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I min studie vill jag undersöka och belysa hur gestaltande lekpedagogik som arbetsprocess kan startas upp och fortlöpa. För att få förskollärares egna berättelser och perspektiv väljer jag att använda mig av intervju som metod. Jag utgår ifrån Lindqvists teori (1996) om gestaltande lekpedagogik. Lindqvist menar att ett gestaltande arbetssätt låter de teoretiska och de estetiska ämnena samarbeta. Lekvärldar byggs upp och gestaltningar genomförs, barnen får en mening och lärandet blir lustfyllt. I Lindqvists teori framträder begreppen; tema, drama, gestaltning, lekmiljö, lekvärld och fantasi, som centrala. Begreppen använder jag för att rikta samtalet i mina intervjuer och för att förklara och förstå vid analys samt redogörelse av mitt resultat. Jag har identifierat olika faser i förskollärarnas arbetsprocess. Dessa faser presenterar jag som mitt resultat, exempelvis “starten”, “syftet”, “välja tema”, “bygga lekvärld”. Varje fas innehåller utmaningar som förskollärarna behöver lösa. En slutsats jag kan dra av min studie är att gestaltande lekpedagogik inte endast är en metod, ett förhållningssätt eller drama. Gestaltande lekpedagogik är något kollektivt som byggs upp tillsammans genom ett gemensamt prövande under en längre tid. Det är en utvecklingsprocess utan slut. / The goal of this study is to examine and illustrate how drama pedagogy as a working process can get started and be continued. To get the teachers own stories and perspectives, I chose to interview them. My study is based on Lindqvist theory (1996) of drama pedagogy. According to Lindqvist, you let the theoretical and the aesthetics subjects cooperate in drama pedagogy. Playworlds are built, drama is used, the children create a purpose and the learning becomes joyful. Lindqvists theory contains different concepts that are central, such as; theme, drama, playworld and fantasy. I use these concepts to guide the conversations in my interviews and to explain my analysis and to submit the result. I have identified different phases in the pre-school teachers' working process. I submit these phases as my result, for example “the start”, “the purpose”, “choosing of theme” and “building a playworld”. Every phase contains challenges that the pre-school teachers have to solve. I have made one conclusion from my study, namely that drama pedagogy is not only a method, an approach or drama. Drama pedagogy is something collective that is built together through cooperative testing during a longer time, it´s a developing process without end.

Este trabalho parte do pressuposto de que existe uma dicotomia entre os saberes artísticos e os saberes pedagógicos na estrutura clássica do ensino superior no que se refere à formação do professor de teatro. Pergunta-se pela noção de professor artista como uma outra possibilidade de formação, na qual é possível o equilíbrio e a articulação entre tais saberes. Na pesquisa, o curso de Graduação em Teatro: Licenciatura da FUNDARTE/UERGS serviu como cenário da coleta de material empírico em função da singularidade que residia na sua proposta, de forma explícita: nem licenciatura, nem bacharelado, mas a formação de um professor artista como uma terceira possibilidade que promete a não-dicotomia daqueles saberes. Este é um trabalho inspirado na perspectiva foucaultiana, no sentido de descrição das práticas como forma de subjetivação, isto é, como forma de ser e constituir-se professor de teatro nesta época e neste tempo. O olhar para o material empírico é marcado por essa perspectiva e, a partir das descrições, busca-se entrever os contornos da noção de professor artista, relacionada a campos associados, como Teatro e Educação, Pedagogia Universitária, Pedagogia Teatral e abordagens contemporâneas para o ensino do teatro. A noção de professor artista em debate neste trabalho contrapõe-se à ideia de que pedagogia e teatro são unidades separadas e de que a prática teatral é supérflua ao ensino. / The following dissertation postulates the existence of a radical dichotomy between artistic and pedagogical acquaintances in the classical structure of Drama teachers´ university education. Aiming at a more balanced and realistic articulation between them, our study does propose the concept of Artist Teacher as an alternative basis for their education. The undergraduation course in Dramatic Arts: Teaching at FUNDARTE/UERGS, Southern Brazil, has provided the scenario for collecting our empirical material due to its peculiar and clear proposal of preparing neither teachers or bachelors, but Artist Teachers, as a third possibility towards an actual integration of those acquaintances. Ours is an investigation inspired in Foucault´s perspective, in the very specific meaning of describing some practices as manners of subjectivity, manners of being and be constituted as a Drama Teacher at these specific time and place. Based on those descriptions, we have searched focusing on the borders of the concept of Artist Teacher concerning related fields such as Drama and Education, University Pedagogy, Drama Pedagogy and contemporaneous approaches for teaching Drama. Artist Teacher, a core concept in our discussion, is a counterpoint to both ideas that Pedagogy and Drama are separated units and that drama practice is unnecessary for teaching.

Este trabalho parte do pressuposto de que existe uma dicotomia entre os saberes artísticos e os saberes pedagógicos na estrutura clássica do ensino superior no que se refere à formação do professor de teatro. Pergunta-se pela noção de professor artista como uma outra possibilidade de formação, na qual é possível o equilíbrio e a articulação entre tais saberes. Na pesquisa, o curso de Graduação em Teatro: Licenciatura da FUNDARTE/UERGS serviu como cenário da coleta de material empírico em função da singularidade que residia na sua proposta, de forma explícita: nem licenciatura, nem bacharelado, mas a formação de um professor artista como uma terceira possibilidade que promete a não-dicotomia daqueles saberes. Este é um trabalho inspirado na perspectiva foucaultiana, no sentido de descrição das práticas como forma de subjetivação, isto é, como forma de ser e constituir-se professor de teatro nesta época e neste tempo. O olhar para o material empírico é marcado por essa perspectiva e, a partir das descrições, busca-se entrever os contornos da noção de professor artista, relacionada a campos associados, como Teatro e Educação, Pedagogia Universitária, Pedagogia Teatral e abordagens contemporâneas para o ensino do teatro. A noção de professor artista em debate neste trabalho contrapõe-se à ideia de que pedagogia e teatro são unidades separadas e de que a prática teatral é supérflua ao ensino. / The following dissertation postulates the existence of a radical dichotomy between artistic and pedagogical acquaintances in the classical structure of Drama teachers´ university education. Aiming at a more balanced and realistic articulation between them, our study does propose the concept of Artist Teacher as an alternative basis for their education. The undergraduation course in Dramatic Arts: Teaching at FUNDARTE/UERGS, Southern Brazil, has provided the scenario for collecting our empirical material due to its peculiar and clear proposal of preparing neither teachers or bachelors, but Artist Teachers, as a third possibility towards an actual integration of those acquaintances. Ours is an investigation inspired in Foucault´s perspective, in the very specific meaning of describing some practices as manners of subjectivity, manners of being and be constituted as a Drama Teacher at these specific time and place. Based on those descriptions, we have searched focusing on the borders of the concept of Artist Teacher concerning related fields such as Drama and Education, University Pedagogy, Drama Pedagogy and contemporaneous approaches for teaching Drama. Artist Teacher, a core concept in our discussion, is a counterpoint to both ideas that Pedagogy and Drama are separated units and that drama practice is unnecessary for teaching.

Este trabalho parte do pressuposto de que existe uma dicotomia entre os saberes artísticos e os saberes pedagógicos na estrutura clássica do ensino superior no que se refere à formação do professor de teatro. Pergunta-se pela noção de professor artista como uma outra possibilidade de formação, na qual é possível o equilíbrio e a articulação entre tais saberes. Na pesquisa, o curso de Graduação em Teatro: Licenciatura da FUNDARTE/UERGS serviu como cenário da coleta de material empírico em função da singularidade que residia na sua proposta, de forma explícita: nem licenciatura, nem bacharelado, mas a formação de um professor artista como uma terceira possibilidade que promete a não-dicotomia daqueles saberes. Este é um trabalho inspirado na perspectiva foucaultiana, no sentido de descrição das práticas como forma de subjetivação, isto é, como forma de ser e constituir-se professor de teatro nesta época e neste tempo. O olhar para o material empírico é marcado por essa perspectiva e, a partir das descrições, busca-se entrever os contornos da noção de professor artista, relacionada a campos associados, como Teatro e Educação, Pedagogia Universitária, Pedagogia Teatral e abordagens contemporâneas para o ensino do teatro. A noção de professor artista em debate neste trabalho contrapõe-se à ideia de que pedagogia e teatro são unidades separadas e de que a prática teatral é supérflua ao ensino. / The following dissertation postulates the existence of a radical dichotomy between artistic and pedagogical acquaintances in the classical structure of Drama teachers´ university education. Aiming at a more balanced and realistic articulation between them, our study does propose the concept of Artist Teacher as an alternative basis for their education. The undergraduation course in Dramatic Arts: Teaching at FUNDARTE/UERGS, Southern Brazil, has provided the scenario for collecting our empirical material due to its peculiar and clear proposal of preparing neither teachers or bachelors, but Artist Teachers, as a third possibility towards an actual integration of those acquaintances. Ours is an investigation inspired in Foucault´s perspective, in the very specific meaning of describing some practices as manners of subjectivity, manners of being and be constituted as a Drama Teacher at these specific time and place. Based on those descriptions, we have searched focusing on the borders of the concept of Artist Teacher concerning related fields such as Drama and Education, University Pedagogy, Drama Pedagogy and contemporaneous approaches for teaching Drama. Artist Teacher, a core concept in our discussion, is a counterpoint to both ideas that Pedagogy and Drama are separated units and that drama practice is unnecessary for teaching.

Estetiska uttrycksformer, däribland drama, ska enligt läroplanen ha en plats i skolans verksamhet. Samtidigt läggs mer fokus på de mätbara kunskaperna vilket resulterar i att de estetiska ämnena bortprioriteras. Syftet med studien är därför att undersöka i vilken utsträckning och på vilket sätt pedagoger använder dramapedagogik på lågstadiet. För att svara på denna fråga användes de didaktiska frågorna: varför, i vilka sammanhang, hur och när lärare och fritidspedagoger använder dramapedagogik i sin undervisning på lågstadiet. Genom intervjuer kunde olika teman identifieras. På frågan om varför dramapedagogik används framkom det att arbetssättet är inkluderande och lustfyllt samt att det gynnar den socioemotionella utvecklingen. Angående sammanhang ansåg pedagogerna att arbetssättet passar i de flesta sammanhang genom olika dramapedagogiska metoder som inte är bundna till något specifikt skolämne. Vid frågan hur frekvent arbetssättet används i verksamheterna kunde aspekten av tidsbrist urskiljas vilket är anledningen till att större projekt såsom pjäser och musikaler inte sker i samma utsträckning som förr. Tidsbristen förklarades med den nuvarande läroplanens införande. Slutsatsen var att pedagogerna använder sig av dramapedagogik på olika sätt som inte behöver vara krävande tids- eller kunskapsmässigt. Dramaarbetet tycks enligt pedagogerna berika elevernas skoldag och därmed gynna inlärningen vilket i sig är en stor anledning till varför arbetssättet nyttjas i svenska klassrum.

Dagens förskolor möter ständigt de allra yngsta barnen i åldrarna 1-2 år och förskolans utbildning ska lägga grunden för ett livslångt lärande. I förskolans utbildning ingår undervisning som ska genomsyras av utforskande och upplevelser, därtill estetiska uttryskformen drama ingår i förskollärarens arbetssätt. Flera studier framhäver att drama är en inlärningsmetod med positiva effekter på barns lärande men det saknas både studier och metoder på allra yngsta barns nivå. Till följd där av syftar denna studie till att  öka kunskaperna om svenska förskollärarens erfarenheter av drama som pedagogiskt verktyg i arbete med de yngsta barnen. Studien tar sitt stöd i Sternudds (2000) dramapedagogiska perspektiv som visar på den didaktiska komplexiteten inom dramapedagogiken. Det empiriska materialet granskades via kvalitativa semistrukturerade intervjuer där fem verksamma förskollärare har deltagit. Resultatet granskades med utgångspunkt i innehållsanalys som metod och kopplades till studiens teorier och tidigare relevanta studier. Förskollärarna har en positiv syn på drama som verktyg och använder drama som metod i undervisning med de alldra yngsta barnen. Resultatet visar på att dramaaktiviteter bidrar till att de yngsta barnen skapar upplevelser och förundran samt förskolläraren iscensätter och illustrerar dessa olika dramaaktiviteter. En slutsats av undersökningen visar även på att det finns en framtidssyn om vidare kompetensutveckling i samband med drama som pedagogiskt verktyg. / Today's preschools constantly meet the youngest children aged 1–2 years, andthe preschool's education should lay the foundation for lifelong learning. Thepreschool's education includes teaching that is imbued with exploration andexperiences, and the aesthetic form of expression, drama, is part of thepreschool teacher's working methods. Several studies emphasize that drama isa learning method with positive effects on children's learning, but there is alack of both studies and methods at the level of the youngest children. As aresult, this study aims to increase knowledge about the Swedish preschoolteacher's experiences of drama as a pedagogical tool in work with the youngestchildren. The study takes its support from Sternudd's (2000) four dramapedagogic perspectives that show the didactic complexity within dramapedagogy. The empirical material was reviewed via qualitative semi-structuredinterviews in which five working preschool teachers have participated. Theresults were reviewed using content analysis as a starting point and linked tothe study's theories and previous relevant studies. The preschool teachers havea positive view of drama as a method and use drama as a method in teachingwith the youngest preschool children. The results show that drama activitiescontribute to the youngest children creating experiences and wonder, and thepreschool teacher stages and illustrates the various drama activities. Aconclusion of the survey also shows that there is a future view of furthercompetence development in connection with drama as a pedagogical tool.

How do conventional performance-based models of drama in high schools serve to oppress students? How can Applied Drama models serve to emancipate students? This thesis invites educators to imagine drama programs in high schools as being capable of employing the use of imaginative dramatic arts processes for their emancipatory potential aimed to break oppressive habits and to rehearse alternative dialogue and action in the lives of students. Drama processes in high schools could be designed within an emancipatory paradigm of curriculum-making. Instead of designing drama programs around the goal of producing scripted theatre performances, drama programs in high schools can be designed with the goal of engaging students imaginations. Specifically, Applied Drama processes have the potential to nurture students social and moral imaginations which, in turn, allow students to become more empathetic. Moreover, through dramatic role-play, students enter an imaginary world and rehearse alternative ways of acting in the world. If the dramatic role-play addresses issues of oppression in the world, then the imaginary world presents scenarios in which students can rehearse emancipatory ways of acting and thinking about their lived reality. Specifically, Applied Drama processes are best suited for emancipatory, imaginative drama programs in high schools. In this thesis, I also discuss the importance of reflection in emancipatory drama processes.

Denna uppsats utgår ifrån författarens egna självupplevda erfarenheter från en turné med en barnteaterföreställning hösten 2012 och beskriver händelser och situationer som uppkom under turnéns gång. Uppsatsen problematiserar mötet mellan skola och teater och synliggör även de olika villkor, skola och teater har att förhålla sig till. Syftet med uppsatsen är att beskriva vad som sker i mötet mellan lärare, elever och teater, att förstå lärares relation till teaterformen samt den konstnärliga ledarens uppfattningar kring samarbetet med skolan. Undersökningsfrågorna lyder: Hur kan man förstå skolans respektive teaterns villkor? Vilka aspekter anser lärare och konstnärlig ledare är viktiga med hänsyn till samarbetet mellan teater och skola? Hur uppfattar lärare och konstnärlig ledare att mötet mellan teater och skola kan underlättas? Hur kan en dramapedagog bidra till samarbetet eller underlätta mötet mellan teater och skola? Studien är en fallstudie som knyter an till turnén. Det empiriska materialet består i deltagande observationer, frågeformulär och intervjuer som tillsammans bearbetats och analyserats. Resultatet visar att skola och teater står långt ifrån varandra i fråga om behov och önskningar, men att det finns beröringspunkter och möjligheter att finna vägar som underlättar mötet mellan skola och teater.   Nyckelord: dramapedagogik, teater, skola, barnteater, för-och efterarbete, konstupplevelse, estetiska läroprocesser.

How do conventional performance-based models of drama in high schools serve to oppress students? How can Applied Drama models serve to emancipate students? This thesis invites educators to imagine drama programs in high schools as being capable of employing the use of imaginative dramatic arts processes for their emancipatory potential aimed to break oppressive habits and to rehearse alternative dialogue and action in the lives of students. Drama processes in high schools could be designed within an emancipatory paradigm of curriculum-making. Instead of designing drama programs around the goal of producing scripted theatre performances, drama programs in high schools can be designed with the goal of engaging students imaginations. Specifically, Applied Drama processes have the potential to nurture students social and moral imaginations which, in turn, allow students to become more empathetic. Moreover, through dramatic role-play, students enter an imaginary world and rehearse alternative ways of acting in the world. If the dramatic role-play addresses issues of oppression in the world, then the imaginary world presents scenarios in which students can rehearse emancipatory ways of acting and thinking about their lived reality. Specifically, Applied Drama processes are best suited for emancipatory, imaginative drama programs in high schools. In this thesis, I also discuss the importance of reflection in emancipatory drama processes.