Refusal and Adhesion: resistance between studies of cognition and theater education

ABSTRACT This article presents reflections on certain public education policy guidelines, oriented to the labor market and exemplified by Organisation for Economic Co-operation and Development (OECD) recommendations, concerning their influence on artistic education and, more precisely, theater education. It addresses existing problems in the field of education in Brazil and France, with emphasis on conceptual causes. In a possible contribution to debates on utilitarianism in theater education, the concept of resistance, present in Michel Foucault’s works, is used as mediator in the utilization of cognition studies to analyze the planning, practice and evaluation of theater classes in primary schools.

Formation of Creative Personality of a Theater Teacher: Yaroslavl Theater School Experience

The article explores the process of formation of creative personality of a theater teacher. The author analyzes the experience of Yaroslavl theater school, which formation was started in 1962 by F. E. Shishigin, a creative leader of the Theater named after F. G. Volkov, one of the major Russian directors of this epoch, and the initiator of the opening of the theater vocational school in Yaroslavl. At the time when Yaroslavl theater school was coming into being, F. E. Shishigin opened a teachers’ creative laboratory, which work had a significant influence on the formation of creative personalities of the teachers in the school. The process of professional formation of creative personality of a theater teacher within the framework of the teachers’ creative laboratory of Yaroslavl theater school, described in the study in retrospect, gave the author an opportunity for a profound description of the process of formation and development of the theater school phenomenon itself. The material under study allowed the author to draw an important conclusion that the establishment of the theater institute on the basis of the theater vocational school in Yaroslavl in 1980, didn’t affect the continuity in the existingpedagogical tradition (school). This, in many ways, was facilitated by the continuous work of the teachers’ creative laboratory. Using various methodological approaches (primarily cultural and theatrical ones) to comprehend how creative personality of a theater teacher is being formed, the author of the article concludes that the study of cultivation of creative personality of a teacher is relevant on the territory of the modern theater school. Analysis of the pedagogical heritage of F. E. Shishigin contributes to the body of cultural and theatrical knowledge of theater pedagogy, theater school in general and Yaroslavl theater school in particular. The examined topic will be interesting to specialists in the field of theater education, as well as culturologists studying the creative personality phenomenon.

Early 20th Century Studio and Theatre Innovations of Vs. E. Meyerhold and S. E. Radlov

The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the beginning of the XX century. The unique theatre school-studio became an autonomous art structure, independent of the staffing and financial demands of repertoire and private theatres that studios during this period experienced. For Meyerhold and other teachers of the Studio, particularly, Vladimir Solov’ev, a top priority was reviving the stage technique commedia dell’arte. The student plays of the studio fully reflected the undoubted successes and, naturally, the vulnerabilities inherent in such innovative searches. The article analyzes the detailed list of stylistic, mise-en-scenic and decoration production solutions proposed by Meyerhold and Yuri Bondi, the opportunity to improvise in a pre-prepared directorial plan. Sergei Radlov, a participant in the Studio at Borodinskaya, continued his creative search in the approach proposed by Meyerhold for the development of an improvisational synthetic theatre. Radlov’s directorial and pedagogical work in the studios of Kurmascep, “Popular comedy” (Narodnaya Comediya), etc., at the Institute (later Technical School) of stage arts deserves additional consideration in terms of the scientific analysis of the evolution of his innovative views at the beginning of the century and their interconnection with traditional approaches to theater education and stage practice of those years.

INTERAÇÕES ENTRE TEATRO E GEOGRAFIA NA PRÁTICA DA EDUCAÇÃO GEOGRÁFICA

O artigo discute a contribuição do teatro para a prática da educação geográfica em diversos contextos sociais, por considerar que a linguagem teatral interage com a Geografia, sendo importante para a leitura e compreensão da realidade em suas múltiplas dimensões, auxiliando-nos a percebermos nosso papel na construção e transformação do mundo. O texto resulta de uma pesquisa de graduação realizada no curso de licenciatura em Geografia da Universidade do Estado da Bahia, Campus IV, Jacobina, que objetivou analisar as contribuições do teatro para a apreensão de temas emergentes da Geografia, tendo como lócus de investigação o grupo de teatro Artefato, de uma cidade do interior da Bahia. A metodologia da pesquisa foi qualitativa de caráter exploratório. Também foi feita pesquisa bibliográfica, observação in loco, entrevistas, grupos focais compostos por homens, mulheres e jovens, bem com análise documental, por meio de fotografias do referido grupo de teatro. Os resultados da pesquisa nos revelam que o teatro, ao discutir temas geográficos por meio de sua ludicidade nos espetáculos, contribui para a leitura geográfica da realidade e proporciona a prática da educação geográfica, com o desenvolvimento do raciocínio e pensamento espacial, assim como a formação cidadã. PALAVRAS-CHAVE Teatro, Educação, Geografia, Conhecimento, Linguagens. INTERACTIONS BETWEEN THEATER AND GEOGRAPHY IN THE PRACTICE OF GEOGRAPHIC EDUCATION ABSTRACT The article discusses the contribution of theater to the practice of geographic education in different social contexts, considering that theatrical language interacts with Geography, being important for reading and understanding reality in its multiple dimensions, helping us to perceive our role in the construction and transformation of the world. The text is the result of an undergraduate research carried out in the degree course in Geography at the Universidade do Estado da Bahia, Campus IV, Jacobina, which aimed to analyze the contributions of the theater to the apprehension of emerging themes in Geography, having as a locus of investigation the group of theater Artifact, of a city in the interior of Bahia. The research methodology was qualitative and exploratory. Bibliographic research, on-site observation, interviews, focus groups composed of men, women and young people were also carried out, as well as documentary analysis, using photographs of the aforementioned theater group. The results of the research reveal that the theater, when discussing geographic themes through its playfulness in the shows, contributes to the geographic reading of reality and provides the practice of geographic education, with the development of spatial reasoning and thinking, as well as citizen formation. KEYWORDS Theater, Education, Geography, Knowledge, Languages.

The Effectiveness of Puppet Theater in Developing the Linguistic Abilities of Third Primary Students: فاعلية مسرح الدمى (العرائس) في تنمية قدرات طلبة الصف الثالث الابتدائي الأساسي لغوياً

The effectiveness of the puppet theater in developing the abilities of third-grade primary students linguistically Summary. This study aimed to know the effectiveness of the Puppet Theater (puppet theater) to develop linguistically the capabilities of third primary students. The researcher used the experimental approach, the study sample consisted of third primary students (50) male and female students, and the study showed the following results: Identifying the effectiveness of teaching through the puppet theater in developing Arabic language skills (reading, writing, speaking, listening) at Third grade students, there are statistically significant differences at the level between the mean levels of the control group and the experimental group in the measurement (pre and post) of the total score for language skills tests that are attributed to the effectiveness of teaching through the puppet theater, achieving a high degree of effectiveness in teaching by theater (puppet) method To enable students to have four Arabic language skills. There are also statistically significant differences at a level between the arithmetic mean for the experimental group and the control group in developing Arabic language skills (reading, writing, speaking, and listening) and they were in favor of the experimental group. The researcher recommended the following: The need for vocational preparation for some basic education teachers through holding training courses on work and school theater performance and how to communicate and deal with that, because the lack of a competent teacher leads to a failure of theater activity. And the need to allocate hours in the educational curriculum for the theater on a weekly basis, to least two hours. Requesting the competent authorities to include theater education in school curricula.

Development of Theater Education Textbook with Character Education and Local Wisdom Through Active Learning to Improve the Students’ Script Writing Ability

The purposes of this study are to describe: (1) the students’ and lecturers’ needs on the Theater Education Textbook, (2) the development of the textbook model, (3) the effectiveness testing on the designed textbook, and (4) the result of the textbook dissemination. This research was Research and Development using Borg and Gall’s framework that consisted of 4 stages: (1) exploration, (2) model development, (3) model testing, and (4) dissemination. The research approach used in the exploration stage was a qualitative descriptive approach. The data were collected through documentation study, observation, in-depth interview, and questionnaire. The data were then analyzed by using interactive analysis model. Model testing was done by experimental research. The results of this research were: (1) the exploration stage showed that the Theater Education Textbook used in Undergraduate Elementary Teacher Education (ETE) Program of Sebelas Maret University, Muhammadiyah University, and Slamet Riyadi University Surakarta did not meet the students’ and lecturers’ needs, (2) the theater education textbook was developed through preliminary field testing; and (3) testing phase of textbook effectiveness was done through main field testing. The value of t-obtained is 0.17 and t-table (0.05; 173) = 1.64. Thus, the critical area {t <-1.64 or t> 1.64}. Since t-obtained (0.17) < t-table (1.64) H0: μ1 ≠ μ2 was accepted. This means that the theater script writing textbook with character education and local wisdom was able to improve the students’ scriptwriting ability.