This ethnographic study is located in the field of literary didactics, covering an intersection of the subjects of Swedish and theatre. It investigates construction of text understanding while its participants work with staging Molière’s The affected ladies (Les précieuses ridicules, 1659). Studies of classroom interaction connected to reading drama text are rare in the Swedish field of literary didactics. The main research interest is the participants’ use of interwoven semiotic resources, including spoken language, body, voice and various artifacts. Based on a general need to understand how Swedish students develop reading skills (related to decreasing results internationally) and a growing research interest in the field for embodied knowledge connected to literacy competencies the study sets out to answer the following questions: How do the participants construct text understanding using semiotic resources with a focus on: a) matching of repertoires b) in-role re-presentation c) negotiations. The first aspect draws on theories used in literary didactics including McCormick’s (1994) literary and general repertoires and Langer’s (1995) envisioning literature. The second aspect draws on aesthetic learning and embodied knowledge  (Molander, 1996; Saar, 2005) and theatre semiotics (Heed, 2002). The third aspect draws on sociocultural theory (Vygotskij, 1978; Säljö, 2014) and sociocultural theory applied in the field of drama and theatre (Davis, Clemson & Ferholt, 2015). Seven upper secondary school students, a teacher of Swedish and a teacher of theatre were observed over a period of seven months, starting with the students’ first encounter with the drama text, lasting to the final performance of a one-hour theatre production. The researcher occasionally became participant in the creative process. Analyzed data include field notes, video and sound recordings. Major findings are that: a) Students continuously match their own repertoires with the repertoires of the drama text by references to popular culture, language and body expressions, thereby gradually constructing new understanding. b) By becoming co-creators of a fictional text in a process of aesthetic learning the students developed several perspectives on the literary text, which is one of the main goals in studies of literature in the subject of Swedish. c) The participants’ negotiations involving a number of semiotic resources showed a development of text understanding on an advanced level. It also showed knowing as something emerging out of social interaction where teachers play an essential role by providing aesthetic as well as traditional scaffolding. A central conclusion is that exploring ways of learning where various semiotic recourses are given focus in the process of shaping a final product, e.g. a theatre show, host potential for students’ development of text understanding. The potential for learning seems to relate to producing knowledge rather than reproducing. Verbal and physical expressions of text understanding form new understanding in an on-going spiral. A contribution of the study to the field is showing the potential of embodied knowledge in literary didactics without a master-servant relationship between school subjects. It is suggested that increased focus on embodied knowledge and aesthetic learning might help students to develop reading skills.

Abstrakt Teater har varit ett ämne på gymnasieskolans estetiska program sedan 30 år tillbaka. I det centrala innehållet för kursen scenisk gestaltning läggs vikt vid förmågan att tolka och analysera sceniska gestaltningar (Skolverket, 2011). Det finns därför ett behov av att formulera och artikulera dessa förmågor. Ett teaterkunnande inbegriper såväl teoretisk och praktisk kunskap och det är den tysta kunskapen som den här studien omfattar.  Studiens syfte är att undersöka hur teaterlärare verksamma på estetiska programmet med inriktning teater ser på tyst kunskap i kursen i gestaltning i ämnet teater. Studiens empiri är inhämtad från fem enskilda intervjuer med verksamma teaterlärare.  Följande frågeställningar har formulerats för studien: Hur kommunicerar teaterläraren för att stimulera elevernas utveckling i scenisk gestaltning? Hur ser teaterlärare på tyst kunskap i sitt arbete och hur de kan synliggöra den i relation till sitt arbete? Tre olika teoretiska perspektiv har varit utgångspunkt för analysen: Polanyis (2013) tankar om tyst kunskap, Carlgrens (2015) praktiska kunskapsfilosofi och Ahlstrands (2014) begrepp bodybildung. Intervjumaterialet har analyserats genom en fenomenografisk ansats och redovisats med olika kategorier i tre olika utfallsrum.  Studiens resultat visar på utmaningar för teaterlärare att verbalisera ett praktiskt kunnande, i undervisning med eleverna, och ett behov av kompetenshöjning i området. I utfallsrummen ges förslag på olika strategier som exempelvis: att ställa djuplodade frågor till eleverna om hur de ser och uppfattar gestaltning eller att erfarandet av tyst kunskap sker i stunden och är situationsbundet eller att exempelvis använda sig av liknelser för att kommunicera tyst kunskap. Studien kan ses som ett bidrag till det behov som teaterlärare har av att prata och reflektera uppfattningar av ett tyst kunnande.

As an artist in the field of theatre for young audiences, I encounter many definitions of 'teaching artist,' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term 'teaching artist' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of 'teaching artist' while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I can't help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.

Denna studie genomfördes på gymnasieskolans estetiska program under tiden gymnasiereformen, Gy 2011, tog form. Syftet med denna uppsats är att lyfta fram, medvetandegöra, synliggöra och beskriva en grupp teaterlärares grundläggande ställningstaganden om gymnasieskolans teaterundervisning. Två huvudteman interagerar. 1: Hur upplever gruppen teaterlärare balansen mellan konstnärliga och pedagogiska intentioner i teaterundervisningen? 2: Hur hanterar gruppen teaterlärare balansen mellan lärares initiativ och stimulans och elevernas möjligheter till självständigt skapande?  Med en kvalitativ metod genomfördes reflekterande gruppsamtal med sju teaterlärare. Influerad av aktionsforskning deltog författaren i samtalen. Resultaten visar att gruppen teaterlärare eftersträvar interaktion mellan konstnärliga och pedagogiska aspekter i teaterundervisningen och att detta bidrar till att påverka teaterlärarnas didaktiska ställningstaganden. Teatern framställs som performativ, vilket beskriver de aspekter av teaterarbetet som, i en kommunikativ process och med en genomtänkt gestaltning, vänder sig till en publik. En grundläggande inställning till lärarrollen är att stimulera elevernas skapande och hjälpa fram deras egna uttryck genom att balansera graden av läraraktivt deltagande och medskapande. En kombination av stark eller svag stimulans från läraren och av stort eller litet utrymme för elevens autonomi ger flera möjliga lärarroller. Sammanfattning av resultaten visar att teaterlärarna eftersträvar att röra sig fritt och medvetet mellan dessa roller, och att deras växlande av roller tydligt kommuniceras till såväl elever som kollegor. / This study was carried out in the upper secondary school arts program while the reform, Gy 2011, took shape.  The purpose of this thesis is to highlight, raise an awareness of, visualize and describe a group of theatre teachers’ basic stances on upper secondary school theatre education. Two main themes interact. 1: How does the group of theatre teachers perceive the balance between artistic and pedagogical intentions in theatre education? 2: How does the group of theatre teachers manage the balance between teachers’ initiative and stimulus and students' opportunities to independent creation? With a qualitative method, reflective conversationswere carried out with seven theatre teachers. The author, who was influenced by action research, participated in the conversations. The findings reveal that the theatre teachers strive for interaction between artistic and pedagogical aspects in theatre education and that this interaction contributes to influence the theatre teachers’ didactic positions. Theatre is presented as performative, which describes the aspects of theatre work that, in a communicative process and with a deliberate design, addresses an audience. A basic approach to the role of the teacher is to stimulate students' creativity and boost their self-expression by balancing the degree of teacher active participation and co-creation. A combination of strong or weak stimulus from the teacher and of small or large space for student autonomy enables several possible teacher roles. In summary, the findings shows that theatre teachers strive to move freely and deliberately between these roles, and that their altering between roles is clearly communicated to both students and colleagues.

Experienced by thousands of children every year, professional theatre for young audiences TYA) is still a relatively new and understudied phenomenon in Canada. The purpose of this research has been to learn why teachers bring their students to the theatre, specifically Young People’s Theatre (YPT), and to determine how these connect to the perceptions of those who work at and with the theatre. In order to understand the complexities of the impetus to bring students to YPT, the limitations and successes teachers encounter in doing so, this ethnographic study was situated at the intersection of spatial and curriculum theories and has included surveys, interviews and participatory observation. This research provides greater understanding of the challenges and benefits of including theatre-going in one’s educational repertoire. These new insights contribute to contemporary scholarship on aesthetic education and arts-based community building and provide opportunities for further research about teaching and learning through theatre.

Experienced by thousands of children every year, professional theatre for young audiences TYA) is still a relatively new and understudied phenomenon in Canada. The purpose of this research has been to learn why teachers bring their students to the theatre, specifically Young People’s Theatre (YPT), and to determine how these connect to the perceptions of those who work at and with the theatre. In order to understand the complexities of the impetus to bring students to YPT, the limitations and successes teachers encounter in doing so, this ethnographic study was situated at the intersection of spatial and curriculum theories and has included surveys, interviews and participatory observation. This research provides greater understanding of the challenges and benefits of including theatre-going in one’s educational repertoire. These new insights contribute to contemporary scholarship on aesthetic education and arts-based community building and provide opportunities for further research about teaching and learning through theatre.

Šio tyrimo tikslas – atskleisti dramos aktorių scenos judesio ugdymo ypatumus, aptariant dramos aktorių ugdymo istorinius aspektus, apžvelgiant Europos ir Lietuvos dramos aktorių ugdymo raidą, žymiausių teatro pedagogų dramos aktorių ugdymo metodus bei dramos aktorių scenos judesio ugdymo programas. Tam atlikta teatro istorijos ir žymiausių teatro pedagogų literatūros analizė. Empiriniu tyrimu siekta atskleisti Lietuvos muzikos ir teatro akademijos, kaip seniausios ir giliausias tradicijas turinčios dramos aktorių ugdymo aukštosios mokyklos, scenos judesio dėstymo ypatumus, pasitelkiant 4 scenos judesio dėstytojų interviu ir paskaitų stebėjimo duomenų analizę. Teoriniame tyrime išryškėjo du pagrindiniai aspektai. Pirma, kad judesinės aktoriaus raiškos ir aktorių ugdymo poreikio atsiradimas buvo pagrindinis profesionalaus teatro atsiradimo XX a. pr. veiksnys. Antra, kad profesionalus Lietuvos teatras ir vaidybos ugdymo mokyklos formavosi rusų teatro kultūros įtakoje, todėl aktorių ugdyme iki šių dienų remiamasi rusų mokyklos aktorių ugdymo tradicija. Rusų ir lietuvių aktorių rengimo panašumą atskleidė ir Lietuvos ir Rusijos scenos judesio ugdymo programų palyginimas. Tiriant Lietuvos muzikos ir teatro akademijos scenos judesio dėstymo ypatumus, taip pat išryškėjo rusų mokyklos bruožai, vyraujantys ir aktorių ugdymo praktikoje. Pabrėžtas scenos judesio programų... [toliau žr. visą tekstą] / The purpose of the paper is to reveal the features of stage movement education for actors. Considering the importance of the theatre education development in the historical perspective, the paper reveals and analyses the specific features of the stage movement education for actors, by providing comprehensive historical-based analysis of the literature of theatre history, particularly focusing on the theatre education development in Lithuania and Europe, treating the methods for educating actors that the worldwide theatre educationalists apply and considering different syllabuses of stage movement education. The paper also treats the empirical research by interviewing four lecturers of the subject of stage movement and analyzing the data collected during the observation of the actual lectures. It reveals the specific features of stage movement education in the Lithuanian Academy of Music and Theatre having the name of the theatrical school with the oldest and deepest traditions in education of actors in Lithuania. Two main aspects were revealed in the theorical research. Firstly, the need for education of actor’s movement expression was the major factor for the professional theatre to arise in the beginning of XX century. Secondly, the professional theatre in Lithuania and schools of theatrical education were developed under the influence of Russian theatre... [to full text]

110f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-29T14:49:12Z No. of bitstreams: 1 Dissertacao_Carla Mendes.pdf: 654590 bytes, checksum: 456846ec0dc1d16e2c11b727af6c9886 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-03T19:16:21Z (GMT) No. of bitstreams: 1 Dissertacao_Carla Mendes.pdf: 654590 bytes, checksum: 456846ec0dc1d16e2c11b727af6c9886 (MD5) / Made available in DSpace on 2013-05-03T19:16:21Z (GMT). No. of bitstreams: 1 Dissertacao_Carla Mendes.pdf: 654590 bytes, checksum: 456846ec0dc1d16e2c11b727af6c9886 (MD5) Previous issue date: 2002 / Trata-se de uma pesquisa propositiva teórico-prática para o tratamento dos temas transversais no ensino médio, com ênfase nas dimensões estética e ética, pela realização de oficinas teatrais e posterior montagem e apresentação de uma mostra cênica com os participantes. São sugeridos caminhos de ações educativas que permitam ao educando ressignificar o objeto de conhecimento de maneira criativa, reflexiva e prazerosa, levando-se em consideração as singularidades da adolescência, o espírito do tempo e as complexidades do mundo contemporâneo. Finalmente, esta proposta possui como princípio fundante, a perspectiva e a possibilidade concreta de uma Educação com a Vida, assim como, a necessidade premente de que professores e alunos estabeleçam uma parceria afetiva e efetiva, de desenvolvimento pessoal e coletivo, a fim de que transformações construtivas aconteçam na escola e no mundo. / Salvador

The focus of aesthetic education is reflected in an arts curriculum designed for students to learn skills that make it possible for them to experience the world in a satisfying and meaningful manner. Incorporating aesthetics into school curriculum can be approached through the use of coordinated programs. In the state of Texas, over 1100 schools participate annually in the One-Act Play contest (OAP). The contest is governed by the University Interscholastic League (UIL), which has designed and recommended a structure in which students actively participate in the fine art of theatre. This curriculum is the roadmap for instruction that leads students to learn the value of the aesthetic. This study examines teacher and student perception in the Texas One-Act Play contest and its implications for teaching and learning the aesthetic. The qualitative data were collected through a series of interviews and observations during the spring 2006 with five schools in the north Texas area. Students and teachers at each school were interviewed. Data revealed how the goals of the UIL OAP system are being met based on teachers' practices, perceptions, and experience. Implications of the study are seen through the teachers' attitude toward winning as well as how the elements of teaching, rehearsal technique, and external support systems affect the teachers' contest preparation.

This research explores the application of Viewpoints and Composition training with a cast of high school students to measure changes in the social cognitive development (SCD) of individuals and the collective group. The research centers on the writing of Michael F. Mascolo and Deborah Margolis, which takes a coactive approach to the relationship between one's social cognitive development and how it is manifested in his or her actions within a social group. Using this framework, the researcher assesses the personality types within the cast and analyzes how utilizing Viewpoints training creates shifts within these personalities. The researcher approaches this study from both a theoretical standpoint as a student during a two-week intensive training course for adults with SITI Company, and a practical standpoint in the direction of a fully mounted production with high school actors. The objective of the research is to propose a method to implement advanced Viewpoints training within a high school ensemble in order to cultivate ensemble and ultimately aid the social cognitive development of the individual actors.