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The theatre as a didactic resource in the educational field has a great pedagogical value. In recent years several educational experiences have been carried out in the classrooms where theatre has been used as a teaching-learning tool. An educational tool with great potential from which to work in the classroom on socio-environmental problems. The objective of this article is to make an approach to how primary education teachers understand that theatre favours the treatment of socio-environmental problems in the classroom in a motivating and practical way. Semi-structured interviews have been carried out with teachers who have already used theatre in their classrooms. The results have been structured on the basis of three categories: motivation and values, context and subjects, and difficulties. The potential of theatre in primary school is highlighted, with time and the number of students in the groups being the main difficulties in incorporating them into the classroom.

This article tells the story of the friendship between the late Belgian theatre director and author, Eric De Volder, and Turkey, more specifically, the fishing village Karaburun, the most nordic point on the peninsula in the İzmir province, and one of the most western points of Anatolia, on the coastline of the Aegean Sea. The story is based on anecdotes and archival materials, and has at least three protagonists: that of his wife, photographer and visual artist, Tania Desmet; his friend, director, cofounder of Theater RAST in Amsterdam, and translator of three of his plays, Şaban Ol; and Karaburun itself, which delivers the setting and the mise-en-scène in which their encounters were perhaps less coincidental than that the protagonists could ever imagine. Eric De Volder's story in Karaburun is focused around themes of authenticity, intercultural contact, work process, and social history. The article ends with a short reflection on the politics of friendship (Derrida 1994) through Eric De Volder's work and the time he spent in Turkey., The original article can be downloaded from the Documenta website: https://documenta.ugent.be/article/id/85486/.

Modern theatre education in Russia is influenced by a number of factors that determine the process of replenishment of the theatrical world, implemented in theatre schools. The main factors include the formalization of the higher education system as a whole, the erosion of the boundaries of the traditional theatre school associated with the departure of the older generation of teachers, and the search for new forms of theatrical expressiveness in culture. The contextuality of theatrical education presupposes both the influence of external sociocultural factors on the educational and creative processes, as well as direct textual decisions expressed in publications, stage acts, and theatre events. The materials presented in the article combine the analysis of theoretical sources and the practice of theatre education in terms of their relevance to the contemporary Russian cultural context. As a result of the study, the most urgent problems of the higher theatre school in Russia are identified — its target orientation, qualitative characteristics of the learning outcome and the combination of traditional and innovative in the modern theatre space., Современное театральное образование в России находится под воздействием ряда факторов, оказывающих влияние на процесс восполнения театрального мира, реализуемый в театральных школах высшего образования. К основным таким факторам относятся формализация системы высшего образования в целом, размывание границ традиционной театральной школы, связанное с уходом старшего поколения педагогов, поиски новых форм театральной выразительности в культуре. Контекстуальность театрального образования предполагает как воздействие внешних социокультурных факторов на образовательный и творческий процессы, так и непосредственные текстовые решения, выраженные в публикациях, сценических действиях, театральной событийности. Представленные в статье материалы сочетают анализ теоретических источников и практики театрального образования с точки зрения их соотнесенности с современным российским культурным контекстом. В результате исследования обозначены наиболее актуальные проблемы высшей театральной школы в России — целевая направленность обучения, качественные характеристики его результата и сочетание традиционного и инновационного в современном театральном пространстве.

This case study seeks to discover the ways in which theatre educators are incorporating theatre for social change programming into their high school theatre classrooms. High school theatre programs in La Jolla, California and Wilmington, Delaware were examined. Included are samples of theatre education curriculum and programming, taught and presented through the lens of social change and social justice. Interviews were conducted with theatre educators at both institutions prior to the national school shutdown due to COVID-19. Interview participants were asked to share their methods for incorporating theatre for social change programming into their classrooms as well as identify its effects (if any) on student participation, administrative support and community response. A practical application case study was investigated as two high schools in Middletown, Delaware collaborated with New York University’s Program in Educational Theatre Verbatim Performance Lab via virtual residency in the wake of national school closures. The outcome of the research shows that methods for incorporation of social change programming into theatre classrooms are numerous and can be integrated regardless of the variables surrounding the educational situation or setting. The purpose of this study was to highlight the instrumental role theatre for social change programming can play in cultivating civic engagement, promoting tolerance and developing students into culturally competent citizens.

Статья поступила в редакцию 23.01.2020 г. Современное театральное образование в России находится под воздействием ряда факторов, оказывающих влияние на процесс восполнения театрального мира, реализуемый в театральных школах высшего образования. К основным таким факторам относятся формализация системы высшего образования в целом, размывание границ традиционной театральной школы, связанное с уходом старшего поколения педагогов,поиски новых форм театральной выразительности в культуре. Контекстуальность театрального образования предполагает как воздействие внешних социокультурных факторов на образовательный и творческий процессы, так и непосредственные текстовые решения, выраженные в публикациях, сценических действиях, театральной событийности. Представленные в статье материалы сочетают анализ теоретических источников и практики театрального образования с точки зрения их соотнесенности с современным российским культурным контекстом. В результате исследования обозначены наиболее актуальные проблемы высшей театральной школы в России — целевая направленность обучения, качественные характеристики его результата и сочетание традиционного и инновационного в современном театральном пространстве. Modern theatre education in Russia is influenced by a number of factors that determine the process of replenishment of the theatrical world, implemented in theatre schools. The main factors include the formalization of the higher education system as a whole, the erosion of the boundaries of the traditional theatre school associated with the departure of the older generation of teachers, and the search for new forms of theatrical expressiveness in culture. The contextuality of theatrical education presupposes both the influence of external sociocultural factors on the educational and creative processes, as well as direct textual decisions expressed in publications, stage acts, and theatre events. The materials presented in the article combine the analysis of theoretical sources and the practice of theatre education in terms of their relevance to the contemporary Russian cultural context. As a result of the study, the most urgent problems of the higher theatre school in Russia are identified — its target orientation, qualitative characteristics of the learning outcome and the combination of traditional and innovative in the modern theatre space.

Exploring how text understanding evolves through interaction in a drama-text-based student theatre production, the present study takes its theoretical point of departure in sociocultural and dialogical approaches to meaning making and creativity. Video data from a Swedish upper secondary school allowed us to follow transitions of text understanding in the artistic shaping of characters from drama text to stage text. We analyze a special kind of communicative side project: short, recurrent student-initiated role-plays, embedded in teacher-led activities. The joint text understanding that was established in these side projects proved productive in the emergent shaping of the stage text.

This dissertation reports on my investigation into the creative processes of the NSW Public Schools Drama Company in Australia, the highest tier of an auditioned, co-curricular drama program for school students aged 11 – 18 years. The study observes the production of three scripted plays over two years. It uses case study methodology, a qualitative, phenomenological approach and grounded theory data analysis. The research findings demonstrate that the creative processes of the Drama Company are based on the formation of an environment that encourages creative risk-taking, and the use of creative constraints which stimulate and guide it. In this context the ensemble is able to utilise elements of group creativity so that the interaction between group members can produce "emergents", creative solutions which are greater than the sum of individual contributions. The findings are expressed in a nested, three layer model. The outer shape is the context of the Drama Company and its creative climate. Within that, the second shape is the boundaries that stimulate the work. The innermost space within these shapes is the rehearsal processes which augment the group creativity of the ensemble. The research highlights the significance of the context for creative work, the power of creative constraints to stimulate invention and guide the process, and the potency of group creativity in developing creative solutions. It also extends theories of group creativity to include the corporeal body of the actor and the physical environment. The research findings demonstrate ways to enhance the creativity of drama ensembles in general and the production of scripted work in particular.

The aim of this paper is to provide an overview of the distinct educational practices that could be included in the field of theatre education. Also, as a result, to propose the need to develop, from a scientific and academic perspective, a discipline which should offer a systematic, rigorous and normative description about what theatre education is as a specific area in the educational field, as well as about its relevant and differential features, compared to other similar areas. It also identifies essential processes to develop in the construction of Theatre Pedagogy as science and discipline, as well as in the training of educators and as an area of specific research., El objetivo de este trabajo es presentar una visión panorámica de las diferentes prácticas educativas que configuran el campo de la educación teatral, y proponer, como consecuencia, la necesidad de desarrollar, en su dimensión científica y académica, aquella disciplina llamada a ofrecer una descripción sistemática, rigurosa y normativa de lo que es la educación teatral en tanto ámbito específico de educación, y de sus características pertinentes y diferenciales frente a otros ámbitos próximos. También se señalan procesos básicos a desarrollar en la construcción de la Pedagogía Teatral como ciencia y disciplina, en la formación de formadores y en una investigación específica.

Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices, cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely & Savage, 2011; Lement & Dunakin, 2005}.

[Resumo] Na construción e configuración de calquera sistema do campo cultural, faise necesario, entre outras cousas, o desenvolvemento de institucións que o estruturen e nutran. No caso do teatral, son especialmente importantes aquelas nas que se forman os axentes do sistema, e, entre elas, destacan as escolas de teatro, centros de formación que poden desenvolver procesos educativos diversos, con maior ou menor grao de formalización, aínda que o ámbito da educación teatral é maior, como queremos mostrar. Neste traballo, que situamos ao abeiro da Historia da educación teatral, queremos ofrecer unha panorámica xeral do que teñen sido as liñas de traballo máis importantes no ámbito da formación teatral en Galicia, e que, no seu conxunto, configuran un campo de estudo e investigación emerxente. [Abstract] In the making and development of any of the systems of the cultural field, there are institutions which are very relevant, as far as the whole process depends on them. In the case of the theatre system, those institutions oriented to the training of the agents of the system are especially important, and among them we must consider the theatre schools which offer different types of courses and qualifications, with a different degree of formalization, although the field that theatre education covers is much broader. This paper, which has been written under the framework of the History of Theatre Education, offers a general view of what have been the most popular issues in theatre education in Galicia in the past and at present, and at the same time shows the richness and possibilities of this new area of studies.

A growing field of research shows that arts in schools have positive impacts on students, teachers, the whole school environment, and even extend to families and the community. The National Endowment for the Arts has also documented that childhood arts education is a leading contributor to a young person’s propensity for future attendance and participation in the arts. Yet, trend data shows that arts education is declining in public schools. Both school systems and arts organizations have a vested interest in young people receiving a well-rounded education which includes the arts. Both face challenges and possess unique strengths in facing the challenges. This paper explores the potential benefits of combining those strengths and questions how to do so in a deeper, more long-lasting way than existing partnerships. One alternative is considered: a partnership of a theatre for young audiences company embedded within a school system would produce a hybrid teacher-artist model, improving arts education while building current and future audiences for theatre. There are many ways to deliver arts education in public schools, and many ways to do so in partnership with arts organizations. This paper does not examine feasibility, but demonstrates that arts education would be improved through an embedded partnership by delivering theatre education with quality, equity and longevity. It also demonstrates a critical need for more attention, exploration and testing of how schools and arts organizations can create deeply collaborative partnerships, to permanently embed theatre, or any of the arts, in schools.

A theatre arts education is very important for our youth. However, within the last decade there has been a decrease in funding to support arts education from kindergarten through high school. This decrease negatively impacts the entire education system and subsequently it also has the potential to impact our society. A successful theatre arts education program teaches creativity, critical thinking, problem solving, discipline, and a strong work ethic. It is the binding agent that brings all the elements of science, technology, engineering, and mathematics together. What happens when these programs are no longer funded and disappear? What can today’s theatre artists and educators do to support a continuation of arts education while in the midst of budget cuts in our schools? This thesis, The Impact of Declining Arts Education Funding, will investigate these questions and will look into the cause of these budget cuts in order to find different solutions to combat this growing problem which will support a more productive society.

La legislación educativa vigente en Espa- ña establece que las escuelas superiores de arte dramático serán competentes en investigación científica en las áreas de conocimiento que les son propias. La norma traslada a las administraciones educativas, a los centros, y a las comunidades educativas, retos y responsabilidades especialmente relevantes considerando la historia pasada y reciente de estas enseñanzas, pues si bien la investigación teatral cuenta en España con una notable trayectoria, hay ámbitos que, aún resultando transcendentales, carecen de un desarrollo básico. Con este artículo mostramos posibilidades para la puesta en marcha y consolidación de aquellos ámbitos de investigación teatral más relevantes en una perspectiva educativa, en tanto pueden promover el desarrollo de las disciplinas que le son propias al campo, el fomento de una cultura científica en los propios centros o la actualización permanente de los docentes, sin olvidar la trascendencia que la formación en investigación pueda tener en la consolidación de competencias profesionales de los titulados en arte dramático. Finalmente resaltamos que el desarrollo de una cultura investigadora en las ESAD es la mejor garantía para su integración efectiva en el Espacio Europeo de la Educación Superior. Abstract: Current educational laws in Spain state that drama schools must be competent in scientific research in their specific areas of knowledge. This fact poses big challenges to education councils, schools, and education communities, especially in light of the past and recent history of this branch of teaching. This is so because, although theatre research in Spain has a remarkable tradition, there are transcendental areas that still lack a basic development. With this article we show possibilities for the implementation and consolidation of a specific and relevant form of theatre research from an educational perspective. This might promote the development of the disciplines in the field, the promotion of a scientific culture in the schools, and the permanent updating of teachers, without forgetting the importance that research training can have in strengthening the professional skills of graduates in dramatic art. Finally, we emphasise that the development of a research culture in schools of drama is the best guarantee for their effective integration into the European Higher Education Area. Résumé: La législation en vigueur sur l’éducation en Espagne indique que les écoles supérieures d’art dramatique seront compétentes en matière de recherche scientifique dans les domaines de la connaissance qui leur sont propres. La norme veut que les autorités de l’éducation, les centres et les communautés éducatives, relèvent des défis et des responsabilités particulièrement pertinents tout en prenant compte de l’histoire passée et récente de ces enseignements, car bien que la recherche théâtrale en Espagne ait une feuille de route remarquable, il y a des domaines qui, même en étant très importants, manquent encore d’un développement de base. Avec cet article, nous montrons les possibilités de la mise en œuvre et la consolidation des domaines les plus pertinents de la recherche théâtrale dans une perspective de l’éducation, afin qu’ils puissent promouvoir le développement des disciplines propres à ce domaine, la promotion d’une culture scientifique dans les centres même ou la mise à jour permanente des enseignants, sans oublier l’importance que la formation dans le domaine de la recherche peut avoir dans le renforcement des compétences professionnelles des diplômés en art dramatique. Enfin, nous soulignons que le développement d’une culture de la recherche dans l’ESAD est la meilleure garantie pour leur intégration effective dans l’espace européen de l’enseignement supérieur.

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.

This phenomenological study examined students' personal experiences when engaged in an arts integration curriculum. This study offered students' perceptions of arts integrations curriculum from a cognitive, affective, and psychomotor approach. The study was from the direct perspectives of the students involved in an arts integration curriculum. This study provided insight into the value of arts integration. It validated the advantages of continual arts integration for students enrolled in grades third through seventh. Through examination of the literature, it was probable that arts integration curriculum could improve the academic achievement for diverse students. Not evident in literature was the perspectives of the students; specifically, those students involved in an arts integration curriculum. This study was an attempt to provide the students' voices. The major means of collecting data were the Focus Group, documents and records, interviews and a Hip Hop class. This study could offer effective strategies to enhance educational practices educators, arts advocates, and parents.

This paper analyzes the MA in Drama and Theatre Education at University of Warwick in England. The objective of this paper is to clarify the characteristics of Neelands' drama sessions. He is the director of this program and a leader in Drama Education in the UK and the world. This study found: (1) Neelands uses the drama technique of "Teacher in Role" to create dramatic situation effectively. (2) He structures the drama session to invite participants to go into the dramatic scene without their noticing it. (3) He brings out their insight.

RESUMO Este texto tem como objetivo relatar etnograficamente uma experimentação a partir de uma oficina intitulada O Brincar com Teatro, desenvolvida em um contexto presidiário entre 2008 a 2009 segundo a visão de um observador-participante em um galpão denominado Escola do Presídio, situado no interior do estado de São Paulo, junto ao grupo de monitores culturais detentos. Trata-se, portanto, de possibilitar um olhar para o campo da Pedagogia do Teatro: teatro-educação enquanto uma aprendizagem que favoreça um processo artístico-estético-pedagógico na possibilidade de contemplar a criação, a imaginação, os sentimentos, as emoções, as paixões, as tragédias e a ludicidade como uma aventura para ampliar um conhecimento aberto e sensível dessa área e, então, para torná-la uma experiência educativa. ABSTRACT This paper aims to ethnographically report an experiment from a workshop entitled Playing with Theater, which was developed in a prison context from 2008 to 2009 as an observer-participant in a shed known as Escola do Presídio (Prison School), in the countryside of the State of São Paulo, together with the cultural group monitors inmates. It urges us a gaze to the field of Theatre Pedagogy: theater-education as a learning process which provides an artistic-aesthetic-pedagogical experience as a possibility to contemplate the creation, the imagination, the feelings, the emotions, the passions, the tragedies, and recreation as an adventure to broaden an open and sensitive knowledge of this area, and then make it an educational experience. RÉSUMÉ Ce texte a pour but de signaler une expérimentation ethnographique d'un atelier intitulé Jouer avec le Théâtre développée dans un contexte prisonnier de 2008 à 2009 en tant que observateur-participant dans un hangar, connu comme École Prison dans l'état de São Paulo par les détenus du groupe culturel de moniteurs. Il est, par conséquent, afin de permettre un regard sur le domaine de la Pédagogie du Théâtre: théâtre-éducation, tout en apprenant un processus qui favorise artistique, esthétique et pédagogique que vous pourrez contempler la création, l'imagination, les sensations, les émotions, les passions, les tragédies et le jeux comme une aventure pour effectuer une ampleur sur une connaissance ouverte sensible dans ce domaine vers l'expérience educative.

Theatre has been a school subject in the Swedish upper secondary school's national arts program since 1992 and has its own syllabus and grading criteria. The National Curriculum in theatre emphasises the development of performative capability, which is the focus of this dissertation. This study aims to contribute to the improvement of teachers’ subject-specific language, and concerns certain aspects of student ways of knowing. Theatre encompasses tacit knowledge (Lagerström 2003) and as an art form belongs to a tradition of practical knowledge. Knowledge in theatre has traditionally been acquired within a master-apprentice tradition (Johansson 2012, Järleby 2003). When theatre as an art form becomes a school subject the conditions of the art form change through a didactic transposition (Chevallard 2005). The previous two curriculum reforms in Sweden have developed competency-based syllabuses. To meet the school's requirements for planning teaching activities with colleagues as well as assessing and giving feedback to students, theatre knowledge needs to be articulated. Research is therefore needed to develop a professional language among teachers within the subject of theatre. I have chosen to work with Learning study, which is a collaborative and iterative research approach which enables the articulation of teachers and students knowing. Data is analysed using foremost phenomenographic analyses. The results generated in this study could be useful for teachers in the process of planning lessons, giving feedback to students, for assessments and grades, for discussing the content of lessons with other teachers, and ultimately for us to begin to recognize different levels of knowing.

Abbiamo svolto con i nostri allievi (11-13 anni) un’esperienza di laboratorio teatrale, per approfondire la vita e le opere di Pitagora e realizzare uno spettacolo. Il percorso, partito dalla ricerca storica, ha incluso la scrittura del copione, la costruzione di scenografie e di strumenti didattici da usare in scena e da proporre ad altri studenti. Esso si è rivelato un’occasione per sviluppare competenze e mettere in atto una didattica laboratoriale multidisciplinare. Anche se impegnativa, questa esperienza ha rafforzato la motivazione, il coinvolgimento e il senso di responsabilità degli allievi.

Dissertação de Mestrado em Arte e Educação apresentada à Universidade Aberta O objeto de estudo desta pesquisa centra-se no Teatro como Disciplina de Educação Artística: um projeto na Escola Básica e Secundária da Ponta do Sol, que durante dez anos letivos esteve em funcionamento no 3.º ciclo do ensino básico. A questão principal da pesquisa foi formulada da seguinte forma: – Qual é o significado atribuído pelos alunos da Escola Básica e Secundária da Ponta do Sol à sua experiência na disciplina de Teatro, entre 2003 e 2012? Esta pesquisa incide portanto num contexto educativo formal, descrevendo os aspetos de fundamentação, conceção, implementação, retroação e avaliação deste projeto com grupos de alunos que frequentaram a disciplina de Teatro, no período de 2003 até 2012. O trabalho empírico assenta numa metodologia qualitativa de ação-investigação, pós -facto, tendo como estrutura orientadora o modelo de Relação Pedagógica de Renald Legendre (1993, 2005). Esta metodologia permitiu-nos apreender e reconstituir as narrativas vivenciais das viagens artísticas e teatrais realizadas em contexto de sala de aula e extra sala de aula, com alunos/sujeitos de 7.º, 8.º e 9.ºanos de escolaridade. Esta narrativa foi construída, analisada e interpretada a partir de documentos, jornal de bordo, registos fotográficos, registos videográficos e entrevistas semiestruturadas, que permitiram a resposta à questão principal da pesquisa. Os principais resultados obtidos com a pesquisa destacam o contributo do Teatro para o desenvolvimento pessoal, artístico e cultural dos jovens, realçando também o sentido da relevância e participação desta disciplina nas práticas escolares. The object of study in this research is focused in Theatre as an Arts Education subject: a project in Ponta do Sol Elementary and Secondary School, which for ten school years has been running in the 3rd cycle of basic education. The main question of this research was formulated as follows: - What is the meaning given by students from Elementary and Secondary School of Ponta do Sol to their experience in the subject of Theatre, between 2003 and 2012? This research therefore focuses on a formal educational context, describing aspects of reasoning, design, implementation, feedback and evaluation of this project with groups of students who attended the subject of Theater, from 2003 until 2012. The empirical work is based on a qualitative methodology of action-research, post facto, having as guiding structure the model of Pedagogical Relationship of Renald Legendre (1993, 2005). This methodology allowed us to seize and rebuild the experiential narratives of the theatrical and artistic journeys executed inside and outside the classroom, with students / subjects from the 7th, 8th and 9th grades. This narrative was built, analysed and interpreted, based on documents, logbooks, photographic records, video records and semi-structured interviews that allowed an answer to the main question. The main results obtained from the research highlight the contribution of Theatre for personal, artistic and cultural development of young people, enhancing the sense of relevance and interest of this subject in school practices.

Abbiamo svolto con i nostri allievi (11-13 anni) un’esperienza di laboratorio teatrale, per approfondire la vita e le opere di Pitagora e realizzare uno spettacolo. Il percorso, partito dalla ricerca storica, ha incluso la scrittura del copione, la costruzione di scenografie e di strumenti didattici da usare in scena e da proporre ad altri studenti. Esso si è rivelato un’occasione per sviluppare competenze e mettere in atto una didattica laboratoriale multidisciplinare. Anche se impegnativa, questa esperienza ha rafforzato la motivazione, il coinvolgimento e il senso di responsabilità degli allievi. Our students, aged from 11 to 13 years old, attended a theatre workshop in order to deepen their knowledge of Pythagoras’s life and works and stage a play. The preparation of the performance started with historical research and included play writing, set design and teaching tools production, which were used on stage and proposed to other students. It was an opportunity to develop specific skills and perform multidisciplinary laboratory teaching practices. Although a challenging experience, it improved student’s motivation and engagement and strengthened their responsibility.

Bu çalışma, tek perdelik oyunların sınıf ortamında öğretimi sırasında kullanılan yöntemler ile ilgili bir araştırmayı içermektedir. Her ne kadar tek perdelik kısa oyunların kendine özgü tekniği varsa da, çalışma, genel olarak, tiyatro eseri hakkında da bilgi içermektedir. Tek perdelik kısa oyunların tarihi ve gelişimi, özellikleriyle birlikte birinci bölümde yer almaktadır. Bunun yanı sıra bazı ünlü yazarların belli başlı eserlerinden de örnekler verilmektedir. Tek perdelik oyun yazarlarının kullandıkları teknikler açıklanmış, birden fazla bölümlü oyunlarla karşılaştırılmıştır. Tiyatronun eğitimdeki önemi üzerinde durulduktan sonra, oyun öğretimi için hangi yöntem ve metotların kullanıldığı açıklanmıştır. Seçilen tek perdeli iki oyunun, Trifles ve The Riders to the Sea?nin, üniversite öğrencilerinin yaratıcılıklarını nasıl geliştirdiği, ders saatleri içinde metinleri kavrama konusunda nasıl bir yöntem izlendiği ve etkin bir çalışma gerçekleştirildiği ayrıntılı olarak sunulmuştur. İkinci bölüm oyunların öğretimine ayrılmıştır. Ayrıca, oyunlar filme de çekilmiş olduğundan, oyunların belli başlı sahneleri metin ve film karşılaştırması şeklinde incelenmiş, belirli sahnelerin izlenmesi ve tartışılması sonucunda ortaya çıkan veriler değerlendirilmiştir., This work comprises a detailed study of the method of teaching one act plays at university level in class. The introductory chapter of the study is primarily devoted to general information on works of theatre. The first part of the study focuses on the history, development and the characteristic features of one-act plays and the works of some famous authors. The works of the playwrights of one-act plays are also compared with those of full-length plays. After emphasizing the importance of using plays as teaching material in education, the study involves methods of teaching of dramatic works. In the second chapter, the texts of two one-act plays, Susan Glaspell?s Trifles and John Millington Synge?s The Riders to the Sea and the film versions of their stage performances are chosen as materials to be used in class to show how one-act plays could be taught to university students in the framework of courses. The third chapter covers the comparison of the texts with the filmed versions of their stage performances and the contribution of the films to the comprehension of the plays. The Venn diagram has been introduced and used by the students. Finally the results of the comparisons of the texts and the filmed versions of the productions are evaluated.

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.