Denna kvalitativa fallstudie utgår från det teoretiska ramverket om teorin och metoden 'de förtrycktas teater'. Augusto Boal formade 'de förtrycktas teater' utifrån tanken om att teatern skulle vara ett vapen för folket i förändring av samhällets strukturer och normer. Teorin och metoden appliceras på fallet; Antanas Mockus teatrala aktioner för förändring i Bogotá. Frågeställningen gäller Hur teater kan fungera som metod för att skapa samhällsförändring? och På vilket sätt Antanas Mockus har använt 'de förtrycktas teater' i sitt arbete för samhällsförändring i Bogotá? Resultatet når en diskussion om att deltagande är vitalt i skapandet av samhällsförändring och det specifikt genom teater som metod. Men också att vara aktiv inte är det mest centrala för att ett samhälle ska kunna förändras. Utöver betydelsen av deltagandets vikt för teater som metod för samhällsförändring men berör även begrepp som politik, konst, pedagogik och lek.

The study will investigate a design intervention that attempts to respond to the condition of spatial indeterminacy in the Sammy Marks precinct of Pretoria, where this condition is heavily pronounced in the form of disused public squares, inactive edges and inner-block voids. The study suggests that developing these spaces as cultural interfaces can provide a foothold for emergent city life and cultural activities. The specific project intervention will take the form of a theatrical interface that will serve as a platform for public interactive theatre events and a theatre school. The client is the State Theatre, in collaboration with the Department of Public Works. The site of the intervention is located in close proximity to the State Theatre. An investigation of the site and its surrounding context will generate opportunities for specific intervention. / Dissertation (MArch(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

Sammanfattning I stora delar av världen används forumteater för att motverka förtryck. När forumteater spelas har jokern en nyckelroll. Undersökningens syfte är att ta reda på vad de i studien ingående jokrarna uppfattar som jokring och hur de uppfattar jokring samt att skapa beskrivningskategorier för dessa uppfattningar. Frågeställningen är: Hur beskriver jokrar jokring? I undersökningen har korta intervjuer med 19 jokrar analyserats. Jokrarna kommer från 11 länder. Intervjuerna är hämtade från den internationella hemsidan för Teater för förtryckta. Metoden i undersökningen är huvudsakligen fenomenografisk. Resultat: Jokring är att leda forumteaterprocessen med dialogen i centrum. Fyra uppfattningar av aspekter hos jokerns roll har framkommit, här beskrivna metaforiskt: Jokern som etiker/filosof, jokern som samhällsförändrare, jokern som hantverkare och jokern som psykolog. Jokern stimulerar med hjälp av forumteatern till dialog. Jokrarna i undersökningen har uppfattningen att dialogen utgör både medel och mål med jokring och med forumteater. Dialogen uppfattas ske med olika medel, olika riktning och med olika föresatser.  Den sker visuellt, med tal och i handling. Den har sitt fokus, sin riktning, gentemot individerna i publiken, mot publiken som grupp och/eller mot den samhällsgrupp som publiken antas komma ifrån. Föresatsen med jokerns dialog är att stödja och/eller utmana. Avsikten med undersökningen har varit att få ökad kunskap om jokring och att skapa underlag för fortsatt arbete för ökad kunskap om jokring.

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula.

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula.

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

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Denna kvalitativa studie undersöker sinnena och synestesi som pedagogisk resurs inom det drama-och teaterpedagogiska fältet. Covid-19-restriktionerna under 2020/21 ledde till anpassningar i studien där empiri från fysiska träffar föll bort. Syftet är att lyfta fram sinnena och synestesis roll i drama- och teater-estetiska lärprocesser ur ett fördjupat teoretiskt och ett praktiskt empiriskt perspektiv. Framför allt ur ett multilitteracitetspedagogisk teoretiskt perspektiv och med stöd av L.S. Vygotskis tankar om föreställningsförmåga/fantasi, Augusto Boal´s begrepp om det estetiska rummet och M. Merleau-Ponty syn på synestesi blir viktiga. Metodansatsen som stödjer syftet består av olika fenomenologiskt inspirerade metoder som fokuserar på individens egen erfarenhet. Hela studien genomfördes på två enskilda faser; en fördjupad litteraturgenomgång som kan anses som en litteraturstudie, ett essäskrivande vars empiriska material är två väldokumenterade tidigare drama- och teater-estetiska lärprocesser. Allt insamlat empiriskt material analyserades och kontrasterades med de valda teorier och begrepp. Resultatet i studien visar på en stor inverkan av sinnena på hela barnens kognitiva och kreativa utveckling. I ett pedagogisk/konstnärlig sammanhang visar det sig att sinnena är avgörande bland annat för en optimal förståelse i utövandet av metaxis, en process där eleven/skådespelaren agerar i karaktär och i det indirekt upptäcker den egna individens erfarenheter. Studien identifierar synestesi som ett icke-neurologiskt tillstånd och som en förmåga som kan främjas i drama- och teater-pedagogik och som dessutom blir mer identifierbar inom strukturerade ritualer. Ur ett större pedagogiskt sammanhang belyser studien drama- och teater-estetiska lärprocessers multimodalitet med hjälp av multilitteracitetspedagogisk teori. Detta i sin tur bidrar till att nyansera den “mediepanik debatten” och vidgar diskussionen om den traditionella skolans begränsade syn på multimodalitet och bruket av det i relation till ny medieteknologi. / This qualitative study aims to explore the senses and Synaesthesia as a pedagogical resource in the field of Applied theatre and drama. The Covid-19 restrictions during 2020/21 led to adaptations in the study, where empirical data from physical meetings were not included. The purpose is to highlight the role of the Senses and Synaesthesia in Drama and theatre-aesthetic learning processes, from an in-depth theoretical and a practical empirical perspective. In the theoretical framework become relevant especially the Multiliteracy pedagogical theoretical perspective and with the support of L.S. Vygotsky’s Theory of Imagination, Augusto Boal's concept of The Aesthetic space and M. Merleau-Ponty's view on Synaesthesia. The methodological approach that supports the purpose, consists of various phenomenologically inspired methods that focus on the individual's own experience. The entire study was carried out in 2 individual phases; an in-depth literature review that can be considered as a literature study, an essay writing whose empirical material is two well-documented previous Drama and theatre aesthetic learning processes. All collected empirical material was analysed and contrasted with the chosen theories and concepts. The results of the study show a great impact of the Senses on the cognitive and creative development of the infant. In an educational/artistic context, it appears that the Senses are crucial, among other things, for an optimal understanding in the practice of Metaxis, a process in which the student/actor acts in character and in doing so indirectly discovers his/her own individual experience. The study identifies Synaesthesia as a non-neurological condition and as an ability that can be promoted in pedagogy and that, moreover, becomes more identifiable within structured rituals. In a wider pedagogical context, the study highlights the multimodality of Drama and theatre aesthetic learning processes using Multiliteracy pedagogical theory. This in turn helps to nuance the so-called debate “media panic” and broadens the discussion on the traditional school's limited view of Multimodality and its use in relation to new media technology.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.