The Gift of Theatre

Nicholson, Helen

doi:10.1007/978-0-230-20469-0_8

Cited by 56 publications

(49 citation statements)

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“…(Reason 2006, 240) The literature also suggests that theatre literacy is demonstrated by the ability to respond critically to a play, deconstructing both the text and the performance in depth, using learned conceptual frameworks and the formal curriculum language of theatre studies. In addition, reflectivity and questioning are important components of literacy (Gangi 1998;Nicholson 2005). The acquisition of dramatic understanding and theatre language are widely accepted in the field as axiomatic and as important keys to a meaningful experience of the theatre.…”

Section: Teachers and Theatre Literacymentioning

confidence: 99%

Keeping the stage alive: The impact of teachers on young people’s engagement with theatre

Stinson

Burton

2016

Youth Theatre Journal

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School-age students rarely attend live theatre events unless they have been organized as part of a curricular, or co-curricular, excursion facilitated by teachers. This article reports on the findings of the TheatreSpace project, a three-year study of young people's attendance at theatre performances, and concentrates on a discussion of the impact of teachers on theatregoing. The authors propose that a teachers' influence is threefold: as model, as mentor, and as guide. The article also discusses the impact of the dedicated study of theatre within the curriculum on the experience of a live theatre event.

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Section: Teachers and Theatre Literacymentioning

confidence: 99%

Keeping the stage alive: The impact of teachers on young people’s engagement with theatre

Stinson

Burton

2016

Youth Theatre Journal

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“…En ocasiones aquí cabría situar prácticas de teatro aficionado o escolar en las que la dimensión artística es secundaria (Van Erven, 2001;Kuppers, 2007). d) Teatro social, orientado fundamentalmente a la exploración de problemáticas que afectan a la colectividad y a sus individuos, pero igualmente a su (re)construcción como sujetos de acción social (Nicholson, 2005), también en una perspectiva de género (Aston, 1999), muy influidos por pensadores como Gramsci (1974) o Freire (1995), y por su pedagogía de la emancipación. Una práctica orientada a atender las «necesidades sociales» en la perspectiva de la liberación del sujeto como ser social, para contemplar «todos los aspectos que intervienen en el proceso de desarrollo integral de las personas» (Ramos Feijoo, 2006, p. 367).…”

Section: Intersecciones: La Construcción Del Sujeto Creadorunclassified

Trabajo Social y teatro: considerando las intersecciones

Vieites¹

2016

Cuad. Trab. Soc.

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21 IntroducciónEn su trayectoria profesional muchos especialistas en Trabajo Social se habrán de encontrar con la práctica teatral por todo lo que ésta, en su dimensión educativa y sociocultural, puede aportar a todas aquellas personas con las que trabajan a diario (Onieva, 2011 Resumen El teatro es una forma cultural y artística que implica un proceso de comunicación entre creadores y receptores en un espacio y en un tiempo que se sitúan en la esfera pública, lo que ha permitido que a lo largo de los siglos haya servido como espacio de expresión, intercambio o debate de todo tipo de ideas, causas y luchas. En ese proceso están implícitos procesos de expresión, creación y recepción por medio de los cuales las personas muestran, analizan y cuestionan formas de ver y entender la vida, maneras de ser y de estar en el mundo; de ahí deriva su potencial educativo, cultural, social y político, avalado por numerosos estudios e investigaciones. En este trabajo, que tiene una orientación teórica asentada en una revisión de literatura pertinente, consideramos diferentes intersecciones que se producen entre teatro y Trabajo Social, para señalar también que la expresión dramática y la expresión teatral ofrecen metodologías substantivas en la consecución de algunos objetivos del trabajo social, especialmente en ámbitos como la alfabetización crítica, la reflexividad y el reconocimiento, la concientización, la participación social, el desarrollo personal y/o comunitario, la apropiación de capital cultural o el acceso al bienestar personal y social. Palabras clave: teatro, Trabajo Social, alfabetización, concientización, participación. AbstractTheatre is a cultural and artistic form that involves a process of communication between creators and is received in a space and time located in the public sphere, which has meant that, over the centuries, it has acted as a space for expression, exchange and debate regarding all manner of ideas, causes and struggles. Implicit within this process are processes of expression, creation and reception, by way of which people demonstrate, analyse and question ways of seeing and understanding life, and ways of being and existing in the world. This gives rise to educational, cultural, social and political potential, which has been endorsed in numerous studies and investigations. In this work, in which theoretical orientation is established through a review of the relevant literature, we consider different intersections that occur between theatre and social work in order to also show that dramatic and theatrical expression offers substantive methodologies for achieving some objectives of social work, particularly in areas such as critical literacy, reflexivity and recognition, awareness raising, social participation, personal and/or community development, ownership of cultural capital and access to personal and social wellbeing. Keywords: theatre, Social Work, literacy, awareness raising, participation.

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“…Theatre and drama didactics is, for example, used to solve or exemplify social conflicts/dynamics or to activate different patient groups in social care (Gjaerum, 2012;Nicholson, 2005). In "Emancipatory Theater Here, the material of an inter-cultural theatre process organized by Bjerkestrand and Songe-Møller, is set into a scientific framework and further theorized by Aure.…”

Section: This Issue: the Reach And Span Of Contemporary Art Didacticsmentioning

confidence: 99%

Application and Autonomy: The Reach and Span of Contemporary Art Didactics

Christensen-Scheel

2013

A & R

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Aesthetics, as both a variety of practices and a field of research, has now begun a journey toward society and more applied thinking -that is, how can art, art thinking, and different forms of sensuousness interact with or interfere in societal contexts. In this special issue of InFormation we explore the frame of a possible contemporary art didactics, where knowledge production and dispersion in and through art and aesthetics are promoted. Here the qualities of responding to societal needs and challenges are negotiated with the particular qualities of art. The field of didactics is often tied to specific teaching methods, but can also be seen as a more general theory of learning. With the term 'contemporary art didactics', we want to propose a relational field of communication and interaction based on aesthetic activity and competence. In addition, we seek to emphasize the contemporary quality and engagement of this activity and competence. In this first article by the editor of the issue, some of the related discussions on application, autonomy and criticality are presented alongside a proposition to formulate certain specific art based qualities.

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The Gift of Theatre

Cited by 56 publications

References 0 publications

Keeping the stage alive: The impact of teachers on young people’s engagement with theatre

Keeping the stage alive: The impact of teachers on young people’s engagement with theatre

Trabajo Social y teatro: considerando las intersecciones

Application and Autonomy: The Reach and Span of Contemporary Art Didactics

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