Moral Dialogues, Caring Dilemmas (a Theater Workshop)

2019 ◽  
pp. 132-156
Keyword(s):  
Theater Workshop

scholarly journals 150 ore e sperimentazione didattica: il caso del teatro operaio a Terni

2021 ◽  
Vol 8 (1) ◽  
pp. 49-59
Author(s):  
Monica Dati
Keyword(s):  
Social Reality ◽  
Communication Tool ◽  
The Social ◽  
Unique Experience ◽  
Theater Workshop ◽  
The Coordinator

The paper has the porpose to explain how the contractual statute of the150-hours promoted an interesting reinterpretation of culture and schooling and how the practical activities of the courses were based on the experience of workers. An overview to contextualize the Terni workers’ case who decided to use the paid hours to explore the importance of the theater as an educational and communication tool to transform the social reality. A report of a unique experience made possible by the support of LiberEtà Cgil which has provided the contact of the coordinator of the theater workshop, Gian Filippo Della Croce (Fiom).

scholarly journals “Show, don’t tell!”

2007 ◽  
Vol I (1) ◽  
pp. 52-65
Author(s):  
Bettina Matthias
Keyword(s):  
Foreign Language ◽  
Language Teachers ◽  
Target Language ◽  
Foreign Language Teachers ◽  
Improvisational Theater ◽  
Experimental Workshop ◽  
Theater Workshop ◽  
Language Environment ◽  
Linguistic Proficiency ◽  
Do So

While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom. While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom.

Theater School

2013 ◽  
pp. 462-472
Author(s):  
Maria Antonella Perrotta
Keyword(s):  
Learning By Doing ◽  
Traditional Learning ◽  
Second Stage ◽  
The Third ◽  
Whole School ◽  
Theatrical Representation ◽  
History Of ◽  
Theater Workshop ◽  
Theoretical Stage ◽  
The University

The “Teatro a Scuola” (Theater School) project, directed at 14-18 year-old, Real innovation lies in the involvement of students as writers, in a collaborative theatrical storytelling. During the theater workshop the teacher in charge of the project planned and implemented with the participants experimental activity that was inserted within the Italian program. Its purpose is to stimulate participants’ creativity. It aims at to become an integral part of the activities foreseen by the school syllabus and to offer, next to the traditional learning method, a form of learning by doing. The project consists in three distinct, yet interdependent, moments: a first theoretical stage, which foresees a short series of lessons on the history of theater; a second stage dedicated to a theater workshop (elocution, lively reading, mime, song, dance etc.); and a final show, i.e. a genuine theatrical representation for the whole school and all citizens. Characteristics of innovation and experimentation of the project were that: students were not only actors but also authors and screenwriters; also, the project involved elders of the University of the Third Age (NGO)

scholarly journals Desarrollando cambios en nuestra lectura del mundo: Una propuesta pedagógica desde la investigación acción participativa

2017 ◽  
Vol 21 (2) ◽  
pp. 1
Author(s):  
Simona Trovato-Apollaro
Keyword(s):  
Pedagogical Practices ◽  
Human Beings ◽  
Augusto Boal ◽  
Holistic View ◽  
Life Styles ◽  
Raising Awareness ◽  
Audio Recordings ◽  
The World ◽  
Theater Workshop ◽  
Participative Action Research

This paper presents the results of a research conducted with the group Women of Theater from Alajuelita. The research intended to answer the question of how to develop changes in our reading of the world. The goal of our study was the co-researchers’ raising awareness process leading them, from themselves, and by means of the abovementioned group, to read, interpret and reconstruct the environment in order to yield transformations in their lives and community. Through reflection, the process was investigated on the basis of the pedagogical practices of Augusto Boal´s Theater of Oppressed (Boal, 1980), as they were applied at the theater workshop together with the group of Women of Theather, at the library of the Educative Center Los Pinos in Alajuelita. The main elements of the implemented methodology respond to the Participative Action Research (PAR), where the dialectical participative relationship and the collective discussion make it possible the creation of learning. We used audio recordings as data collection tools, which were later systematized for their analysis. The paradigmatic position assumed was inspired by an approach related to the concept of complexity. This concept proposes a holistic view of reality, life, and, so, of pedagogy. According to such a view, we all are one, and the multiplicity is interconnected with each one of its parts, in continuous entropy. Under this approach, where the world is a system of systems interconnected among themselves, the main finding was to perceive pedagogy as an instrument for humanization, a magical object capable of valuing diversity and transforming our thoughts, life styles and values, and, in consequence, our reading of the world. We considered that such an important finding might help to develop changes in human beings and might inspire us to assume an ecological perspective towards relationships. Such a perspective might give rise to deep transformations in our social, political and economic structures. 

scholarly journals The creativity of the adolescent manifested in the theater workshop

2022 ◽  
Vol 6 (40) ◽  
Author(s):  
Diana Luz Perez Hernandez ◽  
Ana Rosa Avalos Ledesma ◽  
María Isaura Morales Pulido
Keyword(s):  
Educational Institution ◽  
Individual Student ◽  
Self Perception ◽  
The Creation ◽  
Theater Workshop ◽  
Creative Capacity

During the period of development of adolescents, each and every one of the processes that make them undergo constant changes, it is necessary as an educational institution to provide a space for them to identify with their peers, and in turn, allow them to manifest their skills, abilities and attitudes. We propose the space of the theater workshop as the appropriate environment for students to manifest their creative capacity, encouraging its strengthening, to later materialize in a staging, this can range from the generation of dialogues for a play, the creation of characters, to the construction of scenarios and objects that should appear in each scene. The importance of the fact that students can learn in a meaningful way within an artistic environment is emphasized, in addition to contributing to the formation and consolidation of a positive self-perception as an individual, student, artist and social subject.

«THE MOUNTAIN GIANTS» BY LUIGI PIRANDELLO IN RUSSIA: TRANSLATORS’ READINGS AND THEATRICAL RECEPTION

2021 ◽  
pp. 79-89
Author(s):  
Alexandra Bibikova
Keyword(s):  
Comparative Analysis ◽  
Russian Translation ◽  
Luigi Pirandello ◽  
Video Record ◽  
History Of ◽  
The Creation ◽  
Theater Workshop

The article briefly discusses the history of the creation and staging of the last unfinished play by Luigi Pirandello «Mountain Giants» (1936) in Italy. The main focus is on staging and interpretation of Pirandelloʼs play in Russia, namely on the E. Kamenkovich and P. Agureeva 2014 production at the Moscow Theater «Workshop of Pyotr Fomenko», for which a new translation of the play into Russian was prepared. The comparative analysis of the text of Pirandello's play in Italian and the video record of the performance at the «Peter Fomenkoʼs Workshop» was carried out, which aim is to identify peculiarities of this Russian translation and changes made by the producers while staging the Pirandelloʼs play for the Russian-speaking audience, as well as to understand how the directors overcome the problem of the missing ending.

Moral Dialogues, Caring Dilemmas (a Theater Workshop)

2019 ◽  
pp. 132-156
Author(s):  
Krista E. Van Vleet
Keyword(s):  
Young Women ◽  
Moral Dilemmas ◽  
Social Hierarchies ◽  
Theatrical Performance ◽  
Theater Workshop ◽  
Implicit And Explicit

This chapter focuses on the implicit and explicit ways that individuals navigate moral dilemmas and produce gendered and racialized identities. Analysis centers on the performance of a play, “Natasia’s Story,” a dramatic rendering of “a mother like us” for an audience of staff, children, and volunteers. This play was collaboratively created, produced, and performed by young women at Palomitáy. Holding the words of characters (in various scenes) in tension with the situation (a theatrical performance) shows how the unspoken assumptions and embedded dialogues of characters and performers are entangled with institutional configurations of power. Attention to the micro-politics of interactions illuminates young women’s sense of themselves as daughters (as well as mothers) and the simultaneous negotiation of moral dilemmas and social hierarchies.

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