Katedra výchovné dramatiky

stripe1stripe2stripe3stripe4stripe5stripe6

CREATIVE DRAMA - Journal on Drama Education, Literature and Theatre for Children and Youth

3/2017

REFLECTIONS-CONCEPTS-CONTEXT

Kateřina Dudová: Paradoxes of Children’s Theatre in Russia – Article about the recently formed movement of children’s theatre that strives to do children’s theatre “differently”, in other words using creative drama methods. It is centred around the Moscow-based club Children–Theatre–Education that was established in 2009 as a result of several active educators coming together; it was further supported by a teacher’s professional magazine who expressed interested in the project. Most of the Information presented here was taken over from the article Paradoxes of Children’s Theatre Movement written by a senior teacher at the Department of Aesthetic Education Alexandra Borisovna Nikitina. She describes the journey of Russian theatre for children from its beginnings until nowadays as well as the paradoxes faced by the field nowadays. In addition, she explains what kind of position children’s theatre occupies in today’s Russia and what developmental opportunities there are.


APPLIED DRAMA-EDUCATION-SCHOOL

Anna Hrnečková: Gallery Education in the Czech Republic Today – Gallery education is a field that has been successfully developing on the grounds of Czech museums and galleries since the 1990s, taking great advantage of drama education methods. To chart the current state of gallery learning, the author of this article has attended programmes in several Czech and Moravian galleries, namely those in Kutná Hora, Brno, Ostrava, Olomouc and Kroměříž. She makes readers acquainted with the ways education departments work, introducing both the staff and the concepts and policies behind the programmes. She appreciates that the programme offer is in general well-organised and user-friendly and praises the high quality of some of the programmes.

Olga Buciová: Jurkovič Villa Possessed by Evil Spirits – A brief report of the hands-on educational programme with theatrical elements that occasionally takes place in Jurkovič Villa in Brno under the patronage of the educational department of the Moravian gallery.

Denisa Tchelidze: Drama in Education in Retzhof: Changes – Challenges – Choices: The art of doing the “right” thing – The author of the article took part in the 21st year of the Drama in Education Congress held from 7 to 12 April 2017 in Retzhof (Austria). The event takes place every other year and is organised by the International Organisation of Amateur Theatre (AITA/IATA) in collaboration with IDEA AUSTRIA and the ÖBV Theater. The article presents a synoptic overview of the whole conference, but its main focus lies in a description of the four all-day seminars offered to participants. Susanne Schrader (actress, head of Theaterpädagogik AGORA – Theater, Sankt Vith, Belgium) led a seminar called Devised Theatre: the way towards theatrical shape. Prior to the event, she had asked participants to bring with them a story featuring the theme of courage and an object related to this story. Both served as introductory impulses for joint creation with strong emphasis put on group sensitivity and natural story-telling. Multi-layer compositions of stories, places and actions were created by the workshop participants. Armin Staffler (drama and theatre teacher, writer and political scientist from Innsbruck, Austria) led a workshop called The Theatre of the Oppressed according to Augusto Boal and David Dimond: The Policeman-in-the-Head Technique. The seminar led by Lisa Woynarski (performance-maker, researcher and eco-dramaturg from the Royal Central School of Speech & Drama, London, United Kingdom) called Environmental Drama encouraged participants to look at their lifestyles as well as their attitudes to environmentalism and make an attempt at linking them up with artistic performance events. Gregor Tureček (director and drama teacher from Munich, Germany) led a seminar called Director’s Work in Political Theatre in which he examined how the process of directing a piece of theatre changes when it focuses on communicating political issues. Interestingly, Romeo and Juliet by Wiliam Shakespeare became the material on which the main theses were demonstrated. The seminar consisted of a lecture (including a video of a part of a performance directed by Tureček himself) and discussion time where participants worked in groups to outline their dramaturgical and direction concepts.

Jiří Forejt: Film Education as Related to Drama Education – The author of the article is a proponent of audio-visual and film education. Believing there are significant common grounds between this field and drama education, he tries in this article to put these two disciplines side by side and compares their premises, the tools they use and the goals they try to meet. At the same time, he gathers arguments for introducing film education as a separate subject in primary and secondary schools.


DRAMA-ART-THEATRE

Michaela Váňová: Taking Your Class to the Theatre – An educator at the Prague-based Minor theatre, the author of this article has been engaged in a development of educational programmes (workshops, discussions and performance worksheets), all of which are intended to enhance and deepen the experience of young spectators. M. Váňová conducted a survey among teachers asking whether they took their pupils to the theatre and, if so, whether they carried out any performance-related activities before and after the visit. Then she devised a workshop for teachers in which participants themselves could see whether and in what ways the preparation and subsequent reflection of a theatrical experience is meaningful for them. They received stimuli for thinking about the children-education-theatre triad and became acquainted with suitable drama methods that they may use before visiting a performance with their primary school pupils. They also discussed the specifics of theatre for children and in the end attended a performance and tried out some of the methods of reflecting upon the performance with their students. The article also presents a complete syllabus of the workshop.

Anna Bura: Theatre Workshop Leader, or Theatre Educator? – Some thoughts concerning workshops for children and youngsters visiting performances in professional theatres.


REFLECTIONS-REVIEWS-INFORMATION

Roman Černík: Drama, or Theatre Education? Pondering over the book Theatre and Education by Silva Macková
Hana Cisovská: Considering Considerations about the Field: Drama, or theatre education, that is the question!
Authors of both articles are university pedagogues and distinctive personalities of Czech drama in education. Both have taken a close look at the new book Theatre and Education (JAMU, 2016) written by Silva Macková who has long been head of the Theatre and Education studio at the Faculty of Theatre at the Janáček Academy of Performing Arts. Her book is based on the experience gathered during many years at the Theatre and Education studio as well as various theoretical sources. It makes a contribution to the discussion on the forms, goals and directions that the development of Czech drama in education might take. It discusses three basic issues: the contents and terminology used in the field (with a clear intention of re-defining it); the methodology of drama and its relationship to theatre; evaluating the process of transforming a drama-in-education department into the Theatre and Education studio. The book is a significant testimony to the drama education as conceived by the “Brno school“. In its core lies the proposal of the book’s author to rename the field so far known as drama education, instead calling it theatre and education. In other words, the aim is to detach drama education as a purely pedagogical discipline from the field that strives to teach theatrical skills and competences. Although both reviewers understand the arguments behind this proposal, they find it somewhat questionable as it might, in their opinion, bring confusion into the educational system instead of enriching it. They suggest that the incentive behind the proposal may be the effort of the “Brno school” to gain more autonomy in the field.

ARTS FOR CHILDREN AND YOUTH

Luděk Korbel: I Never Know the Ending of a Story – An interview with Jean-Claude Mourlevat – An interview with one of the most noticeable contemporary French writers for children featured as a guest at the Tabook festival for small book publishers held in the South-Bohemian town of Tábor. Czech readers are familiar with J. C. Mourlevat thanks to his two books being translated into Czech, Winter’s End and The River that Flows Backwards. In the interview he speaks about his writing, sources of inspiration and attitudes concerning art.

Kristýna Plíhalová: Don’t Judge or you Shall Be Judged – The author writes on the activities of the remarkable organisation Ašta šmé that brings together people from the spheres of social work and arts who share the desire to comment on social issues by means of elaborating real-life stories. They have made several books of comics illustrating true stories of four children who went through orphan homes, adoption process or foster care. They try to capture how life in an orphan home shaped them, what was their relationship to their original and new families and how they succeeded in integrating into the society.

Eva Machková: Foreign Legends Part 3: Across Europe – The author of this overview points out books of legends in which drama teachers can find material for their work. The third part focuses on a selection of legends from all over Europe and over the span of centuries. To conclude, E. Machková argues why it is important to work with foreign legends, one of her key arguments being that becoming familiar with the culture heritage of other nations can make significant contribution to mutual understanding among people from different cultural backgrounds.

Luděk Korbel – Michaela Lažanová – Lucie Šmejkalová – Kristina Procházková – Klára fidlerová – Matěj Hájek – Marta Žilková: Reviews of new books and performances for children and youth – Reviews of new books for children that might inspire drama teachers and leaders of children’s theatre groups.

CHILDREN’S STAGE 54

The text supplement of Tvořivá dramatika presents two original texts upon which two performances at the 2017 Children’s Stage festival were based. The first of these called Psi, neztrácejte naději (Dogs, Don’t Lose Hope) was staged by Jana Mandlová, a teacher from the Little School of Drama in Svitavy, with her group Modroočky. The performance was inspired by the book by Anna Kemp Dogs Don't Do Ballet. The other one, Méďa spěchá domů (Little Bear Hurries Home), was created under the leadership of Martina Kolářová, a teacher at the Basis School of Arts in Mohelnice. Her group Pískající vršky has worked with the book by Marka Míková (Jonas Hurries Home). Both performances were played by younger schoolchildren and both employed puppets. The respective group leaders described the creative process behind the performances, expanding their descriptions by methodological notes related to working with certain types of children groups.

The contents of all published issues of Tvořivá dramatika, the archive of earlier issues and all important information on drama education can be found on the website www.drama.cz.