reputation among successful high schools in the Czech Republic.
Yuri Yurovsky artist and art collector, part of a book "YURI YUROVSKY POET O...lj1art
Born in Ukraine, Kiev. He worked from the 1930s through 90s. Representing the older generation of Kievan Soviet artists of the twentieth century. Landscape
painter and a brilliant master of color, master of still life, one of the best colorists in the world of his time. Yuri Destiny It becomes nature, mother earth.
The Evolution of HK Art Of Nature International Feminist Art Research SocietyVincentKwunLeungLee
From my proposal of establishing the Research Society in 2011 to a joint exhibition in 2015
PART 1: The Role of Hong Kong Female Artists in the New Era of Global Culture and Consciousness
PART 2: Cissy Cheung promotes the Chinese-ink masterpieces created by Mrs. Anson Chan's mother
PART 3: Infinite Love – 1st Hong Kong International Female Contemporary Art Exhibition
Alexei Antonov is an artist who was born in Russia in 1957 and has studied art in Russia, Azerbaijan, and Italy. He has been living in the US since 1990 where he promotes the Ecology of Culture through his visual artworks. His main goal is to reestablish the link between technology/industry and beauty/grace through his classical oil paintings and drawings.
Grigor Khachatryan is an Armenian conceptual artist known for his performances and actions that use his own body and name to critique power structures. Born in 1952, Khachatryan graduated from the Art and Culture department in Yerevan and has since held numerous exhibitions while continuing to produce provocative performance works that explore identity and politics. He established the Accidents Planning International Center in 2008 to document his planning of real-world events.
The Galician School of Icon Painting arose in the 13th century with little pressure from church authorities, allowing painters to be free in their artistic intuition. The chief schools were in Peremyshl and Lviv, with branches throughout the Carpathian Mountains region preserving numerous early 15th century samples.
Taras Shevchenko was a Ukrainian painter, poet and writer who was born a serf but gained fame and recognition. He was talented in drawing from a young age and was able to buy his freedom after being apprenticed to painters. He received medals from the Imperial Academy of Arts and worked to capture Ukraine's cultural monuments before his exile and later illness.
Arkhip Kuindzhi
The document summarizes the activities of a kindergarten in Warsaw, Poland for the project "Music of Art and Art of Music" between 2013-2015. It describes various artistic activities the children engaged in like visiting art museums, meeting artists, and creating artworks inspired by styles like pointillism, Pollock splatter paintings, and Kandinsky. The kindergarten hosted workshops, festivals, and meetings with partner schools in Italy, Poland, and Turkey to share results and experiences of using artistic expression to develop children's creativity.
The Pavel Krizkovsky High School (Czech Republic) JH4
The document provides information about the Pavel Krizkovsky High School Specializing in Arts located in Brno, Czech Republic. It was founded in 1993 to provide artistic education for students inclined towards the arts. Students can choose from three specializations: music, fine arts, or literary/dramatic arts. The school aims to provide a well-rounded education through its integration of general subjects and artistic disciplines. It cultivates students' talents and allows them to showcase their skills through various cultural projects and performances. The quality of education and student achievements have established the school's reputation among successful high schools in the Czech Republic.
Yuri Yurovsky artist and art collector, part of a book "YURI YUROVSKY POET O...lj1art
Born in Ukraine, Kiev. He worked from the 1930s through 90s. Representing the older generation of Kievan Soviet artists of the twentieth century. Landscape
painter and a brilliant master of color, master of still life, one of the best colorists in the world of his time. Yuri Destiny It becomes nature, mother earth.
The Evolution of HK Art Of Nature International Feminist Art Research SocietyVincentKwunLeungLee
From my proposal of establishing the Research Society in 2011 to a joint exhibition in 2015
PART 1: The Role of Hong Kong Female Artists in the New Era of Global Culture and Consciousness
PART 2: Cissy Cheung promotes the Chinese-ink masterpieces created by Mrs. Anson Chan's mother
PART 3: Infinite Love – 1st Hong Kong International Female Contemporary Art Exhibition
Alexei Antonov is an artist who was born in Russia in 1957 and has studied art in Russia, Azerbaijan, and Italy. He has been living in the US since 1990 where he promotes the Ecology of Culture through his visual artworks. His main goal is to reestablish the link between technology/industry and beauty/grace through his classical oil paintings and drawings.
Grigor Khachatryan is an Armenian conceptual artist known for his performances and actions that use his own body and name to critique power structures. Born in 1952, Khachatryan graduated from the Art and Culture department in Yerevan and has since held numerous exhibitions while continuing to produce provocative performance works that explore identity and politics. He established the Accidents Planning International Center in 2008 to document his planning of real-world events.
The Galician School of Icon Painting arose in the 13th century with little pressure from church authorities, allowing painters to be free in their artistic intuition. The chief schools were in Peremyshl and Lviv, with branches throughout the Carpathian Mountains region preserving numerous early 15th century samples.
Taras Shevchenko was a Ukrainian painter, poet and writer who was born a serf but gained fame and recognition. He was talented in drawing from a young age and was able to buy his freedom after being apprenticed to painters. He received medals from the Imperial Academy of Arts and worked to capture Ukraine's cultural monuments before his exile and later illness.
Arkhip Kuindzhi
The document summarizes the activities of a kindergarten in Warsaw, Poland for the project "Music of Art and Art of Music" between 2013-2015. It describes various artistic activities the children engaged in like visiting art museums, meeting artists, and creating artworks inspired by styles like pointillism, Pollock splatter paintings, and Kandinsky. The kindergarten hosted workshops, festivals, and meetings with partner schools in Italy, Poland, and Turkey to share results and experiences of using artistic expression to develop children's creativity.
Russia has a rich cultural heritage spanning its long history that is reflected in its monuments and architecture. Some of the most notable examples include Saint Basil's Cathedral in Moscow, known worldwide for its unique architecture, and the Peterhof Palace complex near St. Petersburg, known as the "Russian Versailles." Classical music also demonstrates Russia's cultural legacy, with composers like Tchaikovsky raising Russian musical arts to new heights. Famous authors such as Pushkin helped establish the Russian literary language, while scientists including Mendeleev and Gagarin made invaluable contributions to science and exploration. Russia's cultural heritage continues to influence its society and identity.
This document provides information about graduates from the Mongolian State University of Arts and Culture's School of Fine Arts in 2014. It includes speeches from government ministers congratulating the graduates and encouraging them to use their art to enrich Mongolian culture. It also lists the names and artworks of some of the top graduating students, including paintings, sculptures, and other works in varied media like leather, wood, and printmaking. The dean expresses pride in the graduates and hopes they will continue to collaborate with their school.
The document announces an art exhibition by the "Oron Zai" association of art teachers from the School of Fine Arts and Design at the Mongolian State University of Arts and Culture to celebrate the school's 70th anniversary, provides background on the association and its past exhibitions, and includes photographs and information on the artworks being displayed.
Constantin Stanislavski was a Russian theatre practitioner born in 1863 who developed influential acting techniques known as the Stanislavski method or system. He founded the Moscow Art Theatre in 1898 which pioneered psychological realism. His system taught actors to immerse themselves in their character's psychology and live truthfully on stage. Stanislavski's teachings spread internationally and influenced generations of actors and theatre practitioners.
The document summarizes the graduation ceremony for students of the School of Fine Arts and Design at the Mongolian State University of Arts and Culture in 2015. It includes speeches from the Minister of Education, Culture and Science of Mongolia, the University President, and the Dean of the School of Fine Arts congratulating the graduates and wishing them success in their artistic careers. The document also features photos and descriptions of artworks showcased in the Graduates' Exhibition from Bachelor's degree recipients.
The document describes "Bridges", a contemporary dance show created by three renowned choreographers featuring three distinct pieces. It will be performed by the National Opera and Ballet of Sofia and National School of Dance Art. Each piece is described in 1-2 sentences, including the choreographer, year, inspiration and storyline. Funding will be sought from cultural institutions, diplomatic missions, sponsorship programs and companies.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
Soviet art in the 20th century was tightly controlled and enforced ideological conformity, suppressing individuality. Contemporary Russian art has moved away from this, with artists taking an uninhibited approach focused on personal expression. The document profiles three contemporary Russian artists - Sasha Bassari uses gentle surrealism to portray divine souls and unity in the universe. Andrey Remnev combines old Russian painting styles with constructivism. Vasya Lozhkin works in a primitive style, becoming popular online for paintings of old women and cats despite having no formal training.
The document summarizes information about the Marko Cepenkov Center for Contemporary Art in Prilep, Macedonia (CCMA). It discusses how the CCMA was founded in 1957 and has since hosted numerous art exhibitions and attracted artists from around the world. It provides background on Marko Cepenkov, who the center is named after, and his contributions as a folklore collector. The summary also overviews some recent exhibitions held at the CCMA, including those by painters Zlatko Krstevski and Sonja Dimovska and sculptor Zarko Baseski. The CCMA aims to promote cultural exchange and appreciation of Macedonian art.
Sai Kung Art and About - Vincent Lee Kwun-leung's Chinese ink paintingsVincentKwunLeungLee
I am going to be one of the participating artists in this art fair between 19 and 20 March 2016, in which I am going to have a booth at Sai Kung Promenade Park and have two pieces of Chinese-ink paintings being selected for the "Gallery Walk" session. I have to do creative demonstrations and prepare for a seminar to present my creative experiences.
This slideshare covers my fruits of Chinese-ink explorations in various units - such as my two secondary schools, Oil Street, HERMES and Cheung Chau Pier. Most of the works are "project-based", but you can still see how creative I am in terms of coping with the ever-changing aesthetic demands.
Vladimir Nikolaevich Teplukhin (Russian: Владимир Николаевич Теплухин; (13 June 1957, Moscow — 19 February 2001, Moscow)) was a Russian Avant - Garde artist of the Second Wave.
The document summarizes the activities of the Arts Council of Mongolia (ACM). It discusses that ACM opened a new creative space called "Red Ger" in September 2018, building on its previous "Red Ger" art gallery. The new space focuses on promoting visual, musical, dance, literary and film arts. It also launched an online store. As part of its 2019-2020 strategy, ACM selected 5 young talented artists to feature at Red Ger, including musicians, filmmakers, dancers, jewelry designers, and authors. The space offers these artists residencies and opportunities to jointly curate programming for the public. ACM is recruiting new members to support Mongolian arts and get involved with its events through 2020.
Taras Shevchenko was a 19th century Ukrainian poet, artist, and patriot considered the founder of Ukrainian realism painting and an important figure in developing Ukrainian national identity. Oleksandr Bogomazov was a 20th century Ukrainian painter who worked in Cubo-Futurist and Spectralist styles. Eugenia Gapchynska is a popular contemporary artist known for her funny paintings of little men with touching captions intended to bring happiness to viewers. Oleg Radvan is a self-taught artist from Ukraine who began painting later in life and finds joy in capturing human characteristics in portraits.
The document discusses creativity in drama/theatre education based on interviews with teachers and students at an arts magnet school. It finds that drama/theatre teachers see themselves as creative teachers responsible for fostering creativity through a safe space that allows risk-taking. Students see creativity as innate and want opportunities to creatively express themselves, while teachers focus on pedagogical strategies. Both groups agree on the importance of a playful attitude and risk-taking enabled by a safe space.
1) The document summarizes action research from four UK schools on improving citizenship education through integrating digital art. Teachers collaborated with university staff and artists to design lessons exploring identity and Europe.
2) Students discussed artworks depicting identity, took photos of each other, and created digital portraits and images representing Europe. While approaches differed, discussions of identity and stereotypes were common goals.
3) Challenges included limited technology resources and time. Recommendations included providing case studies, artworks, and detailed lesson plans combining citizenship and art for online teacher training.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory and reflective methods. Researchers aim to understand how creative partnerships can nurture student creativity in dance education in secondary schools in England. The project involves university researchers collaborating with teachers and artists as co-researchers at four school sites.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers in developing creativity in secondary school dance education in England. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory, and reflective methods. Partner researchers include teachers and artists who co-develop dance works and co-research the partnerships. The goal is to understand different partnership models and contribute to reinvigorating creativity in secondary dance education.
This document provides a summary and analysis of the play "Family Saga" by Bole Butake. It discusses how the play can be read as an allegory for Cameroon's history, from colonialism to reunification. The play uses characters like Kamala and Kamalo to represent the Anglophone and Francophone groups in Cameroon. It explores how the play uses memory, drama, and dialogue between characters to help address tensions between the groups and provide opportunities for reconciliation and healing from the injustices of the past. The analysis argues the play can act as a form of truth and reconciliation process for Cameroon by opening discussions on these difficult historical issues.
This document discusses the importance of integrating creative activities like drama into teaching and learning to make it more engaging for students. The researcher conducted several studies on this topic. Her research found that while educational policies support integrating the arts, traditional teaching methods focusing on rote learning are still dominant in schools. She argues that for the creative potential of drama and arts to be fully realized, teachers must examine their own concepts of knowledge and learning and be able to structure constructivist, creative learning processes. The researcher identifies criteria for schools to successfully integrate arts and culture into education, such as ensuring teachers are qualified in arts subjects and collaborating with cultural institutions.
Russia has a rich cultural heritage spanning its long history that is reflected in its monuments and architecture. Some of the most notable examples include Saint Basil's Cathedral in Moscow, known worldwide for its unique architecture, and the Peterhof Palace complex near St. Petersburg, known as the "Russian Versailles." Classical music also demonstrates Russia's cultural legacy, with composers like Tchaikovsky raising Russian musical arts to new heights. Famous authors such as Pushkin helped establish the Russian literary language, while scientists including Mendeleev and Gagarin made invaluable contributions to science and exploration. Russia's cultural heritage continues to influence its society and identity.
This document provides information about graduates from the Mongolian State University of Arts and Culture's School of Fine Arts in 2014. It includes speeches from government ministers congratulating the graduates and encouraging them to use their art to enrich Mongolian culture. It also lists the names and artworks of some of the top graduating students, including paintings, sculptures, and other works in varied media like leather, wood, and printmaking. The dean expresses pride in the graduates and hopes they will continue to collaborate with their school.
The document announces an art exhibition by the "Oron Zai" association of art teachers from the School of Fine Arts and Design at the Mongolian State University of Arts and Culture to celebrate the school's 70th anniversary, provides background on the association and its past exhibitions, and includes photographs and information on the artworks being displayed.
Constantin Stanislavski was a Russian theatre practitioner born in 1863 who developed influential acting techniques known as the Stanislavski method or system. He founded the Moscow Art Theatre in 1898 which pioneered psychological realism. His system taught actors to immerse themselves in their character's psychology and live truthfully on stage. Stanislavski's teachings spread internationally and influenced generations of actors and theatre practitioners.
The document summarizes the graduation ceremony for students of the School of Fine Arts and Design at the Mongolian State University of Arts and Culture in 2015. It includes speeches from the Minister of Education, Culture and Science of Mongolia, the University President, and the Dean of the School of Fine Arts congratulating the graduates and wishing them success in their artistic careers. The document also features photos and descriptions of artworks showcased in the Graduates' Exhibition from Bachelor's degree recipients.
The document describes "Bridges", a contemporary dance show created by three renowned choreographers featuring three distinct pieces. It will be performed by the National Opera and Ballet of Sofia and National School of Dance Art. Each piece is described in 1-2 sentences, including the choreographer, year, inspiration and storyline. Funding will be sought from cultural institutions, diplomatic missions, sponsorship programs and companies.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
Soviet art in the 20th century was tightly controlled and enforced ideological conformity, suppressing individuality. Contemporary Russian art has moved away from this, with artists taking an uninhibited approach focused on personal expression. The document profiles three contemporary Russian artists - Sasha Bassari uses gentle surrealism to portray divine souls and unity in the universe. Andrey Remnev combines old Russian painting styles with constructivism. Vasya Lozhkin works in a primitive style, becoming popular online for paintings of old women and cats despite having no formal training.
The document summarizes information about the Marko Cepenkov Center for Contemporary Art in Prilep, Macedonia (CCMA). It discusses how the CCMA was founded in 1957 and has since hosted numerous art exhibitions and attracted artists from around the world. It provides background on Marko Cepenkov, who the center is named after, and his contributions as a folklore collector. The summary also overviews some recent exhibitions held at the CCMA, including those by painters Zlatko Krstevski and Sonja Dimovska and sculptor Zarko Baseski. The CCMA aims to promote cultural exchange and appreciation of Macedonian art.
Sai Kung Art and About - Vincent Lee Kwun-leung's Chinese ink paintingsVincentKwunLeungLee
I am going to be one of the participating artists in this art fair between 19 and 20 March 2016, in which I am going to have a booth at Sai Kung Promenade Park and have two pieces of Chinese-ink paintings being selected for the "Gallery Walk" session. I have to do creative demonstrations and prepare for a seminar to present my creative experiences.
This slideshare covers my fruits of Chinese-ink explorations in various units - such as my two secondary schools, Oil Street, HERMES and Cheung Chau Pier. Most of the works are "project-based", but you can still see how creative I am in terms of coping with the ever-changing aesthetic demands.
Vladimir Nikolaevich Teplukhin (Russian: Владимир Николаевич Теплухин; (13 June 1957, Moscow — 19 February 2001, Moscow)) was a Russian Avant - Garde artist of the Second Wave.
The document summarizes the activities of the Arts Council of Mongolia (ACM). It discusses that ACM opened a new creative space called "Red Ger" in September 2018, building on its previous "Red Ger" art gallery. The new space focuses on promoting visual, musical, dance, literary and film arts. It also launched an online store. As part of its 2019-2020 strategy, ACM selected 5 young talented artists to feature at Red Ger, including musicians, filmmakers, dancers, jewelry designers, and authors. The space offers these artists residencies and opportunities to jointly curate programming for the public. ACM is recruiting new members to support Mongolian arts and get involved with its events through 2020.
Taras Shevchenko was a 19th century Ukrainian poet, artist, and patriot considered the founder of Ukrainian realism painting and an important figure in developing Ukrainian national identity. Oleksandr Bogomazov was a 20th century Ukrainian painter who worked in Cubo-Futurist and Spectralist styles. Eugenia Gapchynska is a popular contemporary artist known for her funny paintings of little men with touching captions intended to bring happiness to viewers. Oleg Radvan is a self-taught artist from Ukraine who began painting later in life and finds joy in capturing human characteristics in portraits.
The document discusses creativity in drama/theatre education based on interviews with teachers and students at an arts magnet school. It finds that drama/theatre teachers see themselves as creative teachers responsible for fostering creativity through a safe space that allows risk-taking. Students see creativity as innate and want opportunities to creatively express themselves, while teachers focus on pedagogical strategies. Both groups agree on the importance of a playful attitude and risk-taking enabled by a safe space.
1) The document summarizes action research from four UK schools on improving citizenship education through integrating digital art. Teachers collaborated with university staff and artists to design lessons exploring identity and Europe.
2) Students discussed artworks depicting identity, took photos of each other, and created digital portraits and images representing Europe. While approaches differed, discussions of identity and stereotypes were common goals.
3) Challenges included limited technology resources and time. Recommendations included providing case studies, artworks, and detailed lesson plans combining citizenship and art for online teacher training.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory and reflective methods. Researchers aim to understand how creative partnerships can nurture student creativity in dance education in secondary schools in England. The project involves university researchers collaborating with teachers and artists as co-researchers at four school sites.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers in developing creativity in secondary school dance education in England. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory, and reflective methods. Partner researchers include teachers and artists who co-develop dance works and co-research the partnerships. The goal is to understand different partnership models and contribute to reinvigorating creativity in secondary dance education.
This document provides a summary and analysis of the play "Family Saga" by Bole Butake. It discusses how the play can be read as an allegory for Cameroon's history, from colonialism to reunification. The play uses characters like Kamala and Kamalo to represent the Anglophone and Francophone groups in Cameroon. It explores how the play uses memory, drama, and dialogue between characters to help address tensions between the groups and provide opportunities for reconciliation and healing from the injustices of the past. The analysis argues the play can act as a form of truth and reconciliation process for Cameroon by opening discussions on these difficult historical issues.
This document discusses the importance of integrating creative activities like drama into teaching and learning to make it more engaging for students. The researcher conducted several studies on this topic. Her research found that while educational policies support integrating the arts, traditional teaching methods focusing on rote learning are still dominant in schools. She argues that for the creative potential of drama and arts to be fully realized, teachers must examine their own concepts of knowledge and learning and be able to structure constructivist, creative learning processes. The researcher identifies criteria for schools to successfully integrate arts and culture into education, such as ensuring teachers are qualified in arts subjects and collaborating with cultural institutions.
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and a Sectoral Chamber of Dance to advise the Ministry of Culture and develop a National Plan for Dance.
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and the Sectorial Chamber of Dance to give the dance community representation and influence cultural policies.
4. The National Plan for Dance is being finalized to improve dance education, support the dance economy, and ensure access to dance
Music Empathy And Intercultural Understanding Felicity LaurenceWAAE
This document discusses how music may help foster empathy and intercultural understanding. It describes an experience where the author composed a musical piece intended to promote unity between different ethnic groups in South Africa. The piece was successfully performed once but failed to unite the groups in a later performance. This paradox led the author to question assumptions about music's power and investigate how music may cultivate empathy. The document also examines theories of how musical activities could potentially strengthen empathic responses through imagination and social engagement, but notes many contextual factors are also involved.
The document discusses artistic education in Polish kindergartens. It outlines four key areas of development: 1) a child as viewer and actor, 2) different forms of musical movement like singing, dancing, and playing instruments, 3) different forms of visual arts like drawing, painting, and sculpture, and 4) constructional games and technical skills. Various educational programs and techniques are used to develop children's talents and abilities in these areas, including drama, music, dance, visual arts, and playing instruments. The overall goals are to support children's curiosity and self-expression through exposure to aesthetic values and artistic forms.
The Role and Importance of Choreography Education for Children with Disabilitiesijtsrd
This article examines the importance of choreographic education for children with disabilities in Uzbekistan. It discusses how the government is paying attention to meeting the needs of people with disabilities, including through specialized schools that provide education and training. Currently, choreography is not taught in special schools for children with disabilities. The article argues that choreographic education can help develop children's communication skills, creativity, and ability to interact with others through dance lessons and performances. This can help children with disabilities participate more fully in society.
This document discusses using performing arts as pedagogy in a Classical Mythology course. The professor requires students to attend live dramatic or artistic performances on campus. These performances often contain themes from mythology and help students develop skills like critical thinking. The professor works with the campus arts programming office to select relevant performances for the class to attend together early in the semester. Students are expected to write a review of the performance and develop questions for discussions with the artists. Examples of past performances attended include adaptations of Greek myths and connections are made between modern works and mythology. Pre- and post-performance activities help students analyze the works and their connections to the course material.
The document summarizes several arts and cultural events happening in Mongolia. It discusses an exhibition by artist Zazaa questioning society and human identity. It also describes a contemporary dance performance being put on by 34 Mongolian students exploring the history of the Berlin Airlift. Finally, it provides an overview of the 11th Arts Council of Mongolia Fellowship program, which is developing young arts leaders through training and community projects.
This document summarizes a Comenius project undertaken by a school in the Czech Republic to familiarize students with the life and work of Jan Amos Komensky, also known as Comenius. The project involved creating a giant picture book about Comenius's life and enacting scenes from his life and teaching methods through theatrical performances. Students learned about 17th century schooling and the reforms Comenius introduced. They performed a play about Comenius both at their school and in historic buildings to bring the subject to life. The project aimed to show Comenius's legacy and innovative teaching style that made learning fun and relevant to students.
The document discusses several cultural heritage sites located around Shumen, Bulgaria.
The largest basilica is located in Pliska, the first capital of Bulgaria, near Shumen. It was built by King Boris I and is where the disciples of Cyril and Methodius established the first Slavonic literary school.
The "Vasil Drumev" Puppet Theater is located in downtown Shumen and is named after the famous Bulgarian writer Vasil Drumev. It offers dramatic and puppet performances and has hosted theater, music, dance and arts schools for 150 years.
The Regional Historical Museum of Shumen was founded in 1904 and houses more than 150,000 historical objects across 8 halls displaying different er
This document summarizes information about a school in Prague, Czech Republic. It provides details about the school's programs, facilities, history, and involvement in various educational projects. Specifically, it notes that the school has around 200 students and 20 teachers, participates in health and inclusive education projects, has specialized classrooms and facilities for various subjects, and organizes trips and events connected to Czech culture and history. It also lists contact information for the school administration.
This document discusses the history and development of puppet theater in Uzbekistan. It notes that puppet theater has roots going back thousands of years and has always been popular. It then discusses how professional puppet theaters were established across Uzbekistan in the 20th century. The document focuses on how one regional puppet theater has continued rehearsals and preparations for an upcoming play remotely during the COVID-19 pandemic using online communication technologies. It describes the various stages of remote preparation, including working with artists, composers, analyzing and rehearsing the play, and ultimately presenting the finished play online.
The document summarizes an Erasmus project held in Lithuania from February 11-15, 2019 involving pupils and teachers from partner schools. The project focused on using arts like music, dance, theatre and crafts to develop life skills. Over the course of the week, participants engaged in various workshops exploring traditional Lithuanian music and instruments, shadow puppetry, movement and expression, and more. The exchanges aimed to improve skills like teamwork, communication, and creativity through interactive arts activities.
The document discusses a creative education experiment conducted in the Music Department at the University of Pretoria in South Africa since 2001. As part of an African music course, students are required to form small groups and create original musical arts productions integrating music, dance, drama, and sometimes costumes. The only guidelines are that the works must demonstrate multiculturalism and capture human-social themes relevant to Africa. Each year, the student groups independently organize and perform 5-10 minute pieces in public that are evaluated. The productions have stimulated remarkable creative works fusing cultures and musical styles. They address issues like unity in diversity, holding onto cultural roots amid modern influences, and acceptance of individual differences. The experiment suggests that given freedom and motivation, students have
Réalisation d'un dossier de présentation de l'événement d'art contemporain - Art Encounters". Réalisation d'interviews, bénévolat en tant que médiatrice culturelle.
Dans le cadre d'une année erasmus à l'université de l'ouest de Timisoara (Roumanie), cours de management de projet culturel.
Réalisé en anglais.
This document discusses several performance artists and companies that have influenced the author's work. It provides biographical information on Anne Bogart and her company SITI, focusing on her development of the Nine Viewpoints technique and emphasis on interdisciplinary collaboration. It also summarizes key aspects of the work of Theatre Ad Infinitum, Earthfall, Joseph Mercier, and Jasmin Vardimon Company, highlighting their use of physical theater, storytelling, and exploration of themes like gender and identity.
Snug Harbor Arts and Horticulture CurriculumW J O'Reilly
This document provides a curricular guide for Snug Harbor Cultural Center and Botanical Garden. It outlines the educational programs and resources available in various arts including theatre, visual arts, architecture, horticulture, and language/literacy. The guide describes courses focused on performance, art history, design, botany, gardening, and creative writing. Venues like art galleries, gardens, and historic buildings provide spaces for both appreciating and creating art. The goal is to set high standards for student learning in the arts and cultural subjects.
The document summarizes a cultural study tour to Shanghai organized by ENCATC and SIVA for a group of artists, administrators, and academics from several European countries.
The three-day tour aimed to understand cultural cooperation between China and the EU. It included visits to art exhibitions, universities, and consulates. The author learned about both modern and traditional Chinese art forms and was impressed by the Dutch consulate's cultural promotion on a limited budget. Meetings with Chinese officials were sometimes formal while interactions with foreigners were more informal and open. The tour provided insights into Shanghai's art scene and cultural issues in China.
The document provides information for participants attending the training course "Art as a tool against discrimination" taking place in Lviv, Ukraine from October 11-21, 2013. The training will bring together 30 youth workers and artists from 6 European and Caucasus countries to discuss using art to promote intercultural dialogue and inclusion through non-formal educational activities like workshops and presentations. Participants will be equipped with new skills and tools for implementing youth projects on these themes.
This document provides information for participants attending the training course "Art as a tool against discrimination" being held in Lviv, Ukraine from October 11-21, 2013. The training is organized by the Youth in Action Programme and aims to teach youth workers and artists how to conduct intercultural projects promoting inclusion through art. The 30 participants will come from 6 European and Caucasus countries and participate in workshops on using art for dialogue, meetings with local organizations, and developing partnership projects. The training will use non-formal educational methods and be held at the Hotel Hostel in Lviv.
The document discusses a research project aimed at identifying sustainable creative capabilities. It explores how creative researchers work through imagination and engaging with their field. The research project looks at doctoral journeys in the creative arts, research across arts and industry, and identifying artists' ways of working as creative knowledge. The goal is to understand sustainable creative capabilities needed for a globalized world economy. It calls for sharing case studies and narratives to contribute to building understanding of sustaining creativity.
The document discusses the role of art in promoting social transformation and equity in Latin America. It argues that art can be used as a tool for social participation and influencing public space. The Latin American Network for Art and Social Transformation (The Net) works with underprivileged communities, using art both as a means and an end to empower individuals, encourage new forms of cultural production and circulation, and foster more inclusive and participatory democracies. The Net takes a holistic and interdisciplinary approach, forming alliances across different sectors to address issues like poverty, education, human rights, and the environment through art and cultural activities.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like depression and anxiety.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
The document discusses key issues facing advocates for arts education in developing a national curriculum for Australia. It acknowledges that while governments now recognize the value of arts education, implementation requires concrete support. The author is a member of the advisory group developing the arts curriculum, which is working to resolve difficult questions like which artforms to teach, how often, and how to build on current practice that favors music and visual arts. The group is also considering issues like whether all artforms should be taught at all grade levels, how to balance visual and performing arts, and how many hours should be devoted to arts learning.
This document discusses approaches to fostering creativity and professional development in initial teacher education. It presents an arts-infused model for designing classroom contexts and learning experiences that deliver subject content while developing students' core skills. The model incorporates using the natural and built environments, communications, school grounds, and social/cultural/historical contexts. Students reported enjoying participating in a graphic novel project turning a text into a storyboard, acting it out, and compiling it into a booklet. They recognized the value of incorporating creative learning approaches into their own future teaching.
Creativity is an important concept in Scottish education. The document discusses how teacher training programs can help produce teachers who foster creativity in their classrooms and teaching. It reports on an initiative at the University of Strathclyde where students in a secondary teacher training program study an "Area of Professional Development" that uses real-world contexts as starting points for learning activities. These activities are meant to develop skills like collaboration, problem-solving, and setting subject learning within meaningful contexts.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory and reflective methods. Researchers aim to understand how creative partnerships can nurture student creativity in dance education in secondary schools in England. The project involves university researchers collaborating with teachers and artists as co-researchers at four school sites.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This presentation discusses the speaker's efforts to broaden students' understanding of dance through experiential learning opportunities. Students participate in dance experiences in diverse settings like forests, beaches, schools, hospitals, and with varied groups. These experiences challenge students' assumptions and increase their awareness of how dance can meet community needs. The speaker aims to create a sense of "significance" for each student and "solidarity" within the group to foster a community of learners. Experiential learning through diverse teaching experiences is key to developing students' understanding of dance's role and potential impact.
The document outlines Arts Council England's role in supporting arts education and cultural opportunities for children and young people. It discusses Arts Council England's investments in various programs over the past decade like Arts Award, Artsmark, and Creative Partnerships. It also highlights additional investments from other government departments. Looking ahead, it emphasizes the need to better match cultural supply and demand, engage more children and young people, and clarify local delivery models through partnerships.
Music Empathy And Intercultural Understanding Felicity Laurence October 2009 2WAAE
This document discusses how music may cultivate empathy and intercultural understanding. It describes an event where 300 children from different ethnic backgrounds sang together in South Africa, expressing unity. However, a later performance of the same music failed to achieve the same unity. This posed questions about music's power to influence emotions and whether the same music can produce different responses. It explores theories about how music may foster empathy through shared musical activities, but also acknowledges music's varied uses throughout history.
This document discusses a cultural policy program in Brazil called Living Culture that aims to promote youth participation in cultural activities. It examines how involvement in Culture Points, community cultural spaces supported by the program, contributes to youth cultural development and formation of citizenship. The program strives to strengthen democratic aspects of the relationship between the state and society and foster cultural creation among diverse groups. The research analyzed in the document found that participation in cultural actions through Culture Points helped youth express their identities, build social networks, and engage in political participation through artistic and cultural expression.
1) The Performing Arts Education Centre (PAE Centre) was established in 2007 by the Hong Kong Academy for Performing Arts (HKAPA) to promote arts education, curriculum development, and professional development through community engagement projects.
2) One such project was the smARTS Journey initiative launched in 2008 in response to concerns about developing future audiences for the arts. It involved a series of interactive arts programs attracting over 4,000 students through demonstrations, workshops, and school performances.
3) Surveys found over 90% of participants said the program increased their interest in the arts and ability to appreciate performance. The project was renewed for 3 additional years based on its success in engaging students and the community with the
This document discusses the challenges facing traditional Chinese opera as it seeks to maintain cultural identity in modern China. It notes that while reading Chinese classics has seen a revival, performing arts have received less attention. The Chinese government now aims to promote opera in schools, but questions remain as to what pieces truly represent traditional culture given issues like outdated ideology. Selecting arias that appeal to students while avoiding problematic messages is difficult. Overall, the document examines the complexities of using performing arts to both connect with cultural roots and remain relevant in the modern era.
1. The document discusses research priorities in arts education as outlined in a 2006 UNESCO report and reflects on progress made towards these recommendations.
2. It notes that while some successes have been achieved in areas like evaluating arts education impacts and establishing networks, more comprehensive progress across UNESCO members has been lacking.
3. It suggests the need to develop a concrete research proposal and working group at the upcoming WAAE09 meeting in order to move from general recommendations to specific action towards arts education research.
This document summarizes action research conducted in four UK schools between April and July 2009 to improve citizenship education through integrating art and digital media. The research involved university staff, teachers, and artists collaborating to design lesson plans exploring identity and Europe. Key findings were that discussing images effectively taught about identity but Europe needed more depth. Time limitations restricted coverage. The summary concludes with recommendations for an online teacher training product, including case studies, lessons, and materials addressing identity, discussing images, and exploring European identity through art.
The document is a chapter from a book that discusses a community arts project in Clanwilliam, South Africa called the Clanwilliam Arts Project. It provides background information on the project, which engages school students in creative arts activities based on stories and icons from the Bleek & Lloyd archive of /Xam (San) oral traditions. The project aims to provide arts access, train facilitators, and reconnect the community to its /Xam heritage through performance. It discusses how heritage is an active process of engaging with the past in the present, and can be transformative.
This document discusses an ongoing project in Ghana that addresses key issues in art education through collaborative efforts between various educational levels. [1] The project involves masters students from Kwame Nkrumah University of Science and Technology creating teaching and learning materials and lessons for primary school students with the goal of improving art education practices. [2] It also aims to provide professional development for primary school teachers and pre-service teachers at a nearby teacher training college. [3] The project has been successful in addressing issues like lack of resources and training through creative solutions and bringing together different parts of the educational system.
The document discusses the history of arts education in the UK and theatre for young audiences over the past 60 years. It notes that theatre for young audiences has grown significantly, with most UK children now experiencing professional theatre productions in schools. This is largely due to the work of many small, independent theatre companies touring schools, as opposed to initiatives from the government or large theatre organizations. The document concludes by recommending policies to support independent theatre companies through funding and research, and ensuring time for arts experiences within school curriculums.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
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Custom modules offer the flexibility to extend Odoo's capabilities, address unique requirements, and optimize workflows to align seamlessly with your organization's processes. By leveraging custom modules, businesses can unlock greater efficiency, productivity, and innovation, empowering them to stay competitive in today's dynamic market landscape. In this tutorial, we'll guide you step by step on how to easily download and install modules from the Odoo App Store.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
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These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
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Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
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1. The professional arts education system in Russia (and the Soviet Union) used to be academic in the
best sense of the word. The network of state music, ballet and fine arts schools for children,
conservatories and specialised higher education institutions has survived, despite a scarcity of
budget resources and low salaries for teachers. There is ageing and a partial "brain drain" due to
high demand abroad, especially for music and ballet teachers. Yet in 2002, the number of graduates
from state higher education institutions in culture and arts surpassed that of 1990 and the
competition for those who would like to enter is higher than the average.
Traditionally Russia has the unique national system of proficient artistic training, beginning from
childhood to adult age, and based on a selection of the most gifted youth. The professional arts
education system in Russia (and the Soviet Union) used to be academic in the best sense of the
word. The network of state music, ballet and fine arts schools for children, conservatories and
specialized higher education institutions widely developed in the Soviet time has survived, despite a
scarcity of budget resources and low salaries for teachers. Besides the professional art schools
Russia traditionally had the rich network of the amateur art at the so called houses and palaces of
culture where one could study music, ballet, fine arts and theatre. Both professional and amateur arts
education for children and adults was traditionally under the Russian Ministry of Culture, besides,
the special after school education network for children and youth was perfectly developed within the
Ministry of Education and Science. Each city district was obliged to have a Palace or a House of
youth creativity, besides numerous community clubs, art centers for children and youngsters. This
after school activities in a way replaced the general arts education at schools, so in the ordinary
school curriculum there were no more than 2 hours a week for both music and visual art, and no
drama or theatre classes at all.
Theatre for children and youngsters in Russia has never aimed the professional training as it
traditionally was in music, ballet and fine arts. So, youth theatres were always a part of the amateur
network or after school education. The amateur art network partly managed to survive after
Perestroika. Unfortunately, but a big amount of art centers clubs, creative centers, culture houses
after Perestroika were converted into office buildings, restaurants, casinos, so a big amount of the
youth amateur theatres were simply thrown out. But the system of after school education was lucky
to survive, and within this system children and youth amateur theatres exist and operate successfully
despite the poor budget resources and low salaries for the staff.
As theatre is a very special and artistic space, it may target a rich variety of goals: esthetic
development, enrichment of communicative skills, personal growth, emotional area improvement,
socializing, etc. Each theatre leaders are free to create their own pedagogical platform for their work
with children mostly routed in the traditional Russian theatre principles. These principles are the
following:
• Humanistic and spiritual mission of the theatre art (“Theatre is a chapel” – Stanislavskyi)
• Ethical basics of the theatre cooperation
• High level of the artistic quality
• Mainly “Living theatre” is the basics for Acting
Nowadays the values of show business merge into the traditional Russian theatre ethics, and as a
result into the amateur children and youth theatre as well. That could be dangerous for the traditional
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2. theatre ethical background, and right now nobody knows how it would turn out in the future for the
Great Russian theatre arts.
One of the oldest and most famous amateur youth theatres in Russia which carefully keeps the
traditional ethical values is the St.Petersburg Theatre of Youth Creativity. It is housed in City
Palace of Youth, the former Anichkov Palace, originally constructed for the daughter of Peter the
Great. In 1937 the Anitchkov Palace was transformed into the Children and Youth Creative Centre,
and since any person at the age of 4 to 18 is free to take classes in any area of the human being’s
activity: arts, sports, crafts, space exploration, geology, navigation, etc. The Palace has its own
sailing-ship, and a summer camp as well. Today there are 15.000 children and young people spend
their after school time attending more than 600 clubs of interest.
The Theatre of Youth Creativity or Teatr Younosheskogo Tvorchestva (TyuT) is one of those clubs.
TYUT was established in 1956 by the outstanding teacher and theatre director Matvei
Grigorievitch Dubrovin, and has been known as the unique pedagogical system, has been
operating successfully for more than 50 years and brought up thousands of alumni. All of them came
to Matvei Dubrovin at their teen age, and now approve they were then captured by the high spirits of
theatre world, and Dubrovin’s great personality.
TYUT was thought out by Matvei Dubrovin as a fabulous and free space, and a child could use it to
discover the world and create his/her personality. In the very depth of the TYUT’s philosophy one
can find the Stanislavsky’s idea that “THEATRE IS A TEMPLE”. Stanislavsky created Moscow Art
Theatre (1898) according to this very strong belief, totally reforming the ethical background of
Russian theatre which used to be the most sinful place in the world. Proper parents did not allow
their daughters to become actresses, actors were supposed to be buried beyond the cemetery fence.
Our theatre facility has a large and professionally equipped stage, many rooms for rehearsals and
workshops, a cash desk and a cloakroom, and a buffet. Our repertory includes both Russian and
foreign plays such as “Syrano de Berjerac” by E.Rostan, “Romeo and Juliet” by Shakespear, “Uncle
Vanya” by Chekhov, “The Miracle Worker” by Gibson, and “Pinnoccio” by Alexei Tolstoi. We
also perform original scripts written by the children of the Palace Theatre. Performances are held on
weekends, and classes and rehearsals during the week. There are 150 children and young people
from 9 to 19 and 22 adults in staff working at the theatre.
In 1956 we had none of these marvelous possibilities but a tiny room in a basement where our
Teacher and Director Matvei Grigorievitch Dubrovin (1911-1974) was working out his unique
pedagogical system named Theatre of Youth Creativity.
STRUCTURE
Everybody attending the Theatre has to take two classes: Acting Group and a Creative Technical
Workshop. It means that the child is supposed to develop his/her creativity in both areas.
According to the Dubrovin’s idea a workshop for a person is no less than a magic “window” to the
world. Each workshop is based on a “subject” which in Dubrovin’s context means the essential
workable elements of human life. The “subject” was vital in Dubrovin’s pedagogy because without
this “ground element” teaching would be superficial with no expansion of the human personality.
Most of the subjects deal with the “mode of life” for the era portrayed.
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3. They are eleven Creative Technical Workshops: Stagehands, Stage Managers, Theatre Carpenters,
Costume Construction, Wardrobe, Make-up Artists, Prop Masters, Administrators, Sound Operators,
Lighting Designers, and Painters. Students are given four months to rove and investigate these
areas. Then they must choose their field of interest. Once they have chosen they will be trained in
that technical area for five or six years.
There are five directors and acting teachers at the theatre. Each of them has their special ideas and
programs, but basically all of us work according to the Stanislavsky and Vakhtangov Acting
Methods. (Vakhtangov is Stanislavsky’s great student and disciple. His idea was to combine both
“Living” and “Presenting” kinds of theatre.) Basically there are three age groups with 15-20 children
in each. The goals of the first year educating is to help kids in opening up, developing their
creativity and imagination, teaching them the beginning skills of the Living Theatre. Usually the
first year ends up with a show on the basis of a piece of drama, or a self-written script, or some
acting excersises and improvisations. Besides that we try to help them in solving some of their
psychological problems: raising self-esteem and self-awareness, improving communicative skills,
exploring their personalities.
Next year all of the former freshmen find their way into various Creative Groups that had already
existed or new-arranged. In these groups they work on a production.
Production is a powerful spiritual and cultural space for bringing up a child’s soul. Therefore
Theatre bears a huge responsibility for all energetic elements of the production: both spirits and
quality of dramaturgy, directing, lighting, costumes, sound, set. Dubrovin wanted to work seriously
with children because he took them seriously and trusted them much. IIt should be of a sharp
importance to stage this very story with this particular troupe at this period of time. We always try to
pick up good pieces of drama with deep ideas and talented dramaturgy to bring up the young
people’s taste..
Playing a role is very much about deep understanding a super-super objective of a production and a
character. A thoughtful mentor could help a student to work out his psychological problems with
casting him on a certain role. A big number of acting skills are necessary for creating a character:
analysis of a play and a role, discovering the “seed” and the background, carrying out the logic, etc.
Besides that the actors have to be flexible and play in ensemble, get a sense of genre and the style,
and still to be confident, relaxed and expressive. Basically we avoid using special terms in working
with children not to confuse their creative nature which is still very close to the nature of acting.
Totally we spend about two years for creating a show rehearsing four-six hours a week, and very
often hold successful productions for about three-five and in some happy cases ten years in our
repertoire. As to the actors they keep playing their parts in ready productions and at the same time
get some new roles in other ones.
Sometimes we make shows based on our kids’ personal stories, but mostly they make plenty of
small and big productions themselves. Some of them are brilliant, some of them not, but basically it
doesn’t matter. We support all of them, and it’s a significant part of the community life.
ADULTS
There are 22 adults in our staff, and 20 of them are our former students. They came here in different
periods of the theatre life and were captured by Children and Theatre. They imbibed in the ideas of
the Dubrovin’s pedagogical system and try to shape their skills according to its demands. They are
both experts in their professional theatre areas and teachers, and rather educated people. Twelve of
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4. the staff has their Master’s in Theatre or Education, one of them have two Master’s, one of them –
three. Eight teachers are currently studying in different Colleges and Universities. But besides that
they are very creative and curious people open to new ideas, humor and fun.
ALUMNI
In more than forty years approximately 3,000 people have graduated from TyuT. One can meet them
all over the world. They are of various ages and occupations, but “TyuT” is a kind of a parole for all
of them. They believe they recognize TyuT members if even they never met before. Many of our
alumnies became theatre people, and some of them are really famous. Of course we’re proud of
them as they make a lot for our Country and Culture. I will be happy to name just some of them:
Lev Dodin - the Honorable Fellow of Russian Arts and the Artistic Director of the world famous
Maly Drama Theatre (now - Theatre of Europe). Michail Stronin is the Chief of the Literary
Department of the Maly Drama Theatre, and a famous translator. Veniamin Filshtinsky is the Chair
of the Directing Department of the Theatre Academy of St.Petersburg and a very successful and
well-known theatre director. By the way his son Gleb Filshtinsky who started as an electrician in our
theatre now is one of the best Lighting Designers in St.Petersburg. Sergei Solovyov came to the
theatre in 1956 and was an actor and a carpenter and an active theatre member. Now he is the
National Artist of Russia, a Vice President of the Russian Cinema Union, a very famous movie
director.
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