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1
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"Mężczyźni życia"– Kabaret Starszych Panów w przestrzeni wrażliwej edukacji

100%
Maliszewska K.
Rocznik Pedagogiczny
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2015
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vol. 38
175-185
EN
The fact that postmodern pedagogy strongly encourages researchers to get involved in the process of understanding, analyzing and creating meanings is surely one of its virtues. In this context, the works of the Elderly Gentlemen's Cabaret appear to be quite an extraordinary phenomenon. They allow us to rediscover the somewhat forgotten ways of perceiving culture as a source of understanding, helping us live our lives more consciously. A discrete theatre pedagogy, allowing us to make ourselves more familiar with the works of Przybora and Wasowski, is a great material for awakening a personal interest, as well as an inspiration and a working method in sensitive education.
2
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The magic of a toolbox : The Prague School in Theatre pedagogy: analysis, comprehension, creativity

100%
Meerzon Y.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2020
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vol. 23
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issue 1
89-104
EN
In a Canadian general theatre studies or liberal arts program in which the majority of B.A. students are expected to simultaneously take classes in theatre practice and theory, including acting, directing, design, theatre history and dramaturgy, teaching and learning can be challenging. Often our students approach exercises in text and performance analysis as unnecessary or even as superfluous tasks which a practitioner can do without. The naiveté of this hostile attitude is not surprising, but what is interesting is how a system of structural text and performance analysis, specifically here regarding the category of space, can be used as a pedagogical strategy to wake up the student's imagination and eventually become a tool of the practitioner's creative work. In the following, I will describe how to use the analytical methodologies of drama and performance analysis as developed by Prague School theoreticians as a pedagogical strategy to harness creativity. My case study is a 4th year class – Practice of Dramaturgy – which I have taught at the Department of Theatre, University of Ottawa.
3

O wolności tworzenia w pedagogicznych poszukiwaniach Stanisławskiego

88%
Zaorska M.
Kwartalnik Pedagogiczny
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2016
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issue 1(239)
17-35
EN
The article is devoted to one of the most important dilemmas of the training of an actor, which for Konstantin Stanislavsky was the issue of freedom of creation within the school stage. According to the author of the “system,” precisely the very lack of freedom of creation is one of the greatest threats lying in wait for a young artist. The author of the present article remarks that passing on knowledge of artisanal nature, expressed in the strife for the result – examination at all costs or the result – diploma spectacle, frequently becomes a priority of education on stage. In the first part of the article, K. Stanislavsky’s ideas on the freedom of creation will be made closer. Also, the opinions of the Russian and Soviet theatre pedagogues – continuators of thought voiced by the author of the “system” will be a significant voice in the considerations presented below. The second part will be devoted to the main arguments which contribute to the rejection by K. Stanislavsky of the old model of work on the spectacle and role and which influenced the elaboration of the so-called method of the analysis of play and role in action (Rus. действен- ный анализ пьесы и роли).
4
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O wolności tworzenia w pedagogicznych poszukiwaniach Stanisławskiego

88%
Zaorska M.
Kwartalnik Pedagogiczny
|
2016
|
vol. 61(1 (239))
17-35
PL
The article is devoted to one of the most important dilemmas of the training of an actor, which for Konstantin Stanislavsky was the issue of freedom of creation within the school stage. According to the author of the “system,” precisely the very lack of freedom of creation is one of the greatest threats lying in wait for a young artist. The author of the present article remarks that passing on knowledge of artisanal nature, expressed in the strife for the result – examination at all costs or the result – diploma spectacle, frequently becomes a priority of education on stage. In the first part of the article, K. Stanislavsky’s ideas on the freedom of creation will be made closer. Also, the opinions of the Russian and Soviet theatre pedagogues – continuators of thought voiced by the author of the “system” will be a significant voice in the considerations presented below. The second part will be devoted to the main arguments which contribute to the rejection by K. Stanislavsky of the old model of work on the spectacle and role and which influenced the elaboration of the so-called method of the analysis of play and role in action (Rus. действен- ный анализ пьесы и роли).
5
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„To nasze przedstawienie będzie dziwne?” Warsztaty Twórczych Lokatorów w kontekście współczesnej pedagogiki teatru

88%
Kwiatkowska-Tybulewicz B., Aderek K.
Kwartalnik Pedagogiczny
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2017
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vol. 62(4 (246))
160-178
PL
The article is a presentation of the Creative Tenants workshops, which are part of the contemporary activities in the field of theatre pedagogy. Children’s workshops took place for five months at the Służewski House of Culture in Warsaw. They were an attempt to verify contemporary assumptions of theatre pedagogy used in practice. The inspiration for the project was the idea of art education and its rich tradition as well as modern concepts of treating art as a space for designing new ways of social action.
6
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Otwarte archiwum Dormana

75%
Wiśniewska M.
Pamiętnik Teatralny
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2019
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issue 3-4(271-272)
7-12
EN
Besides his art practice, Jan Dorman was creating an archive of his life and work, which is a comprehensive collection of various types of theatre and personal documentation. Like Tadeusz Kantor, he dreamed that the collected resources would continue to be used, entering the theatre and research circuit and thus creating a “living archive”. In 2016, Iwona Dowsilas, Dorman’s daughter and promoter of his archives, donated Jan Dorman’s collection to The Zbigniew Raszewski Theatre Institute in Warsaw, which contributed to a three-year project “Dorman. Open Archives” (2016–2019). It was based on the concept of performative archiving, in which archives cease to be a static collection, and can be set in motion and produce separate performances. The idea of performing archives was translated into a collaborative programme involving theoreticians and practitioners of the theatre, which resulted in the intersecting of four fields: issues of theatre documentation, history and theory of the theatre, theatre education and theatre practice. The current issue of Pamiętnik Teatralny is an outcome of annual research residencies (2018), which aimed to analyse selected areas of the previously unrecognized and little-known last decade of Dorman’s theatre practice (1977–1986).
7
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Trolls at School: A Story about the Stages of Positive Labeling of People with Disabilities Through Micro-Interactions

63%
Babicka M., Zalewska-Królak A.
Przegląd Socjologii Jakościowej
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2023
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vol. 19
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issue 3
14-33
PL
Ewaluacja projektu pedagogiczno-teatralnego „Trolle” to źródło danych, na podstawie których autorki artykułu zaproponowały użycie kategorii pozytywnego etykietowania. Rozszerzyły ją, nazywając etapy takiej formy naznaczania: oszołomienie, oswajanie, wtajemniczenie i inkluza. Opisały społeczne konsekwencje stopniowego zaznajamiania się z innością, włączania i stawiania osób z niepełnosprawnościami w centrum. Autorki pokazały, jak mechanizm etykietowania został wykorzystany w działaniach artystyczno-edukacyjnych i przekierowany w stronę dyskusji o wartościach różnorodności społecznej. Trolle to spektakl i warsztaty stworzone przez Fundację Teatr 21. Projekt jest skierowany do uczniów szkół podstawowych i realizowany w klasach szkolnych. Za pomocą jawnych obserwacji oraz odnosząc się do relacji pedagogów teatru, aktorów i wychowawców klas, autorki zbadały, co wizyta tytułowych trolli, czyli aktorów Teatru 21, w większości osób z zespołem Downa i autyzmem, wnosi do szkoły i jak te działania wpływają na uczestników. Dzięki procesualnemu charakterowi ewaluacji autorkom udało się odkryć nowe kategorie badawcze. Prowadzone przez nie badania miały charakter abdukcyjny. Uczulające pojęcia umożliwiły rozwijanie głównej kategorii – pozytywnego etykietowania.
EN
The evaluation of the pedagogical-theatrical project Trolls is a source of data on the basis of which we propose the use of positive labeling categories. We expanded it by naming the stages of this form of labeling: bewilderment, taming, initiation, and inclusion. We described the social consequences of gradually becoming familiar with differences, including and placing people with disabilities in the center. We showed how the labeling mechanism was used in artistic-educational activities and redirected toward a discussion of the values of social diversity. Trolls is a play and workshop created by the Theatre 21 Foundation. It is aimed at primary school students and conducted in classrooms. Through explicit observations, and by referring to the relations between theater educators and actors and class teachers, we examined what the visit of the titular trolls, or actors from Theatre 21, most of whom have Down syndrome or autism, brings to the school and how these actions resonate with the participants. Owing to the processual character of the evaluation, we were able to discover new research categories. Our research was of an abductive nature. Sensitizing concepts enabled the development of the main category of positive labeling.
8
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Pedagogika teatru – próba definicji. Zwrot edukacyjny w teatrze

51%
Rochowska A.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 105
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issue 2
133-144
EN
This article attempts to define a new field of creative practice: theatre pedagogy. Operating at the intersection of education and theatre, it is a new sphere that combines artistic activity with promoting culture. The author outlines the framework of practice in Polish theatre pedagogy, referring both to its Polish precursors and places (sources) where 21st-century theatre pedagogues can look for knowledge and practical inspiration. So far not many articles have been published that would address this topic. However, as the idea continues to spread in Poland, it is high time to fill this gap by studying this phenomenon more thoroughly.
9
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Separujące i ochronne funkcje izolacji. Narzędzia oswajania inności na przykładzie działalności artystyczno-edukacyjnej Teatru 21

45%
Kalinowska K., Rożdżyńska K.
Przegląd Socjologii Jakościowej
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2020
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vol. 16
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issue 2
80-101
EN
The aim of the article is to reflect on the directions of work on taming otherness in the activities of artists and theatre pe­dagogues from the Theatre 21. We present a model of integration of otherness through theatre art, which aims to remove barriers of inclusion and break the social isolation that separates people with disabilities from the society. At the same time, this model makes it possible to use new protective forms whose main function is to secure the participants of the interaction with the Other. In the article, we present the methods and tools used in the educational work of the Theatre 21 and we reflect on the effects of their appli­cation in the processes of changing attitudes towards disability. The empirical basis of the article consists of the conclusions drawn from the research carried out during the evaluation of the ‘O!Swój Theatre 21’ project in 2017-2018. The artistic and educational activity of the Theatre 21, created mostly by actors with Down syndrome, focuses on supporting the processes of the socio-cultural integration of people with disabilities. However, the discussed model of taming this particular otherness, developed by the Theatre 21 group, is quite universal and, in our opinion, can be applied for working with different dimensions of otherness.
PL
Celem artykułu jest refleksja nad kierunkami pracy nad oswajaniem inności w działalności artystów i pedagogów teatru z kręgu Teatru 21. Przedstawiamy model integracji inności przez sztukę teatralną, który ma za zadanie zniesienie barier włączania i zerwanie społecznych „izolacji” oddziela­jących osoby z niepełnosprawnością od społeczeństwa. Jednocześnie ów model przewiduje nałożenie nowych form ochronnych, których główną funkcją jest asekuracja uczestników interakcji polegającej na kontakcie z Innym. W artykule omawiamy metody i narzędzia wykorzystywane w pracy edukacyjnej Teatru 21 oraz zastanawiamy się nad efektami ich zastosowania w procesach zmiany postaw wobec niepełnosprawności. Podstawą empiryczną artykułu są wnioski z badań przeprowadzonych podczas ewaluacji projektu O!Swój Teatru 21 w latach 2017–2018. Działalność artystyczna i edukacyjna Teatru 21, tworzonego w większości przez aktorów z zespołem Downa, koncentruje się na wspomaganiu proce­sów integracji społeczno-kulturowej osób z niepełnosprawnościami. Omawiany model oswajania inno­ści wypracowany przez środowisko Teatru ma jednak mocno uniwersalny rys i w naszej ocenie może zostać zaadaptowany do pracy z różnymi wymiarami inności.
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