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  1. 2 Didaskalia. Gazeta Teatralna

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  1. 2 Mańka M.

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  1. 2 2023

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Feedback: próba zmapowania zjawiska. Część druga: praktyki feedbacku

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Mańka M.
Didaskalia. Gazeta Teatralna
|
2023
|
issue 175-176
122-161
EN
The second part of the article “Feedback: an attempt to map the phenomenon”. The first one, published in issue 174 of Didaskalia, is an attempt to systematize knowledge on the theory of feedback and to indicate it as a tool to support, organize and discipline the process of creative work and artistic education. In the second part published below, the author creates a feedback toolbox, discussing possible methods and structures of feedback developed by the business, artistic education and individual creative practices of people working both in Poland and in other European countries and in the United States of America. Mira Mańka puts her reflections on feedback in two contexts: interdisciplinary knowledge in the field of psychology, sociology, education, theory and practice of business, and lived knowledge resulting from going through the university and artistic path of education in Poland. Referring to her own work and the experiences of other creators, she constructs an author’s and open selection of reflections, recommendations and directions for the development of feedback, both in the perspectives of Polish theater pedagogy and individual artistic practice.
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Feedback: próba zmapowania zjawiska. Część pierwsza: Fragmenty teorii feedbacku

100%
Mańka M.
Didaskalia. Gazeta Teatralna
|
2023
|
issue 174
6-43
EN
The article is an attempt to organise the knowledge about the theory and practice of feedback and to indicate it as a tool to support, organise and discipline the process of creative work and artistic education. The author embeds her reflections on feedback in two contexts. One is that of interdisciplinary knowledge in the field of psychology, sociology, education, and the theory and practice of business; the other is that of lived knowledge resulting from following the path of university and artistic education in Poland. Referring to her own work and the experiences of other creators, she constructs an open selection of her own reflections, recommendations and directions for the development of feedback, both in the perspectives of Polish theatre pedagogy and individual artistic practice.
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